مساعده لاخوك بخصوص Pygmalion

[Horror Master]

هالترم اخر ترم لي....

وتاخرت ترمين بسبب الحادث...ولاني مستعجل على التخرج

اضفت هالترم 30 سااعه.... وكلها مواد تكسر الظهر

pycholinguistics
applied linguistics
applied trans

وطبعا انماط ادبيه

طلب مننا هالترم نعمل research paper على هالروايه من ناحية

1/ class distinction
2/ the character of Eliza as a fighter and a feminit

وكل وحده ما تقل عن 5 صفحات يعني 10 صفحات للكل

ارجو مساعدتكم لو بالقليل

لعدم تفرغي ولظروفي الصحيه

اتمنى الرد في اسرع وقت لان المده اسبوعين فقط

[الزهرة الخضراء]

في البداية نقولك الحمد لله على سلامتك وماتشوف شر ...
ثانيا مايصير الله يهديك تدعي على استاذك ... مهما كان مفروض عليه يطلب منكم بحوث ومقالات ... وبعدين هذا تخصصك ولا زم تسوي فيه بحوث ... وصدقني البحوث ممتعة بس تبي شوية صبر ... الله يهديك ويعينك اخوي ...
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تفضل اللي طلبته ... هذي مقالات عن الفروق الطبقية في الرواية ...

Class Differences in Shaw's Pygmalion

Pygmalion illustrates the difference and tension between the upper and lower class. A basic belief of the period was that a person is born into a class and that no one can move from one class to another. Shaw, on the contrary, believed that personality isn't defined by birth. Instead, he thought that you can achieve social change if you really believe in yourself. As to the play, the barriers between classes aren't natural and can be broken down.

Eliza and Alfred Doolittle, originally living in bad conditions, represent the working class. What happens to Eliza and her father expresses Shaws belief that people are able to improve their lives through their own efforts, but they have to consider that their character might change as well. Thus it doesn't seem astonishing that the difference between a lady 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 happy being poor and miserable being rich. In the same way, Doolittle shows how difficult 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, flexible code of behavior.

The upper class regards background and wealth as decisive and is keen to preserve class distinctions. In the play they are represented by the Eynsford Hills appearing dishonest towards themselves. They escape from reality and prefer an illusion. This can be explained by the fact that the Eynsford Hills are lacking money, but refuse to go earning their own living. At the end, Clara can be seen as an exception because she makes up her mind and takes an honest, realistic look at her own life
http://www.123helpme.com/assets/15724.html
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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 men might be educated for the professions, many still believed themselves superior to those who earned their living in business or "trade." Even in families such as the Eynsford-Hills in Pygmalion, whose inherited wealth had dwindled away, no one 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 formal dinners to which they could get invited. Rich women like Mrs. Higgins dressed in elaborate, expensive clothing and favored an overabundance of household decoration. There was little freedom and ease in social relations, and the upper classes showed little or no interest in considering the economics of life or in facing unpleasant facts. It was against this snobbery and willful ignorance that Shaw directed his satire. He set out to prove that high society, with its arbitrary standards of conduct, could be fooled into thinking Eliza a duchess merely 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 Industrial Revolution were coming to a close and conditions for the working class had greatly improved, but they still had few advantages. Eliza's slum lodgings, for example, have no heat or hot water. When we first meet her she has never had a complete bath, and has never worn anything to bed other than her underwear. Like many girls of her class and circumstance, she was sent out to earn her own living 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 cataclysmic effect on British culture and the British class system. Partly as a result of the sacrifice of millions of working-class men and women during the war, changes in British life improved the opportunities of the poor. After years of struggle (supported by Shaw, among many others), British women over thirty won the right to vote in 1918, the last year of the war. Ten years later the vote was extended to women over twenty-one. And the new Labour Party (which Shaw helped found in 1900) gave the working class a powerful political voice. Class distinctions remain important in Britain, but these days, a twenty-first-century woman of Eliza's drive and intelligence has fewer obstacles to her success, no matter what her background is. She might still accept the help of a Henry Higgins, and be grateful to him for it, but would a modern Eliza put up with his bullying and condescension and petulance? Not bloody likely
http://www.simonsays.com/content/boo...=508822&agid=2
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مقاطع اخرى ...
The great secret, Eliza, is not having bad manners or good manners or any other sort of manners, but having the same manner for all human souls: in short, behaving as if you were in Heaven, where there are no third-class carriages, and one soul is as good as another." It is no small coincidence that the author of Higgins' Universal Alphabet is the same man to blur social distinctions, thereby suggesting that social standing is a matter of nurture, not nature. Examine carefully Higgins' attitude towards his fellow men. Can this be taken as an admirable brand of socialism? Or does he fail as a compassionate being in his absolutism?
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The playwright had a point. His story of a cockney “guttersnipe” rescued from a life of Covent Garden flower-mongering by a professor of phonetics who teaches her “proper” English—so perfectly as to have her mistaken for a member of the European nobility—has a clear lesson to teach all who care to listen. Class distinctions are completely artificial in nature, and the only thing separating a dustman from a duchess is an easily learned, appropriately accented use of the language.
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Eliza's transformation demonstrates that social distinctions such as accents are artificial and suggest that class barriers can be overcome by language training. It becomes questionable however if language reveals or forms one's character. Eliza's outcry at the end of the play denies this idea. Yet she understands herself better. Education is connected with social progress. Eliza's problems show that language alone provides only a superficial transformation. She lacks education to become fully integrated. By this, Shaw illustrates the impossibility of moving classes in those days.
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[الزهرة الخضراء]

