Pygmalion & the Heart of darkness

[جوجو2005]

السلام عليكم...


الله يعافيكم وين ممكن ألقى موقع فيه ترجمة مختصره بالعربي للروايتين pygmalion & the Heart of Darkness تكفووون لاتطنشووني ردوولي ومالكم الا الدعاء...:neutral:

[eng.prof]

ما راح تلقى ترجمه في النت لكن فيه ترجمه رائعه للغايه و معتمده ممكن تلقاها في الرياض طريق الملك عبدالله أمام جامعة الملك سعود ( بوابه رقم 1 ) أو دوار الكتاب .. في مكتبة القويفل.

وإذا ما لقيتها هناك قولي..

[Try To Reach]

[align=right]الأخت جوجو 2005
بحثت لكي كثيرا عن ترجمة لهذه الروايتين ولكن للأسف لم اقع الا على هذا الموقع الأنجليزي والذي يعطي
شرح وافي وكافي وتحليل مبسط للرواية الأولى فقط ,,

ارجو ان تتقبلية وسامحينا على التقصير :[/center]

[align=left]THEMES ANALYSIS

Major Theme
In Pygmalion, Shaw presents the classic theme of drama - the complexity inherent in human relationships. The play's major thematic concern is of course, romantic, as suggested by the title itself. In the Pygmalion narrative as told by Ovid in Metamorphoses, Pygmalion is described as having a repulsion for women and he thus decides to remain single. Ovid explains that Pygmalion's disgust for women is due to the behavior of the propoetides, women of Amathus, who were the first women to become prostitutes. Yet Pygmalion longs for a feminine ideal and is inspired to sculpt an extremely beautiful woman in ivory and name it Galatea. Upon finishing his marvelous piece of sculpture, he clothes the state with colorful garments and adorns it with jewelry. However the beauty of the statue is not realized since it is lifeless. Pygmalion then prays to the Gods and Venus breathes life into Galatea. The once lifeless statue now comes alive and falls in love with its creator. Pygmalion's desire for a maiden beyond the imperfection of mortal women is fulfilled and he marries Galatea.

In Shaw's play, Higgins' transforms a common flower girl into a graceful lady, like the sculptor Pygmalion in the Ovidian legend carved a beautiful statue out of shapeless ivory. Higgins effects this amazing transformation by teaching Eliza to speak correctly and beautifully. This cultural crash-course is simply a scientific experiment for Higgins and he is astonished to find that against his will Eliza has fallen in love with him. As a scientist, Higgins focuses upon his task (of passing of Eliza as a duchess) with absolute concentration and objectivity. He is amazed to find that he cannot control all the variables of his experiment since nobody can control the human heart. Higgins realizes that he should not have ignored the humanity of his subject. However, the union between the two is out of question since they hold divergently opposed views about life. Higgins stands for the principle of rationality and the intellect while Eliza represents natural warmth and affection of the heart.






The conflict between the two provides the comedy of the play. Higgins simply cannot regard others in human terms. He sees them as only the means to achieve his end. He tells Eliza that he does not care for her as an individual person but because she is a part of the human species. As he tells her, "I care for life, for humanity; and you are a part of it that has come my way." Eliza cannot seek consolation in such impersonal generalities. Higgins's declaration that he has grown accustomed to her voice and face does not impress Eliza, who prefers Freddy's simple-minded proclamation of devotion to Higgins' profound indifference. Shaw himself favors Eliza's union with Freddy since as he writes in the sequel to the play, "Galatea never does quite like Pygmalion; his relation to her is too godlike to be altogether agreeable".

Pygmalion may also be read as a modern-day Cinderella story. The miserably poor, dirty and ill treated but exquisitely beautiful maid who is magically raised to a high level in society is common to both Shaw's play and the popular fairy tale. The other necessary ingredients - a step-mother, a golden coach, the midnight hour when the maiden is confronted with reality, slippers, a scintillating ball and a desperately lonely gentleman - are inseparable details of Shaw's plot as well. However like the Ovidian legend Shaw manipulates the fairy tale narrative to serve his own unique ends. Consequently the chronology of the incidents is changed and even the ingredients are modified. For instance, Eliza's stepmother is rather harmless, the slippers are thrown at the good fairy and the scintillating ball only serves to shatter Eliza's romantic illusions. The golden coach is the cab that Eliza hires in Act One from the money that Higgins had thrown off-handedly into her basket. Throwing the slippers at Higgins symbolizes her break from a life of servitude and her absolute rejection of Cinderella's romantic notions. More significant is the emphasis on the midnight hour of self-actualization than on the ball scene since the focus is on Eliza's capacity to adjust to the harsh conditions of the real world. And finally, contrary to the popular fairy-tale's ending, Shaw does not offer any certainty of a blissful married life.

