Drama & 3 plays

[jully]

السلام عليكم ورحمة الله ,,
الله يعطيكم العافية على جهودكم ,,,
اتمنى انكم تلبون طلبي ,,
اريد ترجمة لمسرحيات بيجماليون,,, وويتنج فور قودت ,,,,وفاميلي رينيون (جمع شمل العائلة ) واهم الشخصيات والسمري تبعها والبلوت .
ضرووووووووري ترى الختبار قرب وما باقي الا كم يوم ,,
الله يوفق اللي يرد علي دنيا واخرة .

[italyksa]

Waiting for Godot

http://www.sparknotes.com/lit/godot/

The Family Reunion


http://en.wikipedia.org/wiki/The_Family_Reunion

[italyksa]

Waiting for Godot

http://www.sparknotes.com/lit/godot/

The Family Reunion


http://en.wikipedia.org/wiki/The_Family_Reunion

[jully]

جزاك الله كل خير وبارك الله فيك ,,,بس في شخصية ليزا في بيجماليون ما لقيتها ,,,وشخصية اقيثا في فاميلي رينيون ,,,, وبعد السمري تبع فاميلي رينيون ,,, ادري طلباتي كثرت بس وش اسوي ؟؟؟الاختبار كل مالو يقرب وانا مررررررررة خايفة

[italyksa]

اوكي ياعسل جبتلك مسرحية بيجماليون مترجمة بالعربي وهذا الرابط

http://www.4shared.com/file/11658813...2/___.html?s=1

وهذا تحليــــــل كامل للمســرحية ..

Analysis of "Pygmalion" by Bernard Shaw


Numerous times a piece of literature is changedinto a movie or musical it’s plot and or
theme has been changed to suit thedirector’s thought of what would appeal to the public. One such example isBernard Shaw’s play Pygmalion. In this play Shaw’s purpose and ideas werehorribly misconstrued to the point at which he was forced to write an Epilogueto try to reconcile the injustice done to his masterpiece. In the Epilogue hebluntly expressed his points and purposes so that the ignorant public could nolonger discount Shaw’s theme of the play and change it in to a happy ending lovestory. Shaw’s outrage was set off by the director’s construction of charactersand dialogue. Character’s roles were strengthened and belittled according to thedirector’s purpose. This was accomplished by added scenes, songs and changeddialogue accompanied with omitted scenes and minimizing other characters roles. One such character’s role that was altered and changed from Shaw’s entirepurpose was Henry Higgins. The two main things that were altered in HenryHiggins character were his outlook on life and his profession accompaniedclosely by his relationship with Eliza.

Higgins outlook on life andprofession and over all character was enhanced and did little to change the overall-purpose of Shaw. But nonetheless in multiple and added and omitted scenesaccompanied by songs explaining his thought process strengthened and changed hischaracter. One such scene was on the street corner when Higgins told the crowdtheir origin and dialect. This was emphasized to show Higgins profession andabilities. Also a dialogue is added to voice Higgins extremist opinion on poorgrammar and speech. It is best said in the quote, not found in the play, “Awoman who utters such disgusting and depressing noises has no right to beanywhere, no right to live. Remember that you’re a human being with a soul andthe divine gift of articulate speech. That your nature language is the languageof Shakespeare, Milton, and the Bible, don’t sit there crooning like a biliouspigeon.” This quote is followed by the song “Why can’t the English teach theirchildren to speak. These combined immensely strengthen Higgins views and opinionon language. Later Higgins voices like views on women with Colonel Pickeringthrough the song “Why can’t a woman be more like a man.” In the play Higginssimply states he is a confirmed old bachelor but in the movie it is overdramatized in the song. The best contribution that the movie bestows upon theplay is in the dialogue where he expresses his purpose for taking on the bet. Hesays what could be more gratifying than changing a person’s class and charactersolely through speech. This is and excellent line which captures Higgins purposeperfectly