راح احاول ارجع عشان مواضيع Eliza ... تقبل تحياتي ...

[Teacter22]

وانا ايضا اريد المساعدة من الاخوان في النقاط التالية

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

[Horror Master]

راح احاول ارجع عشان مواضيع Eliza ... تقبل تحياتي ...

يعطيك الف الف عافيه ومازولا والعربي معاها

بالنسبه للرابط تبع 123 ساعدني فهدا موجود عندي وكنت ناوي اعمل اضافت عليه

لكن القسمين اللي بعدها اشكرك من اعماق قلبي اختي الفاضله

وبالنسبه للدعوه على المصري النصاب.....

اولا شهادته دبلوم اداب انجليزي >>> وزور شهادة دكتوراه عشان يتوظف بجده

اقسم لك بالله العظيم اني شفت اصول الشهادات كلها مع رئيس القسم حقي كانت علاقتي معاه ممتازه...

وراسلنا جامعه عين شمس واكدوا لنا ان ماعندهم خريج ماسجيتر او دكتوراه من عندهم...

مع ان الشهاده مسجله من عين شمس

بس تسترنا عليه ورئيس القسم يعطيه ورسات بسيطه متل مقدمه بالادب وانماط ادبيه بس

عشان كدا انا مقهور ^____^

واكرر شكري العميق لك

[الزهرة الخضراء]

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 that inequality 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 theory seems 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 a lady. This is illustrated in Eliza's helplessness and in the way Higgins treats her.

The conflict reaches its climax when Higgins suggests that Eliza should marry. As to Eliza's situation, she has to decide between marrying and going out to work. This reflects the contemporary beliefs that it was degrading for women to earn their own living. However, Eliza begins to rebel against Higgins by tossing the slippers at him. This can be seen as a way of release to the other ladies. Later on, Eliza marries Freddy, who is apparently superior to her, socially, not intellectually. Eliza, though, is eager to work and ignores conventions. Eliza's behavior stands for women who struggled for their rights in those 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 of helplessness, Eliza is an independent, self-confident character. She even uses language training to show superiority over Higgins
http://sv2.123helpme.com/view.asp?id=15723
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Shaw is at pains in this act to show that Eliza does not enter into the deal willingly. Rather, she is manipulated into participating in the experiment by Higgins’s chocolates, plus his promises to her that she will get married or own a flower shop if she does what he says. His offer is one that she can hardly refuse in order to get what she wants. Shaw, who is often read as a feminist playwright, sets Eliza up as a victim of the two older, better educated men, who take up Eliza's case as a challenge rather than a humanitarian endeavor. This situation gives emotional weight to her later anger against them.