Minor Theme
Pygmalion also lends itself to an allegorical interpretation. Critics have tended to stereotype Shaw as a modern playwright who investigates the "play of ideas." This has resulted in a gross neglect of the allegorical framework and moral content that bears heavily on his plays. Eliza can be seen as a morality character as she struggles to achieve spiritual salvation. The play charts Eliza's spiritual journey from illusion to reality, or from the darkness of ignorance to the light of self-awareness. She struggles against the varied temptations on her long and arduous quest and finally achieves self-awareness as a human being. She acquires enough independence of spirit, strength of character and maturity of thought to stand up to Higgins and criticize his way of life.

Shaw proclaims in the preface to Pygmalion that his prime objective in writing the play is to create an awareness about the importance of phonetics in society. Throughout the play, Shaw points out the use of language as a means of dividing society into classes. Shaw gleefully claims in the preface, "It (the play) is so intensely and deliberately didactic, and its subject is esteemed so dry, that I delight in throwing it at the head of wiseacres who repeat the parrot cry that art should never be didactic. It goes to prove my contention that art should never be anything else." However Shaw is obviously ignoring the entertaining content of the play by this insistence on didacticism. Phonetics is only a minor concern in the play. While the play does indeed create awareness about the importance of phonetics in society, it does this imaginatively. Shaw focuses our attention on the human implications of Higgins' project rather than on the nitty-gritty of phonetics itself. The readers are interested in Eliza's phonetic lessons only because it exposes the shallowness of class distinctions. The prime message of the play is to assert the importance of individual worth. If a common flower girl can be passed off as a duchess in merely six months, then the only qualities that distinguish a duchess are her wealth and hereditary reputation.

Shaw thus points out that gentility is simply a matter of education and environment and that a lady is only a flower girl with six months' training in phonetics and a gentleman is only a dustman with money. This point is proved by the dual transformations of Eliza and Alfred Doolittle.

Another prominent theme is the exploration of the Victorian concept of the "undeserving poor" through the character of Alfred Doolittle. The Victorians designated the class who refused to practice thrift and squandered their money on drinking sprees and other mindless forms of entertainment as the "undeserving poor." In the Victorian Age the poor were not rightfully entitled to charity and had to prove that they morally deserved charity. Shaw attacks this hypocritical moral code through Doolittle, who defines middle class morality as "an excuse for never giving me anything." The prime objection against charity to the poor was the belief that it would pauperize them, i.e. habituate them to living off charity like paupers. Doolittle subverts this bourgeoisie moral code to suggest that living off unearned income is also pauperizing. Thus in effect Shaw attacks the middle class virtues of prudent savings. [/center]






وهنالك صفحات اخرى ايضاً ....
المصدر (http://www.pinkmonkey.com/booknotes/monkeynotes/pmPygmalion55.asp)

[جوجو2005]

الله يجزاكم خير ويحقق أمانيكم ياProf.eng & Try to reach وان شالله بدور الترجمة بس وين مكتبة القويفل...وألف ألف شكر..

[eng.prof]

أجمعين انشالله

مكتبة القويفل عى طريق الملك عبدالله مقابل جامعة الملك سعود.

ترجمة مسرحية "قلب الظلمة" مو مجرد ترجمة الكلام و بس . لا موجود فيها تحليل و شرح التكنيك الذي استخدمه الكاتب . لا استطيع تذكر اكثر من ذللك الا انها مفيده جدا .

[جوجو2005]

يا أخ eng.prof رحت لمكتبة القويفل وقالوا لي أن ما عندهم الرواية وش أسووووووووووي أختباري الأربعاء الله يعيني...

[eng.prof]

أنا بنفسي وديتها لهم و قلت لهم يخلون نسخه عندهم !! أكيد انك سألتي الزول .. تراه مفهي

بروح له مره ثانيه واعطيه نسخه بس يا خوفي انه ما يمديك قبل الأختبار.. الله يوفقك و يكون لك عون

[جوجو2005]

الله يعطيك العافية يا eng.prof بأحاول أروح مره ثانية والله يجزاك الف خير ويحقق امنياتك...

