In what ways does Eliza Doolittle change in Pygmalion?

establish on classical myth, Bernard Shaws Pygmalion plays on the complex issue of human relationships in a social world. Phonetics prof Henry Higgins, tutors the very(prenominal) Cockney, uneducated Eliza Doolittle, non only in the purification of terminology, but similarly in the refinement of her manner. When the end result produces a very skirtlike girlfriend Doolittle, the lessons intimate become much more far reaching.Shaw alikek the title of his play from the kn describe King of Cyprus, Pygmalion, who was also a famous sculptor. Pygmalion sculpted a fine-looking woman from ivory, called Galatea, with whom he fell in love. On begging Aphrodite (the Grecian goddess of love), to breathe breeding into his creation, his wish was granted and he married her.Pygmalion is consequently an appropriate title for this play, for Galatea is created from a block of stone, and Eliza herself originates from similarly unpromising offset printings, with Professor Higgins as the Py gmalion character, as it is he who creates a immature woman from such sensible material.It is Elizas metamorphosis, from d testifytrodden flower girl to a polished two-year-old lady (the highs, the lows, the penetrative drama and the comic moments) which provide the basis for Pygmalions salutary crafted story-line.Elizas AppearanceOur send-off introduction to Eliza, is in the form of the consummation 1 stage directions (page 8), where her carriage comes down the stairs scrutiny by Shaws vivid writing. She is described as being, non at all a romantic figure whose hair demand washing rather badly and whose clothes are coarse and misleading.All of this, plants a very vivid picture of Eliza as a lowly, insignificant figure- another bleak form on the miserably laughable London skyline, which is a far cry from the mental images of her appearance conveyed later on, as a cosmopolitan and fashionable young woman who, rather than pale into insignificance, as she previously did, is kinda striking.This is one Elizas major transformations, -her flip in her appearance. It is a major key in the metamorphosis from flower-girl to lady, and is beautifully put to death with the help of Mrs Pearces severity on the insistence that make cleanliness is vital, -Well, dont you want to be clean and sweet and decent, like a lady? You know you cant be a nice girl inside if youre a dirty slut away(p), and Prof. Higgins vast funds which kept dressed in the latest fashions.She makes bad-tempered impact at the ambassadors garden party, her final test, where she must be passed of as a duchess, (for a bet). The character of the hostess is clearly very taken with Eliza, and acts as an indication to the reader (by whom the transformation cannot be witnessed) of the enormity of Elizas change in appearance, with her comments of She will make a sensation, wonderful young lady and They posit me there has been nothing like her since people stood on their chairs to look at Mrs Langtry.Elizas StatusMuch of Pygmalion revolves around a very divided class system. The plays theme that a persons success in career should not be dictated and limited by their social class, speech and perspective, was a belief of Shaws that clearly held a lot of importance for him. This is plain due to his early membership to the Fabian Society- a socialist agreement dedicated to the establishment of an equal and just ships company for all citizens.Shaws patently cruel and even insulting comments on Elizas initial appearance may seem harsh, however they use up very important relevance. The Elizas shabbiness at first not only amplifies the dramatic transformation which results, but also highlights the vast difference between her and Miss and Mrs Eynsford Hill, which conveys to the reader Elizas lower status and class.Eliza herself behaves, as though she is inferior (she is console very polite to Miss Eynsford Hill despite her rudeness in Act 1), however Elizas status, by t he plays end has soared from a poor, uneducated Cockney, to a much more upstanding young woman. Before her transformation in Act 1, Freddy pushes past Eliza quite abruptly, barely noticing her presence, however aft(prenominal) meeting her in all her finery at Prof. Higgins house (Act III), he is besotted with her. Although Freddy is far from wealthy or blue(a) (Shaw describes the Eynsford Hills as having the air of genteel poverty), to seem respectable profuse to be worthy of his attention, to be unrecognisable to Mrs Eynsford Hill and considered fashionable by the previously supercilious Miss Eynsford Hill, is quite a vast outflow in status for Eliza, and a credit to her teaching.*Elizas SpeechShaw himself, was a meliorist for m any changes to be made to the side of meat language, believing it to be in need of great reform. He fought long and difficult battles throughout his life to change the spelling system of the English language, because of his views that it was illogic al that most English spelling did not relate to the way words are pronounced.So this is probably one of the reasons he has made language and pronunciation major themes of the play, and as he says in his comprehensive Preface to Pygmalion, made an zippy phonic enthusiast, the hero of a popular play.Shaw began Elizas speech (in Act I) in a mixture of written broken English and phonetic symbols, quite unintelligible to the reader (and as he describes it, unintelligible to anyone away London). This has a dual purpose, for it clearly lay downs the reader the distinctiveness of Elizas vehemence (and the large distance between her kerbstone English and her ambitious come of being able to speak like a lady in a flower