The appearance of Eliza’s father in this act is quite important, because we realize just how rough a background Eliza comes from. She is an illegitimate child whose father is a dustman willing to pimp his daughter. Doolittle, whose name is a pun on the fact that he hardly works, defines himself explicitly as a member of the undeserving poor. Despite the humor that arises when Doolittle explains that he is no less deserving than a widow who collects from a number of different funds for the death of the same husband, the man’s joke holds a grain of truth. As a socialist, Shaw was concerned with all of the poor, not just the working or bereaved poor
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helpful links

http://www.allfreeessays.net/student/pygmalion.html
http://www.macalester.edu/weekly/101504/arts03.html
http://members.aol.com/glasgocitz/plays/gcpygmln.htm
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[الزهرة الخضراء]

The Relationship between Eliza and Higgins in Act IV

In this pivotal act, the relationship between Eliza and Higgins finally explodes. It is revealed that there has been a deeper feeling between them, and the fact that he has given her a ring certainly suggests a promise of marriage. This act also expresses Shaw's deepest 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 societal marriage is nothing better than the exchange of sex for money like what one sees among prostitutes. Eliza, if not also Shaw, views the upper-class marriage market as more degraded than her previous profession of selling flowers. From a class perspective, at least, her opinion expresses Shaw's deep socialism, supporting the claim that the working classes can and often do have more dignity than the hypocritical segments of the upper class.

Act Four also reveals an interesting power dynamic between Eliza and Higgins. Eliza most greatly resents the fact that Higgins views her success as his own, and she is infuriated by his idea that (like the mythological Pygmalion) he is the agent who created her. She views this claim as presumptuous and dehumanizing. Although by questioning Higgins about the jewelry she reminds him of the gap in class between them, she succeeds in making him angry. The ability to affect someone who 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 now includes 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 Eliza: what is she to do—stay or go? She mimicks Higgins, pleased that she has effectively gotten him angry, but she then begins to search, almost compulsively, for the ring that she has just discarded. This juxtaposition demonstrates that she still has feelings for Higgins, being not yet ready to throw away the sentimental token that he gave her. Searching for the ring also suggests an economic prudence on Eliza’s part; her future is very unclear.
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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. 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.
http://www.sparknotes.com/lit/pygmal...ms/char_2.html
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[الزهرة الخضراء]

CONFLICT
Mainly between Eliza and Higgins

Protagonist

Henry Higgins, a professor of phonetics, is the protagonist of the play. He represents the legendary character Pygmalion who transforms a piece of marble into a beautiful woman who then comes to life. In this version, Higgins transforms an uncouth flower girl, Eliza Doolittle, into a genteel lady by teaching her how to speak correctly. While this whole exercise is nothing more than an experiment for him, he is amazed to discover that his creation has fallen in love with him. He cannot handle this kind of emotional commitment, as his aim was merely to reform the human race and not have people at a disadvantage simply because of the way they speak.

Antagonist

Eliza is the antagonist as she rebels against Higgins by becoming independent-minded after he has finished experimenting with her. Her accusations that he has used and disposed of her in the last act reveals Higgins for what he is, a coldhearted and emotionally vacant man who puts all his energies into his career. In the final act, Eliza insists that it was the Colonel's unfailing gentility and kindness and not Higgins' efforts that have truly transformed her into a lady. In fact in the confrontation between Higgins and Eliza in Act V, Eliza has become superior to Higgins in many ways.

Climax

Act IV constitutes the climax of the play. Eliza, Higgins and Colonel Pickering have been to a fashionable ball at an embassy in London. Eliza has played her part perfectly and has passed as a lady and thereby won Higgins' bet for him. While Higgins and the Colonel begin talking, Eliza listens in miserable silence. The men are glad that the tiresome affair is over at last. "Thank God it's all over," says Higgins without realizing that he is hurting Eliza by such remarks. There is a confrontation between Higgins and Eliza when she throws his slippers at his face in a fit of rage. She realizes that she has been made a lady and is fit for nothing else. Higgins, amazed to see his creation come to life, loses his temper.