[ميس]

طمنينا جوجو ايش صار معاك؟

والله يجزاكم خير يااخوان ماقصرتوا

[جوجو2005]

مشكورة ياميس على سؤالك واهتمامك بس الى الحين مافضيت ....وأشوى تأجل الأختبار الله يعين...ويوفق كل من ساعدني...

[جوجو2005]

يا أخ Prof.eng اتصلت بمكتبة القويفل كذا مره وقالو ماعندنا الروايه...شكلهم مايدرون وش عندهم وش ماعندهم...

[المفرفشه]

السلام عليكم اختي جوجو200

بالنسبه لتحليل المسرحيه والروايه بتلقينها ان شاء الله في مكتبة الخريجي على طريق خريص عند مدينة الملك فهد الطبيه يوجد هناك كتب اسمها indian note لكل مسرحيه او روايه واحيانا بعض القصائد الطويله او المشهوره
وفيه clif note و انواع كثيره بس افضلها indian note

والله يوفقك ان شاء الله واذا احتجتي اي شي انا حاضره ( لا تنسيني من دعواتك خصوصا ان اليوم جمعه)

[جوجو2005]

الله يوفقك ويحقق اللي في بالك يا المفرفشه ويجعلك دوم مفرفشه...

[مشهوره]

هلا اختي جوجو2005

انا ادرس السنه هذي قلب الظلام

وقلبت الدنيا فوق تحت ادور ترجمه لها
ما بقى الكويت ولا البحرين الا وسالت عنها ولا حصلت

اخر شيء ودييناها لدكتور وترجمها لنا
اذا تبين نسخه من الترجمه انا حاضر راسليني ع الخاص وان شاء الله اقدر اساعدك

[shoo_shoo]

هلا اختي انا اشوف york note اسهل و اسلواب الانجلش سهل وبسيط

[Teacter22]

الله يعطيكم العافية ابي تساعدوني باسرع وقت عن مسرحية pygmilion في النقاط التالية :
1- العلاقة بين higgins و eliza .
2-العلاقة بينهم كاستاذ وطالبة.
3-العلاقة بينهم كارجل وامراة

[Teacter22]

امانه الي قادر يساعدني لا يبخل علي اريدهااااااااااااااااا ظروري الاسبوع القادم

[مشهوره]

انا عندي الترجمه للروايتين

[كافي الم]

الســــــــــــــــــلام عليكم ..........هاي اول مشاركة لي معاكم وتكفين يامشهووووووووورة اسعفينا بالترجمة حقت قلب الضلام الله يجعلك من اهل الجنه لاني ماخليت موقع ولامكتبه حوووووووووووووووووووووسه من جد ولا لقيتها وانا هدي سنة تخرجي ومضغوطين مرررررررررررة الحقي علي بالترجمة انا والغلابه صاحباتي ورح ندعيلك كلنــــــــــــــــــــا ..........واي حد يقدر يساعدنا في ترجمة to the light house by virginia woolf ,,,,,,,,,,,,,وكمان the death of the salesman by Arthur Millerوشكـــــــــــــــــــــــــــــــــــــــــ ـــــــــــرا قد المطررررررررر

[الزهرة الخضراء]

بإمكانك شراءترجمة قلب الظلام من هنا
http://www.neelwafurat.com/itempage.aspx?id=lbb150723-112212&search=books