The other aspect that was greatly changed which so enragedShaw was Higgins’ and Eliza’s relationship. The move transfers from acondescending relationship to a love that will endure. It adds the scenes andevents of Eliza’s teachings, which the play passed by shortly. This is where wesee the change in their relationship. In the beginning of the drills Higginsmakes Eliza say a phrase every night and he says,“ You’ll get much farther withthe Lord if you learn not to offend his ears.” Then later he is drilling herwith marbles and she swallows one and he assures her he has plenty more. This isthe character that Shaw would of approved of. For the first time one late nightHiggins affirms Eliza and converses with her civilly and tells her she willsucceed. At this moment Eliza can speak clearly and perform all the drillsflawlessly. And it was triggered by Higgins affirmation. Here Eliza is shownadmiring the Professor and has a song in which her feelings are expressed. ThenHiggins expresses that he wants to reward Eliza for her accomplishments. Laterscenes show Higgins’ determination and stubbornness hand in hand with hisconfidence in Eliza. Many different things fantasize their relationship such asHiggins’ worry for Eliza at the ball. At the beginning of the movie he wouldn’teven have thought twice about her welfare. In the last song after Higgins wasrebuked and discounted by Eliza he expresses that he loves and misses Eliza anddoesn’t know what he will do without her. Then at the last scene where Elizareturns and Higgins is overjoyed to see her but contains himself with the line, “Where the devil are my slippers?” This stripped Eliza of her independence andthus enraged Shaw.
Though the musical strengthened some aspects of theplay, it mutilated Shaw’s purpose of making Eliza independent. In the book atthe end Eliza is the alpha person and teacher while Higgins is the outcast andrebuked by society. But in the musical Eliza and Higgins are falling in love andEliza will fetch his slippers. Through this belittled characterization of Eliza, Higgins character is strengthened. This is just another way of the many thatHiggins character was strengthened. The two points mentioned above are the mainchanges in the conversion from the play to the musical adaptation. You ask aperson if he has read a certain book; or a student watches a movie or musical; in substitution for the literature and they think that are the same. But asdisplayed in this essay the original literature and the movie or musical can betotally different. This will always be true because not all literature will beappealing to the public or satisfy its needs and wants for perfect endings andtranquility. Thus you can never judge a book by the movie

Class Differences in Shaw's Pygmalion

Pygmalion illustrates the differenceand tension between the upper and lower class. A basic belie of the period wasthat a person is born into a class and that no one can move from one class toanother. Shaw, on the contrary, believed that personality isn't defined bybirth. Instead, he thought that you can achieve social change if you reallybelieve in yourself. As to the play, the barriers between classes aren't naturaland can be broken down.

Eliza and Alfred Doolittle, originally living in bad conditions, represent the working class. What happens to Eliza andher father expresses Shaws belief that people are able to improve their livesthrough their own efforts, but they have to consider that their character mightchange as well. Thus it doesn't seem astonishing that the difference between alady and a flower girl lies rather in her treatment than in her behaviour. Shaw's criticism is obviously in the paradox of Alfred's character: He is happybeing poor and miserable being rich. In the same way, Doolittle shows howdifficult it can be to change one's whole personality. Once he becomes wealthy, he adapts to the conventions of the upper class and fears the lower class. Instead of this development, one should develop one's own personal, flexiblecode of behavior.


The upper class regards background and wealth as decisive and is keen to preserve class distinctions. In the play theyare represented by the Eynsford Hills appearing dishonest towards themselves. They escape from reality and prefer an illusion. This can be explained by thefact that the Eynsford Hills are lacking money, but refuse to go earning theirown living. At the end, Clara can be seen as an exception because she makes upher mind and takes an honest, realistic look at her own life

مقارنة بين الطبقة الارستقراطية والطبقة العاملة من موقع اخر

High Society

In Shaw's contemporary early twentieth-century London setting, rigid class distinctions were still observed: although rich young menmight be educated for the professions, many still believed themselves superiorto those who earned their living in business or "trade." Even in families suchas the Eynsford-Hills in Pygmalion, whose inherited wealth had dwindled away, noone thought it necessary to train their children for gainful employment. Instead, they clung to privileges and activities they couldn't really afford, such as attending concerts, the theater, and any "at home" afternoons or formaldinners to which they could get invited. Rich women like Mrs. Higgins dressed inelaborate, expensive clothing and favored an overabundance of householddecoration. There was little freedom and ease in social relations, and the upperclasses showed little or no interest in considering the economics of life or infacing unpleasant facts. It was against this snobbery and willful ignorance thatShaw directed his satire. He set out to prove that high society, with itsarbitrary standards of conduct, could be fooled into thinking Eliza a duchessmerely because of her speech and appearance

The Working Class

Pygmalion reflects Shaw's interest as an activist in the welfare of the poor. By 1912, some of the worst exploitative practices of the IndustrialRevolution were coming to a close and conditions for the working class hadgreatly improved, but they still had few advantages. Eliza's slum lodgings, forexample, have no heat or hot water. When we first meet her she has never had acomplete bath, and has never worn anything to bed other than her underwear. Likemany girls of her class and circumstance, she was sent out to earn her ownliving as soon as she completed her meager nine years of compulsory schooling.

Indeed, although the play remains as witty and entertaining as ever many of the conditions it describes have changed. World War I had a cataclysmiceffect on British culture and the British class system. Partly as a result ofthe sacrifice of millions of working-class men and women during the war, changesin British life improved the opportunities of the poor. After years of struggle (supported by Shaw, among many others), British women over thirty won the rightto vote in 1918, the last year of the war. Ten years later the vote was extendedto women over twenty-one. And the new Labour Party (which Shaw helped found in 1900) gave the working class a powerful political voice. Class distinctionsremain important in Britain, but these days, a twenty-first-century woman ofEliza's drive and intelligence has fewer obstacles to her success, no matterwhat her background is. She might still accept the help of a Henry Higgins, andbe grateful to him for it, but would a modern Eliza put up with his bullying andcondescension and
petulance? Not bloody likely

The Role of Women in Shaw's Pygmalion

In Shaw's days women were subordinate to men. They were regarded as property. Therefore, Eliza's father is a good example of this attitude "selling" Eliza to Higgins as if she was his property. This shows thatinequality of the sexes is even greater than inequality between classes.