Outcome

The play ends on an uncertain note. Whether or not Eliza will marry Higgins is left ambiguous. However Shaw does provide a resolution in the epilogue in which he lists the reasons against such a union. Instead Eliza marries Freddy Hill and the two end up running a fashionable green grocer shop. It was typical of Shaw who loved paradox to have provided such an anti-romantic conclusion to the play. The majority of the critics accuse Shaw of deliberately twisting the natural end of Pygmalion merely to make the play unromantic. However, critics who eagerly attribute this anti-romantic ending to Shaw's perversity or to his supposed oedipal attraction towards his mother would do well to remember that the actual point of the ending is not the issue of Eliza's marriage but her gaining independence. Throughout the play Higgins boasts of having transformed a Cockney flower girl into a duchess but after Eliza's climactic assertion of independence he remarks, "I said I'd make a woman of you; and I have." In this light the original ambiguous ending seems preferable to the concrete resolution provided in the epilogue.
http://pinkmonkey.com/booknotes/monk...ygmalion05.asp
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[الزهرة الخضراء]

CHARACTER ANALYSIS

Henry Higgins

Higgins is an extremely interesting character and the life of the play. Although the play's obvious concern is the metamorphosis of a common flower girl into a duchess, the development of Higgins' character is also important. The play isn't only Eliza's story. One also detects changes in Higgins or to be more precise he appears to the reader in a new light at the end. This is seen when he tells Eliza that he has grown accustomed to seeing her face and hearing her voice. This is not much of a sensitive display of emotions but it is quite different than the savage invective he hurled at her at the beginning of the play in Covent Garden.

Higgins is portrayed as being highly educated. Apart from being a professor of phonetics, he has a deep reverence for literature and fancies himself as a poet. In all seriousness he thinks highly of "the treasures of (his) Mittonic mind." He is self-indulgent, whimsical, and ill mannered when it comes to interacting with other people.






Higgins is not a man given to extravagant aesthetic tastes. The walls in the Wimpole street laboratory are not adorned by paintings but by engravings. His passionate fondness for sweets and chocolates stands out in comic contrast to his seriousness and austere mode of living. Higgins' most prominent characteristic is his restlessness and the consequent inability to sit still. He is constantly tripping and stumbling over something. For instance, in Act Three, Shaw writes in the stage directions that Higgins's sudden arrival at his mother's at home is accompanied by minor disasters - "He goes to the divan, stumbling into the fender and over the fire-irons on his way; extricating himself with muttered impatiently on the divan that he almost breaks it". These quirks and oddities of his character contribute to the laughs in the play and place Higgins in the tradition of the comic hero.

It is obvious that simply as a professor of phonetics Higgins would not have been very humorous. Thus Shaw makes Higgins obsessed with his profession. His devotion to phonetics is so engrossing that it leaves little time or inclination for anything else. Consequently his behavior strikes people as odd and unconventional to the point of being rude. He despises the conventions of the middle class that include their manners and hypocritical sense of decorum. He claims to treat everyone with equal disrespect yet his invective is lavished on Eliza while Mrs. Eynsford-Hill and Clara, who represent a more despicable aspect of society are never verbally reprimanded; they are simply ignored.

Higgins's volatile temperament and frequent outbursts provide some of the most amusing moments in the play. While his apparently unfeeling condescending attitude towards Eliza in Act Two - "She's so deliciously low - so horribly dirty" might have earned the reader reprimand for a lesser character, at times the reader is forced to laugh. This is because Higgins is not acting socially superior nor does he bear any malice or pride. Rather he is amazed at Eliza's poverty and is only stating the facts in a very clever yet also tactless way. He is genuinely concerned about cleanliness, which is proved by his order to Mrs. Pearce to clean Eliza with Monkey Brand soap, burn all her dirty clothes and wrap her up in brown paper until new ones arrive from the shop.

When the play opens, the audience encounters an egotistical bully who harangues the helpless Eliza. He is insensitive to the feelings of those around him. However, surprisingly enough, the reader does not disapprove of his egoism and rather indulges his frequent tyrannical outbursts because this is the key to his character, his childishness. At a certain level Higgins is an overgrown child. Shaw wrote in his stage directions that Higgins is, "but for his years and size, rather like an impetuous baby 'taking notice' eagerly and loudly, and requiring almost as much watching to keep him out of unintended mischief."