وهذا ملخص لترجمة الرواية
من ملتقى نهر التايمز بالبحر تبدأ رحلة مجموعة من الرجال نحو قلب إفريقيا- الكونغو.. بطل الرواية يدعى مارلو وهو الذي يقودنا الى أكثر القصص رعباً، رعب يبدأ من السطور الأولى للرواية ويستمر معها حتى النهاية.. حكايات يرويها مارلو وهو على متن المركب(نيللي) المتجه من لندن الى حيث يعم الظلام في الكونغو.. يسير بطل كونراد حيث تقوده رغبته وحلمه الذي عاش معه في طفولته حينما أشار بأصبعه على الخارطة وقرر عندما يكبر أن يمضي الى المكان الذي أشار إليه وهو الكونغو، وها هو يصبح رباناً لأحد الزوارق التابع لشركة من أهدافها بناء امبراطورية وراء البحار لجني الملايين من الدولارات بطرق غير مشروعة.
من خلال حكايات مارلو يعري جوزيف كونراد أولئك المستعمرين ويكشف لنا عن أن قوتهم ما هي إلا نتيجة عرضية لضعف الآخرين.. يصف مارلو العمل على الزورق الذي أبحر عليه بالمواجهة الخطرة حيث الشاطئ الغامض الذي لا شكل له، والسفن الحربية حيث تدور المعارك، وأصوات المدافع والقنابل، واللهب والدخان، والرجال المستعبدين الذين رآهم وهو في طريقه لاستلام وظيفته.. أولئك الرجال المقيدون بالسلاسل المأمورون بالعمل الشاق، الذين يشبهون الأشباح من شدة نحولهم.. ثم الجو الحار حيث ضجيج العمال هناك، في تلك الأجواء عمل مارلو، في مهنة لا تخلو من المتاعب، بل هي في قلب المتاعب.. وفي واحدة من تلك المصاعب يسير مارلو مع ستين رجلاً قبل أن يصل المحطة التي ستأخذه الى وظيفته،صعوداً ونزولاً لمسافة تقدر بمائتي ميل وشبكة من الممرات التي لا تنتهي، على أرض خالية وتلال حجرية وعزلة تامة، مروراً بقرى هجرها سكانها، وحيث الوحول والجثث الملقاة هنا وهناك، والرجال البيض الذين جاءوا ليكسبوا أكبر قدر من المال عن طريق الاستحواذ على خيرات البلد وهم يحملون هراواتهم ومستعدون للقتل من أجل أهدافهم غير النبيلة.
أما مدير الشركة فهو رجل جامد الملامح ذو نظرات كحد الفأس، عمل منذ شبابه في هذه المنطقة، مظهره لم يكن يوحي بحب أو باحترام بل بعدم ارتياح، ولم تكن لديه ملكة التنظيم- كما عند كورتز المسؤول عن محطة تجارة العاج والذي يوصف بأنه رجل من الطراز الأول- وقد استقبل مارلو بالقول : إن الوضع سيء جداً.
سنعرف في سياق الحكايات التي يرويها مارلو بأن حقائق الحياة تضيع في هذه البقعة من العالم، ولا تعامل بما تستحقه إنسانيتك، المهم كم من الجهد تبذل لإرضاء مرؤوسيك الذين لا يقف جشعهم عند حد، في جو تسوده النميمة والتآمر والحقد.. الى تلك البقعة وصل مارلو لكن الزورق الذي من المفترض أن يعمل عليه كان قد غرق قبل وصوله ويحتاج الى عدة أشهر من العمل لإصلاحه.. وبين إصلاح الزورق وبدء العمل يلقي كونراد المزيد من الضوء على العلاقات السائدة، خصوصاً تلك التي تربط بين(السادة)و(العبيد) وكذلك الأجواء التآمرية من أجل الحصول على أكبر قدر من العاج الذي ينتزعونه بالقوة من الأهالي، والمنافسات غير الشريفة التي كثيراً ما تؤدي الى القتل.
تلك الحكايات المتصلة كان مارلو يقصها على مستمعيه وهم على ظهر المركب(نيللي) دون أن يكون لهم صدى في سير الأحداث، إنصات تام دونما مشاركة، كما لو أنه يحكي لنفسه، أو أنهم مفتونون بما يسمعونه الى الحد الذي يجعلهم لا يبادرون لمقاطعته.. بل حتى الراوي الغامض الذي يحكي عن مارلو، هو الآخر لا يتدخل إلا حين يتوقف مارلو عن الكلام أو يوضح حركة ما قام بها مارلو قبل أن يتابع حكاياته..ربما مرة أو مرتين قال أحدهم جملة عابرة لم تعلق في الذهن بعد زمن طويل من سرد إحدى الحكايات الغارقة بسكون الحياة وقسوتها.
حكايات مارلو تمتد وتتشعب وتذهب الى عمق الظلام والى الإرث الملعون والى الحياة البدائية التي تشبه حياة ما قبل التاريخ، هو وحده من يقود دفة الكلام حتى لتنسى أن هناك مستمعين على ظهر المركب.. إنها رحلة شقاء متواصل تلك التي أخذنا إليها جوزيف كونراد، رحلة عذابات في زمن البحث عن الثروات واستعباد البشر، رحلة ظلامية يخلخل اختصارها ذاك الاتساع في الرؤية التي أرادها المؤلف لقرائه، ولذلك لا يغني هذا العرض السريع عن اقتناء الرواية وقراءتها لاكتشاف قدرة الكاتب على الغوص في عمق المجهول في تلك المنطقة من العالم.
إن(قلب الظلام) رواية لم تفقد سحرها برغم عشرات السنين التي مرت على نشرها، كما لو أنها كتبت بالأمس القريب، إنها رواية التيه الى أقصى حدود الخطر لمستكشف مدّ يده يدعوك لمغامرة فيها من الخوف قدر ما فيها من متعة اكتشاف ذاك الزمن الغامض الممدود الى ما لا نهاية، في بقعة مجهولة من العالم تعيش عزلة قاتلة وحرباً قذرة ضد أبناء الأرض الذين تحولوا الى عبيد خشية القتل، وهي الرواية التي يرى فيها إدوارد سعيد بأنها نبوءة مبكرة للهيمنة الأمريكية على العالم.