In "Pygmalion", we also find the aspect of natural selection. Yet Higgins succeeds in his experiment, and consequently, Charles Darwin's theoryseems to be defeated. Eliza has been made a lady, regardless of her origins. During that time, the belief prevailed that only a man can turn a woman into alady. This is illustrated in Eliza's helplessness and in the way Higgins treatsher.

The conflict reaches its climax when Higgins suggests that Eliza should marry. As to Eliza's situation, she has to decide between marrying andgoing out to work. This reflects the contemporary beliefs that it was degradingfor women to earn their own living. However, Eliza begins to rebel againstHiggins by tossing the slippers at him. This can be seen as a way of release tothe other ladies. Later on, Eliza marries Freddy, who is apparently superior toher, socially, not intellectually. Eliza, though, is eager to work and ignoresconventions. Eliza's behavior stands for women who struggled for their rights inthose days.

In conclusion, one can say that Shaw's criticism and opinion is expressed in Eliza. Whereas females of the period were marked by some kind ofhelplessness, Eliza is an independent, self-confident character. She even useslanguage training to show superiority over Higgins

[italyksa]

اوكي ياعسل جبتلك مسرحية بيجماليون مترجمة بالعربي وهذا الرابط

http://www.4shared.com/file/11658813...2/___.html?s=1

وهذا تحليــــــل كامل للمســرحية ..

Analysis of "Pygmalion" by Bernard Shaw


Numerous times a piece of literature is changedinto a movie or musical it’s plot and or
theme has been changed to suit thedirector’s thought of what would appeal to the public. One such example isBernard Shaw’s play Pygmalion. In this play Shaw’s purpose and ideas werehorribly misconstrued to the point at which he was forced to write an Epilogueto try to reconcile the injustice done to his masterpiece. In the Epilogue hebluntly expressed his points and purposes so that the ignorant public could nolonger discount Shaw’s theme of the play and change it in to a happy ending lovestory. Shaw’s outrage was set off by the director’s construction of charactersand dialogue. Character’s roles were strengthened and belittled according to thedirector’s purpose. This was accomplished by added scenes, songs and changeddialogue accompanied with omitted scenes and minimizing other characters roles. One such character’s role that was altered and changed from Shaw’s entirepurpose was Henry Higgins. The two main things that were altered in HenryHiggins character were his outlook on life and his profession accompaniedclosely by his relationship with Eliza.

Higgins outlook on life andprofession and over all character was enhanced and did little to change the overall-purpose of Shaw. But nonetheless in multiple and added and omitted scenesaccompanied by songs explaining his thought process strengthened and changed hischaracter. One such scene was on the street corner when Higgins told the crowdtheir origin and dialect. This was emphasized to show Higgins profession andabilities. Also a dialogue is added to voice Higgins extremist opinion on poorgrammar and speech. It is best said in the quote, not found in the play, “Awoman who utters such disgusting and depressing noises has no right to beanywhere, no right to live. Remember that you’re a human being with a soul andthe divine gift of articulate speech. That your nature language is the languageof Shakespeare, Milton, and the Bible, don’t sit there crooning like a biliouspigeon.” This quote is followed by the song “Why can’t the English teach theirchildren to speak. These combined immensely strengthen Higgins views and opinionon language. Later Higgins voices like views on women with Colonel Pickeringthrough the song “Why can’t a woman be more like a man.” In the play Higginssimply states he is a confirmed old bachelor but in the movie it is overdramatized in the song. The best contribution that the movie bestows upon theplay is in the dialogue where he expresses his purpose for taking on the bet. Hesays what could be more gratifying than changing a person’s class and charactersolely through speech. This is and excellent line which captures Higgins purposeperfectly