shop). This will not only cast up the readers awe at the magnitude of her transformation, but it will also army the amount of work that would have had to go into the transformation (Shaw does not show the many a(prenominal) months of tutoring in the play- he just surp rises the audience with Elizas new ready eloquence).The other purpose of spelling out Elizas pronunciations is to enhance the element of amazement the scenes of Act I are intended to evoke from the reader (and no doubt the audience of a staged Pygmalion). The cloudiness arises in a variety of places the true identity of some characters (the note Taker, the Daughter, the Gentleman, etc.) and Elizas hysterical confusion when she wrongly accuses the Note Taker (Prof. Higgins) of being a coppers nark (police informant) when a Bystander warns her that psyche is writing down her speech.Elizas characterIt seems that confusion follows Eliza relentlessly throughout the beginning of the play, embarrassingly highlighting her uneasiness and ignorance when she finds herself in many unfamiliar situations. Not only is it present in Act I, but it is clear in Act II as well, when she bravely seeks out Prof. Higgins to request elocution lessons. In this scene, Eliza finds herself lost and misunde rstanding, -drowned in a sea of complex words and jokes utilise by everyone around her, leaving her totally bewildered. For example, when Eliza offers Prof. Higgins a shilling for her lessons, he comments to Colonel Pickering that a shilling in relation to Elizas earnings is about the equivalent weight of about sixty pounds from a millionaire, which Eliza misunderstands and fearfully thinks is the sum of money she must pay.However, by the end of the play Eliza has gained masses of confidence, which compliments her raw, fiery savor and gives her the ability to argue her point well and defend herself. For example later in the play, she confronts Higgins on the subject of his insensitivity towards her- ..Im not dirt under your feet. (Page 102) and is no longer prepared to be suppressed by his haughty egotism.There is no doubt that Elizas transformation is a successful one, however, I think something very important to realise about Eliza is that despite the pedestal changes that take place in the play with her appearance, speech and status, her character still remains as strong-minded, fiery and emotional as it was on that bleak, wet day in the heart of Londons Covent tend. The fact that this is one of the few things that do not change in Eliza, is a huge indication of the howling(a) sincerity of her character.Prof. Higgins has created something which is unnatural and out of place in society, with his intensive cooking of Eliza. Her appearance and behaviour are doll-like, her movement is robot-like and her speech too painstaking and precise to ever be real. To create the outward appearance of the lady she becomes, Eliza is forced to sacrifice and suppress her own personality, leaving her empty and without any vitality or energy. This is the reason why Eliza clearly strives for a complete combination of her original vigour and strong-mind, and the new manner and speech of the meat and upper classes introduced to her by Higgins to create a true identity fo r herself which she is blessed with.Higgins, typically for him, claims all the credit for the transformation in Eliza, showing him not only to be big- headed, arrogant and conceited, but to also undervalue Elizas own hard work. You will jolly see whether she has an idea in her head or a word that I havent put into her mouth. I tell you I have created this thing out of the squashed cabbage leaves of Covent Garden (Page 92)I think it is vital for the reader/audience to remember that Eliza and her own character and personality have achieved her transformation. Although, there is no doubt that Eliza would have remained in the gutter if Higgins had not taken her into his home and changed her speech, dressed her fashionably and shown her how the upper classes behave, I personally, resent any direct comparisons between Eliza and her unreal equivalent, Galatea. This is because I think that her initial character had the foundations present for the creation of her new self.Whereas Galatea w as created from nothing (a block of ivory) by King Pygmalion,- Prof. Higgins, Colonel Pickering and Mrs Pearce merely enhanced and remoulded many of the qualities Eliza already possessed to create the end result.Without Elizas self discipline, raw talent, commited and nimble learning, it would have been impossible to pass her off as a duchess after just a matter of months. I think the way Shaw portrays her as growing more and more confident and independent throughout the play, does well as a message to the reader that Eliza herself, was in a sense, her own creator.I think that Elizas need to liberate herself from Prof. Higggins to become a instructor herself, was more necessary than she herself even knew, for just like Galatea, she could never rattling like Prof. Higgins (the equivalent of King Pygmalion) for as Shaw cleverly points out, his relation to her is too godlike to be altogether agreeable.Throughout his life, Shaws plays often tended to round what he felt to be bad ele ments in society and make his audiences feel uncomfortable with the bitter truth of societys flaws. If this is what he intended for Pygmalion, I think he was certainly successful. Pygmalion challenges many of the damaging root elements of society including the segregation of the class system, and the ruthlessness of human nature, themes that almost all of us are guilty of either condoning or ignoring- both of which are baneful if there is ever to be any kind of social reform.