[كافي الم]

الزهــــــــــــــــــرة الخضراااااااء شكــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــراااااااااااااا من القلب انت فعلا زهرة وخضراء جدااااااااااااااااااا ,,,,,,,

[زهر البرية]

جزاكم الله ألف خير يا جماعة وجعله فى موازين حسناتكم

[عمر11]

الله يعين ومشكورين:

[ghanadeer]

انا بعد أبي Heart of Darkness إمتحاني السبت الله يستر !! :|

[ghanadeer]

جزاك الله خير يالزهرة الخضراء عالترجمه
دعواتكم لنا بالنجاح والتوفيق

[فاطمة احمد]

http://img412.imageshack.us/img412/4952/16mr1it31mj2bq4cj4.gif جزاك الله كل خير وبارك الله فيك

[الأمواج الهادئة]

وين ألاقيها الترجمة جدا ضروري بيجماليون..
والله يوفق كل من ترد علي..

[M.o_o.N]

مافية ترجمه بس فيه شرح عربي
الترجمه كامله يمكن بالمكتبات

[الامل 2]

http://www5.0zz0.com/2007/12/07/20/61043092.gif
و جزاكم الله كل خير

[ME..']

الزهرة الخضراء ..

شكراًجزيلاً
والله يعطيك العافيه ..
افدتينا كثير من خلال الملخص الشآمل لأحدآث الروايه ..

[future world]

السلام عليكم ورحمة الله وبركااته...


أولا :الرواية تجدون لها ترجمة في المكاتب مثل جرير والمتنبي والعبيكان..وإذا لم تجدو فأنا أنصح بمشاااهدة الفلم لرواية قلب الظلام وأيضا مسرحية بقمليون لأنها جدا ممتعه ومفهومه ومختصرررررررررررررررره أشياء واجد...حنا درسناهم مع دكتورتنا بمتابعة الفلم بالمحاضرة ونناقش كل كوتيشن....

ثانيا: أنا عندي بعض النقاط الجميلة والملخصات وبنزل اللي أقدر عليه لأنه تعبناااااااااا وحنا نشتغل عليها شغل جاااااااااااااااااااااااا مد وإنشاءلله تنفعكم بتساءولاتكم وفيها نقاط أدبية ...

[future world]

George Bernard Shaw

Although Shaw's first profitable writing was music and literary criticism, his talent was for drama, and he authored more than 60 plays. Nearly all of his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege and found them all defective. He was most angered by the exploitation of the working class, and most of his writings censure that abuse

• An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal political rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthful lifestyles.

Literary works
• The International Shaw Society provides a detailed chronological listing of Shaw's writings.[14] See also George Bernard Shaw, Unity Theatre.[15] View Shaw's Works for listings of his novels and plays, with links to their electronic texts, if those exist.

Criticism

• Shaw became a critic of the arts when, sponsored by William Archer, he joined the reviewing staff of the Pall Mall Gazette in 1885.[16] There he wrote under the pseudonym "Corno di Bassetto" ("basset horn")—chosen because it sounded European and nobody knew what a corno di basseto was. In a miscellany of other periodicals, including Dramatic Review (1885–86), Our Corner (1885–86), and the Pall Mall Gazette (1885–88) his byline was "GBS".[17] From 1895 to 1898, Shaw was the drama critic for Frank Harris' Saturday Review, in which position he campaigned brilliantly to displace the artificialities and hypocrisies of the Victorian stage with a theater of actuality and thought. His earnings as a critic made him self-supporting as an author and his articles for the Saturday Review made his name well-known.