The other aspect that was greatly changed which so enragedShaw was Higgins’ and Eliza’s relationship. The move transfers from acondescending relationship to a love that will endure. It adds the scenes andevents of Eliza’s teachings, which the play passed by shortly. This is where wesee the change in their relationship. In the beginning of the drills Higginsmakes Eliza say a phrase every night and he says,“ You’ll get much farther withthe Lord if you learn not to offend his ears.” Then later he is drilling herwith marbles and she swallows one and he assures her he has plenty more. This isthe character that Shaw would of approved of. For the first time one late nightHiggins affirms Eliza and converses with her civilly and tells her she willsucceed. At this moment Eliza can speak clearly and perform all the drillsflawlessly. And it was triggered by Higgins affirmation. Here Eliza is shownadmiring the Professor and has a song in which her feelings are expressed. ThenHiggins expresses that he wants to reward Eliza for her accomplishments. Laterscenes show Higgins’ determination and stubbornness hand in hand with hisconfidence in Eliza. Many different things fantasize their relationship such asHiggins’ worry for Eliza at the ball. At the beginning of the movie he wouldn’teven have thought twice about her welfare. In the last song after Higgins wasrebuked and discounted by Eliza he expresses that he loves and misses Eliza anddoesn’t know what he will do without her. Then at the last scene where Elizareturns and Higgins is overjoyed to see her but contains himself with the line, “Where the devil are my slippers?” This stripped Eliza of her independence andthus enraged Shaw.
Though the musical strengthened some aspects of theplay, it mutilated Shaw’s purpose of making Eliza independent. In the book atthe end Eliza is the alpha person and teacher while Higgins is the outcast andrebuked by society. But in the musical Eliza and Higgins are falling in love andEliza will fetch his slippers. Through this belittled characterization of Eliza, Higgins character is strengthened. This is just another way of the many thatHiggins character was strengthened. The two points mentioned above are the mainchanges in the conversion from the play to the musical adaptation. You ask aperson if he has read a certain book; or a student watches a movie or musical; in substitution for the literature and they think that are the same. But asdisplayed in this essay the original literature and the movie or musical can betotally different. This will always be true because not all literature will beappealing to the public or satisfy its needs and wants for perfect endings andtranquility. Thus you can never judge a book by the movie

Class Differences in Shaw's Pygmalion

Pygmalion illustrates the differenceand tension between the upper and lower class. A basic belie of the period wasthat a person is born into a class and that no one can move from one class toanother. Shaw, on the contrary, believed that personality isn't defined bybirth. Instead, he thought that you can achieve social change if you reallybelieve in yourself. As to the play, the barriers between classes aren't naturaland can be broken down.

Eliza and Alfred Doolittle, originally living in bad conditions, represent the working class. What happens to Eliza andher father expresses Shaws belief that people are able to improve their livesthrough their own efforts, but they have to consider that their character mightchange as well. Thus it doesn't seem astonishing that the difference between alady and a flower girl lies rather in her treatment than in her behaviour. Shaw's criticism is obviously in the paradox of Alfred's character: He is happybeing poor and miserable being rich. In the same way, Doolittle shows howdifficult it can be to change one's whole personality. Once he becomes wealthy, he adapts to the conventions of the upper class and fears the lower class. Instead of this development, one should develop one's own personal, flexiblecode of behavior.


The upper class regards background and wealth as decisive and is keen to preserve class distinctions. In the play theyare represented by the Eynsford Hills appearing dishonest towards themselves. They escape from reality and prefer an illusion. This can be explained by thefact that the Eynsford Hills are lacking money, but refuse to go earning theirown living. At the end, Clara can be seen as an exception because she makes upher mind and takes an honest, realistic look at her own life

مقارنة بين الطبقة الارستقراطية والطبقة العاملة من موقع اخر

High Society

In Shaw's contemporary early twentieth-century London setting, rigid class distinctions were still observed: although rich young menmight be educated for the professions, many still believed themselves superiorto those who earned their living in business or "trade." Even in families suchas the Eynsford-Hills in Pygmalion, whose inherited wealth had dwindled away, noone thought it necessary to train their children for gainful employment. Instead, they clung to privileges and activities they couldn't really afford, such as attending concerts, the theater, and any "at home" afternoons or formaldinners to which they could get invited. Rich women like Mrs. Higgins dressed inelaborate, expensive clothing and favored an overabundance of householddecoration. There was little freedom and ease in social relations, and the upperclasses showed little or no interest in considering the economics of life or infacing unpleasant facts. It was against this snobbery and willful ignorance thatShaw directed his satire. He set out to prove that high society, with itsarbitrary standards of conduct, could be fooled into thinking Eliza a duchessmerely because of her speech and appearance

The Working Class

Pygmalion reflects Shaw's interest as an activist in the welfare of the poor. By 1912, some of the worst exploitative practices of the IndustrialRevolution were coming to a close and conditions for the working class hadgreatly improved, but they still had few advantages. Eliza's slum lodgings, forexample, have no heat or hot water. When we first meet her she has never had acomplete bath, and has never worn anything to bed other than her underwear. Likemany girls of her class and circumstance, she was sent out to earn her ownliving as soon as she completed her meager nine years of compulsory schooling.

Indeed, although the play remains as witty and entertaining as ever many of the conditions it describes have changed. World War I had a cataclysmiceffect on British culture and the British class system. Partly as a result ofthe sacrifice of millions of working-class men and women during the war, changesin British life improved the opportunities of the poor. After years of struggle (supported by Shaw, among many others), British women over thirty won the rightto vote in 1918, the last year of the war. Ten years later the vote was extendedto women over twenty-one. And the new Labour Party (which Shaw helped found in 1900) gave the working class a powerful political voice. Class distinctionsremain important in Britain, but these days, a twenty-first-century woman ofEliza's drive and intelligence has fewer obstacles to her success, no matterwhat her background is. She might still accept the help of a Henry Higgins, andbe grateful to him for it, but would a modern Eliza put up with his bullying andcondescension and
petulance? Not bloody likely

The Role of Women in Shaw's Pygmalion

In Shaw's days women were subordinate to men. They were regarded as property. Therefore, Eliza's father is a good example of this attitude "selling" Eliza to Higgins as if she was his property. This shows thatinequality of the sexes is even greater than inequality between classes.