His manner varies from genial bullying when he is in a good humor to stormy petulance when anything goes wrong, but he is so entirely frank and void of malice that he remains likeable even in his least reasonable moments. This trait of impetuous childishness in an otherwise extremely articulate and learned adult lends complexity to his characterization. This interpretation is confirmed by Higgins himself when he defends himself against the imagined notions held by Mrs. Pearce. He tells Colonel Pickering, "Here I am, a shy, diffident sort of man. I've never been able to feel really grown-up and tremendous, like other chaps. And yet she's firmly persuaded that I'm an arbitrary overbearing bossing kind of person. I can't account for it." His blindness to his faults serves to endear the audience to him despite him being an egoist and a bully.

It is important to note Higgins's lack of interest in women. In Act Three, Higgins's conversation with his mother regarding Eliza's society appearance gradually turns to the topic of young women and his antipathy towards them. Higgins dismisses the idea of any romantic association with a faint contempt for the fairer sex and dismisses them as "idiots." He categorically tells his mother, "Oh, I cant be bothered with young women. My idea of a lovable woman is something as like as you as possible. I shall never get into the way of seriously liking young women; some habits lie too deep to be changed." This antipathy to the fairer sex is a quintessential Shaw characteristic. Shaw believed that emotional entanglements were deterrents to intellectual fulfillment. Thus it is only natural that Higgins is single-mindedly devoted to his career and exhibits indifference bordering on contempt for women. Higgins embraces Pygmalion's typical distaste for the feminine.

Shaw further adds complexity to the issue by suggesting that the perfect woman for Higgins is his mother. This implies that Higgins only desires a sexually unchallenging mother figure who can take care of his daily necessities. This role is more or less fulfilled to a large extent by Mrs. Pearce, his housekeeper, who mothers and reproves him for his unsociable mannerisms. In his climatic encounter with Eliza in Act Five, Higgins declares that he cares for "life, for humanity" rather than for particular individuals. His world is too broad in scope and cannot revolve only around Eliza. It is this humanism which makes him repudiate Eliza's complaint with a profoundly meaningful rejoinder that "making life means making trouble."

Thus although there are several suggestions of the possibility of a romantic involvement between Higgins and Eliza, one knows that union between the two is impossible because of their fundamental incompatibility in their views they hold about life. The readers know that Higgins had bought a ring for Eliza in Brighton. One also learns that he has become habituated to her face and voice and depends upon her for his domestic needs. But one also realizes that the two of them could not live happily together. The main thrust of the play is not the depiction of the love between the master- pupil/artist-creation but rather the portrayal of the pupil's assertion of independence. Higgins is thus thrilled when Eliza is no longer a "millstone" hanging around his neck but at last a "woman" capable of taking care of herself.

Shaw questions the defining criteria of what constitutes a gentleman through the character of Higgins. It is obvious that Higgins's manners are not much better than those of the Covent Garden flower girl. In fact Higgins comes off much worse because of the fact that he has had all the civilizing benefits of wealth and education yet he is rude to the point of being boorish and ill mannered, is given to frequent inflammatory outbursts, and possesses abominable table manners. The fact that such an ill- mannered person is accepted by society as a "gentleman" provides Shaw with an opportunity to expose the shallowness and hypocrisy of such a society. Shaw thus critiques a society that views wealth and the ability to speak correctly as the constitutive criteria of a prescriptive gentleman. It is one of Shaw's master ironic strokes to make such a rude and boorish egotistical bully the main agent for transforming a common flower girl into a lady.