Plays
• As Shaw's experience and popularity increased, his plays and prefaces became more voluble about reforms he advocated, without diminishing their success as entertainments. Such works, including Caesar and Cleopatra (1898), Man and Superman (1903), Major Barbara (1905) and The Doctor's Dilemma (1906), display Shaw's matured views, for he was approaching 50 when he wrote them. From 1904 to 1907, several of his plays had their London premieres in notable productions at the Court Theatre, managed by Harley Granville-Barker and J. E. Vedrenne. The first of his new plays to be performed at the Court Theatre, John Bull's Other Island (1904), while not especially popular today, made his reputation in London when King Edward VII laughed so hard during a command performance that he broke his chair.[32]
• By the 1910s, Shaw was a well-established playwright. New works such as Fanny's First Play (1911) and Pygmalion (1912)—on which the award-winning My Fair Lady (1956) is based—had long runs in front of large London audiences. A musical adaptation of Arms and the Man (1894)—The Chocolate Soldier by Oscar Strauss (1908)—was also very popular, but Shaw detested it and, for the rest of his life, forbade musicalization of his work, including a proposed Franz Lehár operetta based on Pygmalion; the Broadway musical My Fair Lady could be produced only after Shaw's death.
• He is the only person to have been awarded both the Nobel Prize for Literature (1925) and an Oscar (1938). These were for his contributions to literature and for his work on the film Pygmalion, respectively. Shaw wanted to refuse his Nobel Prize outright because he had no desire for public honors, but accepted it at his wife's behest: she considered it a tribute to Ireland. He did reject the monetary award, requesting it be used to finance translation of Swedish books to English
Pygmalion
GEORGE BERNARD SHAW
• Context
•
• Born in Dublin in 1856 to a middle-class Protestant family bearing pretensions to nobility (Shaw's embarrassing alcoholic father claimed to be descended from Macduff, the slayer of Macbeth), George Bernard Shaw grew to become what some consider the second greatest English playwright, behind only Shakespeare. Others most certainly disagree with such an assessment, but few question Shaw's immense talent or the play's that talent produced. Shaw died at the age of 94, a hypochondriac, socialist, anti-vaccinationist, semi-feminist vegetarian who believed in the Life Force and only wore wool. He left behind him a truly massive corpus of work including about 60 plays, 5 novels, 3 volumes of music criticism, 4 volumes of dance and theatrical criticism, and heaps of social commentary, political theory, and voluminous correspondence

• And this list does not include the opinions that Shaw could always be counted on to hold about any topic, and which this flamboyant public figure was always most willing to share.
• Shaw's most lasting contribution is no doubt his plays, and it has been said that "a day never passes without a performance of some Shaw play being given somewhere in the world." One of Shaw's greatest contributions as a modern dramatist is in establishing drama as serious literature, negotiating publication deals for his highly popular plays so as to convince the public that the play was no less important than the novel. In that way, he created the conditions for later playwrights to write seriously for the theater

• Of all of Shaw's plays, Pygmalion is without the doubt the most beloved and popularly received, if not the most significant in literary terms. Several film versions have been made of the play, and it has even been adapted into a musical. In fact, writing the screenplay for the film version of 1938 helped Shaw to become the first and only man ever to win the much coveted Double: the Nobel Prize for literature and an Academy Award. Shaw wrote the part of Eliza in Pygmalion for the famous actress Mrs. Patrick Campbell, with whom Shaw was having a prominent affair at the time that had set all of London abuzz. The aborted romance between Professor Higgins and Eliza Doolittle reflects Shaw's own love life, which was always peppered with enamored and beautiful women, with whom he flirted outrageously but with whom he almost never had any further relations