In "Pygmalion", we also find the aspect of natural selection. Yet Higgins succeeds in his experiment, and consequently, Charles Darwin's theoryseems to be defeated. Eliza has been made a lady, regardless of her origins. During that time, the belief prevailed that only a man can turn a woman into alady. This is illustrated in Eliza's helplessness and in the way Higgins treatsher.

The conflict reaches its climax when Higgins suggests that Eliza should marry. As to Eliza's situation, she has to decide between marrying andgoing out to work. This reflects the contemporary beliefs that it was degradingfor women to earn their own living. However, Eliza begins to rebel againstHiggins by tossing the slippers at him. This can be seen as a way of release tothe other ladies. Later on, Eliza marries Freddy, who is apparently superior toher, socially, not intellectually. Eliza, though, is eager to work and ignoresconventions. Eliza's behavior stands for women who struggled for their rights inthose days.

In conclusion, one can say that Shaw's criticism and opinion is expressed in Eliza. Whereas females of the period were marked by some kind ofhelplessness, Eliza is an independent, self-confident character. She even useslanguage training to show superiority over Higgins

[italyksa]

وهــذا عن ليزا

elizaThe Relationship between Eliza and Higgins in Act IV
In this pivotal act the relationship between Eliza and Higgins finally explodes. It is revealed thatthere has been a deeper feeling between them, and the fact that he has given hera ring certainly suggests a promise of marriage. This act also expresses Shaw'sdeepest condemnation of society, which is fleshed out more fully in Mrs. Warren's profession; that is, he puts in Eliza's words the idea that societalmarriage is nothing better than the exchange of sex for money like what one seesamong prostitutes. Eliza, if not also Shaw, views the upper-class marriagemarket as more degraded than her previous profession of selling flowers. From aclass perspective, at least, her opinion expresses Shaw's deep socialism, supporting the claim that the working classes can and often do have more dignitythan the hypocritical segments of the upper class.

Act Four also reveals an interesting power dynamic between Eliza and Higgins. Eliza most greatlyresents the fact that Higgins views her success as his own, and she isinfuriated by his idea that (like the mythological Pygmalion) he is the agentwho created her. She views this claim as presumptuous and dehumanizing. Althoughby questioning Higgins about the jewelry she reminds him of the gap in classbetween them, she succeeds in making him angry. The ability to affect someonewho holds himself maddeningly superior to her heartens her—she is glad to get “some of her own back” in this way. The relationship between the two nowincludes Eliza’s pleasure at being able to hurt Higgins.

Eliza’s actions at the end of the act remind the audience of the very real dilemma facing Elizawhat is she to do—stay or go? She mimicks Higgins, pleased that she haseffectively gotten him angry, but she then begins to search, almostcompulsively, for the ring that
she has just discarded. This juxtaposition demonstrates that she still has feelings for Higgins, being not yet ready tothrow away the sentimental token that he gave her. Searching for the ring alsosuggests an economic prudence on Eliza’s part; her future is very unclear.
_________________________

Eliza Doolittle

"She is not at all aromantic figure." So is she introduced in Act I. Everything about ElizaDoolittle seems to defy any conventional notions we might have about theromantic heroine. When she is transformed from a sassy, smart-mouthed kerbstoneflower girl with deplorable English, to a (still sassy) regal figure fit toconsort with nobility, it has less to do with her innate qualities as a heroinethan with the fairy-tale aspect of the transformation myth itself. In otherwords, the character of Eliza Doolittle comes across as being much moreinstrumental than fundamental. The real (re-)making of Eliza Doolittle happensafter the ambassador's party, when she decides to make a statement for her owndignity against Higgins' insensitive treatment. This is when she becomes, not aduchess, but an independent woman; and this explains why Higgins begins to seeEliza not as a mill around his neck but as a creature worthy of his admiration.

Eliza Doolittle

Eliza is the focal point of the play since its main thematic concern is the metamorphosis of a common flowergirl to a lady. Shaw honestly admits in the epilogue that such metamorphoses are "common enough" and "have been achieved by hundreds of resolutely ambitiousyoung women since Nell Gwynne set them the example by playing queens andfascinating kings in the theatre in which she began by selling oranges." Elizathus occupies a stock romantic personality and Shaw's skill lies in notsentimentalizing her presentation. The play charts her growth and development asshe moves form darkness to light and finally acquires self- awareness. Elizamoves from being a 'common flower girl'
(in Acts One and Two) to becoming a lady' (in Acts Three and Four) and finally by the end of Act Five becomes aself-reliant 'woman' capable of facing reality.

When the play opens, the audience is shown a brief glimpse of the world that Eliza occupies as a flowergirl as she tries to wheedle a few coins in return for violets from the group ofpeople seeking shelter under the Portico of St. Paul's church. She is forced byher circumstances to coax money out of prospective customers. When a bystanderwarns her about the notetaker, who is recording her words she thinks that she isbeing suspected of soliciting as a prostitute simply because she belongs to aclass that cannot afford lawyers and that is a typical profession for a girl ofher class. She has to fend for herself and vehemently asserts the virtue andsacredness of her character. Her loud and hysterical protests against theimagined harm to her character irritate Higgins, who hurls a torrent ofinvectives at her. Eliza however can express her feeling of wonder and fear onlyby crying out an indistinguishable sounding "Ah-ah-ah-ow-ow-ow-oo!" A littlelater when she receives a handful of coins she goes almost wild with delight andlacking the ability to express her feelings articulately can again only utter abaffling "Ah-ah-ow-ow-oo!" For Eliza, pain, wonder, fear and delight become anindiscriminate sound of vowels. At this point the audience is not aware thatbeneath this dirt and terrible speech lies the ability to evolve into a polishedhuman being


However, even in this pathetic state Eliza is not totally depraved. She is self-sufficient and capable of earning her living byselling flowers. She exhibits cleverness and a degree of resourcefulness to getthe maximum value possible for her flowers. She has enough self-respect andpride to defend her honor. But most significantly she reveals an ambition tobetter her lot by hiring a cab with the money Higgins has thrown into herbasket. Her hiring of the cab is the first small step in her quest forself-awareness. The cab acts as the vehicle that carries her over the thresholdfrom the shabby indigent world to the comforts of genteel life in Act Two. Wearing an ostrich feather hat and a shabby worn out coat, Eliza strikes one asa pathetic and odd figure. She haughtily demands that Higgins teach her to speakproperly so that she can become a lady in a flower shop instead of sellingflowers. Evidently at this stage Eliza only craves the economic security andsocial respectability that would come with her ability to speak correctly. Shedoes not know that this desire for security and respectability only constitutesthe second small step in her larger quest for self-realization. However she isrequired to purge both her body and soul before she can ascend to a higher planeof awareness. Her haughty air is soon reduced to confusion, fear, andhelplessness as she bears the tyrannical outbursts of Higgins who insultinglycalls her a "baggage" and "a draggle-tailed guttersnipe

Her soul is thus cleansed of childish pretensions as she encounters the grim real world. Sheundergoes a cleansing of her body at a physical level: her dirty clothes areburnt and her body purified through a hot bath.

By Act Three Eliza has become a lady but she still has a long and arduous journey before her. At Mrs. Higgins' at-home she fails to restrict her conversation to the weather andeverybody's health - the topics prescribed by Higgins - and proceeds to describeto her audience her aunt's death which touches on some of the gruesome aspectsof life in the slums such as poverty, alcoholism and murder. The irony is thather talk fails to bewilder the Eynsford- Hills who misconstrue it as the newsmall talk. Her expletive "bloody" is excitedly repeated by Clara, who wishes toappear as part of the latest trends. At this stage Eliza is nothing more than alive doll, an automaton without a mind of her own. She


is still a lifelessstatue with an element of crudeness in her parrot-like conversation. She is wearing a mask of gentility that imperfectly hides her lower class affiliation. Shaw demonstrates that only fine clothes and the right accent are not sufficientto make a lady. Eliza's accomplishments are artificial. As Mrs. Higgins astutelyproclaims, Eliza is simply "a triumph of (Higgins') art and of herdressmaker's". However it stands to her credit that at least she behavesnaturally without any affections unlike the pretentious Clara. By the time Elizareturns after her triumphant society debut at the Ambassador's ball, she nolonger exhibits this element of crudeness. She has benefited from Higgins'slessons in social poise and has acquired the ability to express her feelingsarticulately.


In Act Four Eliza comes face to face with the great moment of truth and the reality of her situation. For the first time Eliza becomesaware of the impossibly wide gulf between her desires and the means at herdisposal for fulfilling them. Higgins has unwittingly created in her a desirefor the better things of life yet they are not available to her as she does nothave the financial means to gain them only the poise and manners. When Higginssuggests that she could marry a wealthy husband, Eliza replies scornfully, "Isold flowers, I didn't sell myself" and that now she has been made a lady sheisn't fit to sell anything else. Her stark rejoinder reveals a certain degree ofemotional maturity and self- awareness. She then throws Higgins's slippers athim thereby freeing herself from a life of subordination and servitude. Shereturns the ring he had bought her in Brighton and determinedly leaves Wimpole Street. She has acquired a personality of her own and is no longer afraid tostand up to her creator and declare her independence