Pygmalion
GEORGE BERNARD SHAW
Characters

• Professor Henry Higgins - Henry Higgins is a professor of phonetics who plays Pygmalion to Eliza Doolittle's Galatea. He is the author of Higgins' Universal Alphabet, believes in concepts like visible speech, and uses all manner of recording and photographic material to document his phonetic subjects, reducing people and their dialects into what he sees as readily understandable units. He is an unconventional man, who goes in the opposite direction from the rest of society in most matters. Indeed, he is impatient with high society, forgetful in his public graces, and poorly considerate of normal social niceties--the only reason the world has not turned against him is because he is at heart a good and harmless man. His biggest fault is that he can be a bully.
•
Eliza Doolittle
• "She is not at all a romantic figure." So is she introduced in Act I. Everything about Eliza Doolittle seems to defy any conventional notions we might have about the romantic heroine. When she is transformed from a sassy, smart-mouthed kerbstone flower girl with deplorable English, to a (still sassy) regal figure fit to consort with nobility, it has less to do with her innate qualities as a heroine than with the fairy-tale aspect of the transformation myth itself. In other words, the character of Eliza Doolittle comes across as being much more instrumental than fundamental.
•
Eliza

• The real (re-)making of Eliza Doolittle happens after the ambassador's party, when she decides to make a statement for her own dignity against Higgins' insensitive treatment. This is when she becomes, not a duchess, but an independent woman; and this explains why Higgins begins to see Eliza not as a mill around his neck but as a creature worthy of his admiration.
•

• Colonel Pickering - Colonel Pickering, the author of Spoken Sanskrit, is a match for Higgins (although somewhat less obsessive) in his passion for phonetics. But where Higgins is a boorish, careless bully, Pickering is always considerate and a genuinely gentleman. He says little of note in the play, and appears most of all to be a civilized foil to Higgins' barefoot, absentminded crazy professor. He helps in the Eliza Doolittle experiment by making a wager of it, saying he will cover the costs of the experiment if Higgins does indeed make a convincing duchess of her. However, while Higgins only manages to teach Eliza pronunciations, it is Pickering's thoughtful treatment towards Eliza that teaches her to respect herself.
•
• Alfred Doolittle - Alfred Doolittle is Eliza's father, an elderly but vigorous dustman who has had at least six wives and who "seems equally free from fear and conscience." When he learns that his daughter has entered the home of Henry Higgins, he immediately pursues to see if he can get some money out of the circumstance. His unique brand of rhetoric, an unembarrassed, unhypocritical advocation of drink and pleasure (at other people's expense), is amusing to Higgins. Through Higgins' joking recommendation, Doolittle becomes a richly endowed lecturer to a moral reform society, transforming him from lowly dustman to a picture of middle class morality--he becomes miserable

• Throughout, Alfred is a scoundrel who is willing to sell his daughter to make a few pounds, but he is one of the few unaffected characters in the play, unmasked by appearance or language. Though scandalous, his speeches are honest. At points, it even seems that he might be Shaw's voice piece of social criticism (Alfred's proletariat status, given Shaw's socialist leanings, makes the prospect all the more likely).

• Mrs. Higgins - Professor Higgins' mother, Mrs. Higgins is a stately lady in her sixties who sees the Eliza Doolittle experiment as idiocy, and Higgins and Pickering as senseless children. She is the first and only character to have any qualms about the whole affair. When her worries prove true, it is to her that all the characters turn. Because no woman can match up to his mother, Higgins claims, he has no interest in dallying with them. To observe the mother of Pygmalion (Higgins), who completely understands all of his failings and inadequacies, is a good contrast to the mythic proportions to which Higgins builds himself in his self-estimations as a scientist of phonetics and a creator of duchesses.

Pygmalion
GEORGE BERNARD SHAW
Analysis
• Pygmalion derives its name from the famous story in Ovid's Metamorphoses, in which Pygmalion, disgusted by the loose and shameful lives of the women of his era, decides to live alone and unmarried. With wondrous art, he creates a beautiful statue more perfect than any living woman. The more he looks upon her, the more deeply he falls in love with her, until he wishes that she were more than a statue. This statue is Galatea. Lovesick, Pygmalion goes to the temple of the goddess Venus and prays that she give him a lover like his statue; Venus is touched by his love and brings Galatea to life. When Pygmalion returns from Venus' temple and kisses his statue, he is delighted to find that she is warm and soft to the touch--"The maiden felt the kisses, blushed and, lifting her timid eyes up to the light, saw the sky and her lover at the same time" (Frank Justus Miller, trans.).
•

[future world]

عندي أيضا عرض جميل ورااااااائع عن رواية قلب الظلام وتحليل أدبي قوي جدا لكن بصراحه ما أعرف أرفع الملف وألا كان بودي مسااااعدتكم...