By Act Five Eliza develops into a self-sufficient woman able to express her feelings coherentlyand displays the perfect social poise and ease even in a difficult situation. Her gentility has become an inseparable part of her character. She is no longerafraid of Higgins and talks to him on terms of equality. In fact she evennegates Higgins' contribution to her metamorphosis and insists that "thedifference between a lady and a flower girl is not how she behaves, but howshe's treated". She categorically asserts that it was Colonel Pickering'sunfailing courteousness and manners rather than Higgins' phonetic lessons thattruly made her a lady. She does not let Higgins dominate her and rejects hisproposal that he, she and Pickering live together like old bachelor buddies. Sheastounds Higgins with her announcement that she will marry Freddy, who loves herand support him by offering herself as an assistant to Nepommuck, Higgins' former student. Although shocked, Higgins is also happy that Eliza is no longera worrisome "millstone" weighing down his neck. He cannot give her what sheneeds and so she must leave to find it. He is only concerned with reforminghumanity while she is concerned with human compassion and intimacy

Changes in Eliza in Pygmalion


Before Eliza first encountered Mr. Higgins, she was simply a dirty, yet caring girl in the gutter of London. During her timewith both Mr. Higgins and Colonel Pickering, Eliza did change, for the fist fewweeks of her stay in Wimpole Street, she questioned everything that Higginsasked her to do, and generally couldn't see how they would help her. Later, Eliza begins to understand that Higgins, as harsh as he is, is trying to do hisbest to teach her, and therefore should be respected. After the ambassador'sball, we see more of the old Eliza resurfacing. She starts to worry again, andsince she has grown attached to Higgins and Pickering, is devastated to seetheir finding her so trivial. Eliza's basic character remains relativelyunchanged. We can still observe the old Eliza, under the upper-class persona. The play, "Pygmalion" brings out the message that looks can be extremelydeceiving, while touching on the issue that self presentation really does changethe way people look at you.



Act I of the play first introduces the reader to the rich of London. The author, Bernard Shaw, uses these wellmoneyed citizens to display the contrast between them and Eliza. In this act, Eliza has yet to be introduced to the world of the rich, and is portrayed byShaw as in innocent dreamer. Eliza is concerned for her own safety, in makingsure that it was know that she only wanted to sell a flower to the gentleman. She is persistent in a kind way; the reader sees this when she tries eagerly tosell to the gentleman without change. It becomes apparent that she is very poor, and needs success from her flower selling to live a life at all. Eliza showsgreat pride in her line of work, and that she stays above the law, not resortingto illegal prostitution or stealing. The introduction of Higgins taking downEliza's speech gives the author a further chance to display Eliza's will to stayinnocent and good. Another way that Shaw shows us the real Eliza is in the waythat she starts crawling over the dirty ground to locate the money thrown downat her by Higgins. The way that Eliza is so very grateful indicates her realkindness and simple mission to live any sort of life. She now realizes that shecan ask Mr. Higgins to help her fulfill her dream and become a lady in a flowershop: an occupation for which she is not visually or phonetically suited.


In Higgins's study at the start of act II, Eliza feels that she has to impress Higgins by making sure he knows that she arrived in a taxi. Elizadoesn't understand the way that Mr. Higgins treats people, she thinks, as wouldany normal person, that he is being
particularly mean to her specifically. She quite rightly gets very upset when Henry Higgins rambles on about her money, andwanting to throw the "baggage" out of the window. Eliza shows little emotiontowards the wager set by Pickering; she merely thanks him for offering to payfor the lessons. During her lessons, Eliza is worked to such an extent that shecomes to resent Higgins more than a student should a teacher. Her hatred towardsthe man soon lightens as she realizes that she can only accomplish her dream ofworking as a lady in a flower shop Higgins can shape her into a lady. Higginsmade Eliza more aggressive in the way that he treated her. She was very good atbottling up her anger towards him, she tried to put it away and saw Higgins as agood friend. She didn't realize that Higgins took pride in his challenge, not inhis student. Or that Higgins saw her only as a student, nothing more. Pickering, on the other hand, does show respect to Eliza, as he would anyone. Eliza sayslater that it was Pickering that allowed her to be a lady, teaching her throughexample how to be well mannered

[italyksa]

The Family Reunion Summary

The play is divided in two parts, each divided in three scenes. The first part takes place in the drawing room, after tea, an afternoon in late March. The first scene is used as an introduction of the persons Amy, Ivy, Violet, Agatha, Gerald, Charles, Mary and Denman. They are talking about tonight, when a dinner is being held with the entire family. They are also talking about Harry, whom they haven't seen for eight years. Before those years, something terrible had happened to Harry's wife and he thinks he is to blame. His wife was swept off the deck of a boat. Because harry thinks he has thrown her overboard, his family thinks he is not sane. But know, eight years later, Harry is the only one who acts sane about it, his aunts Ivy, Violet and Agatha are the ones who are making a fuss out of it. And that upsets Harry. When the others notice Harry sees 'persons' that they don't see, they really begin to think Harry's gone crazy. It appears that these ghosts are from his deceased wife, and he is haunted by them, at least he thinks he is. Scene two describes a conversation between Harry and Mary, they talk about their youth and Harry sees the ghosts again. Mary doesn't see them and she feels sorry for him. Scene three tells that everyone is preparing for dinner and that the guests are worried about John and Arthur, who haven't arrived yet. Part two takes place in the library, after dinner. In scene one Dr. Warburton has a conversation with Harry, at advice of Harry's uncles and aunts. It's about Harry's mother, Warburton explains that Harry's mother gets her strength to live from her determination of keeping the family together, and that she is very feeble at the moment. Then Sergeant Winchell appears with the message that John has had an accident, but that it is nothing serious, just a concussion. Later on, it appears that Arthur has also had an accident. In scene two Harry asks Agatha for the truth behind his parents and she is strong enough to tell him. She tells Harry that his father was going to kill his mother while she was pregnant of him. Agatha stopped Harry's father just in time. When she is finished telling she sighs with relief and says that Harry is now the one who has to carry the burden.
Scene three describes an argument between Amy and Agatha, Amy is very angry with Agatha for taking away her son, saying she first took her husband and now her son. Agatha explains that it was inevitable and that they have to start their lives over again and leave the past behind them. Harry realises he has to follow the ghosts and that they will lead him. I'm not sure, but I think Amy dies at the end because she can take no more. That is when Ivy says: "I shall have to stay till after the funeral: will my ticket to London still be valid?" The play ends with Agatha, saying that the knot is unknotted, the cross is uncrossed and the crooked is made straight as a conclusion of what she said before:


"The eye is on this house
The eye covers it
There are three together
May the three be separated
May the knot that was tied
Become unknotted
May the crossed bones
In the filled-up well
Be at last straightened
May the weasel and the otter
Be about their proper business
The eye of the day time
And the eye of the night time
Be diverted from this house
Till the knot is unknotted
The cross is uncrossed
And the crooked is made straight."

[italyksa]

The Family Reunion Summary

The play is divided in two parts, each divided in three scenes. The first part takes place in the drawing room, after tea, an afternoon in late March. The first scene is used as an introduction of the persons Amy, Ivy, Violet, Agatha, Gerald, Charles, Mary and Denman. They are talking about tonight, when a dinner is being held with the entire family. They are also talking about Harry, whom they haven't seen for eight years. Before those years, something terrible had happened to Harry's wife and he thinks he is to blame. His wife was swept off the deck of a boat. Because harry thinks he has thrown her overboard, his family thinks he is not sane. But know, eight years later, Harry is the only one who acts sane about it, his aunts Ivy, Violet and Agatha are the ones who are making a fuss out of it. And that upsets Harry. When the others notice Harry sees 'persons' that they don't see, they really begin to think Harry's gone crazy. It appears that these ghosts are from his deceased wife, and he is haunted by them, at least he thinks he is. Scene two describes a conversation between Harry and Mary, they talk about their youth and Harry sees the ghosts again. Mary doesn't see them and she feels sorry for him. Scene three tells that everyone is preparing for dinner and that the guests are worried about John and Arthur, who haven't arrived yet. Part two takes place in the library, after dinner. In scene one Dr. Warburton has a conversation with Harry, at advice of Harry's uncles and aunts. It's about Harry's mother, Warburton explains that Harry's mother gets her strength to live from her determination of keeping the family together, and that she is very feeble at the moment. Then Sergeant Winchell appears with the message that John has had an accident, but that it is nothing serious, just a concussion. Later on, it appears that Arthur has also had an accident. In scene two Harry asks Agatha for the truth behind his parents and she is strong enough to tell him. She tells Harry that his father was going to kill his mother while she was pregnant of him. Agatha stopped Harry's father just in time. When she is finished telling she sighs with relief and says that Harry is now the one who has to carry the burden.
Scene three describes an argument between Amy and Agatha, Amy is very angry with Agatha for taking away her son, saying she first took her husband and now her son. Agatha explains that it was inevitable and that they have to start their lives over again and leave the past behind them. Harry realises he has to follow the ghosts and that they will lead him. I'm not sure, but I think Amy dies at the end because she can take no more. That is when Ivy says: "I shall have to stay till after the funeral: will my ticket to London still be valid?" The play ends with Agatha, saying that the knot is unknotted, the cross is uncrossed and the crooked is made straight as a conclusion of what she said before:


"The eye is on this house
The eye covers it
There are three together
May the three be separated
May the knot that was tied
Become unknotted
May the crossed bones
In the filled-up well
Be at last straightened
May the weasel and the otter
Be about their proper business
The eye of the day time
And the eye of the night time
Be diverted from this house
Till the knot is unknotted
The cross is uncrossed
And the crooked is made straight."

[italyksa]

برضو الموقع هذا لمسرحية

The Family Reunion Summary

http://www.thisislondon.co.uk/theatr...ily-reunion.do

[italyksa]

برضو الموقع هذا لمسرحية

The Family Reunion Summary

http://www.thisislondon.co.uk/theatr...ily-reunion.do

[jully]

الله يعطيك الف عافية والله ماني عارفة كيف اشكرك ,,,,
الحمد لله الحين فهمت المسرحية وان شاء الله ناااااجحة يا رب ,,,
بفضل الله ثم فضلك ,,الله يكثر من امثالك