Eliza Doolittle

Eliza is the focal point of the play since its main thematic concern is the metamorphosis of a common flower girl to a lady. Shaw honestly admits in the epilogue that such metamorphoses are "common enough" and "have been achieved by hundreds of resolutely ambitious young women since Nell Gwynne set them the example by playing queens and fascinating kings in the theatre in which she began by selling oranges." Eliza thus occupies a stock romantic personality and Shaw's skill lies in not sentimentalizing her presentation. The play charts her growth and development as she moves form darkness to light and finally acquires self- awareness. Eliza moves 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 a self-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 flower girl as she tries to wheedle a few coins in return for violets from the group of people seeking shelter under the Portico of St. Paul's church. She is forced by her circumstances to coax money out of prospective customers. When a bystander warns her about the notetaker, who is recording her words she thinks that she is being suspected of soliciting as a prostitute simply because she belongs to a class that cannot afford lawyers and that is a typical profession for a girl of her class. She has to fend for herself and vehemently asserts the virtue and sacredness of her character. Her loud and hysterical protests against the imagined harm to her character irritate Higgins, who hurls a torrent of invectives at her. Eliza however can express her feeling of wonder and fear only by crying out an indistinguishable sounding "Ah-ah-ah-ow-ow-ow-oo!" A little later when she receives a handful of coins she goes almost wild with delight and lacking the ability to express her feelings articulately can again only utter a baffling "Ah-ah-ow-ow-oo!" For Eliza, pain, wonder, fear and delight become an indiscriminate sound of vowels. At this point the audience is not aware that beneath this dirt and terrible speech lies the ability to evolve into a polished human being


However, even in this pathetic state Eliza is not totally depraved. She is self-sufficient and capable of earning her living by selling flowers. She exhibits cleverness and a degree of resourcefulness to get the maximum value possible for her flowers. She has enough self-respect and pride to defend her honor. But most significantly she reveals an ambition to better her lot by hiring a cab with the money Higgins has thrown into her basket. Her hiring of the cab is the first small step in her quest for self-awareness. The cab acts as the vehicle that carries her over the threshold from 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 as a pathetic and odd figure. She haughtily demands that Higgins teach her to speak properly so that she can become a lady in a flower shop instead of selling flowers. Evidently at this stage Eliza only craves the economic security and social respectability that would come with her ability to speak correctly. She does not know that this desire for security and respectability only constitutes the second small step in her larger quest for self-realization. However she is required to purge both her body and soul before she can ascend to a higher plane of awareness. Her haughty air is soon reduced to confusion, fear, and helplessness as she bears the tyrannical outbursts of Higgins who insultingly calls her a "baggage" and "a draggle-tailed guttersnipe."

Her soul is thus cleansed of childish pretensions as she encounters the grim real world. She undergoes a cleansing of her body at a physical level: her dirty clothes are burnt 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 and everybody's health - the topics prescribed by Higgins - and proceeds to describe to her audience her aunt's death which touches on some of the gruesome aspects of life in the slums such as poverty, alcoholism and murder. The irony is that her talk fails to bewilder the Eynsford- Hills who misconstrue it as the new small talk. Her expletive "bloody" is excitedly repeated by Clara, who wishes to appear as part of the latest trends. At this stage Eliza is nothing more than a live doll, an automaton without a mind of her own. She is still a lifeless statue 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 sufficient to make a lady. Eliza's accomplishments are artificial. As Mrs. Higgins astutely proclaims, Eliza is simply "a triumph of (Higgins') art and of her dressmaker's". However it stands to her credit that at least she behaves naturally without any affections unlike the pretentious Clara. By the time Eliza returns after her triumphant society debut at the Ambassador's ball, she no longer exhibits this element of crudeness. She has benefited from Higgins's lessons in social poise and has acquired the ability to express her feelings articulately.

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 becomes aware of the impossibly wide gulf between her desires and the means at her disposal for fulfilling them. Higgins has unwittingly created in her a desire for the better things of life yet they are not available to her as she does not have the financial means to gain them only the poise and manners. When Higgins suggests that she could marry a wealthy husband, Eliza replies scornfully, "I sold flowers, I didn't sell myself" and that now she has been made a lady she isn't fit to sell anything else. Her stark rejoinder reveals a certain degree of emotional maturity and self- awareness. She then throws Higgins's slippers at him thereby freeing herself from a life of subordination and servitude. She returns 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 to stand up to her creator and declare her independence.

By Act Five Eliza develops into a self-sufficient woman able to express her feelings coherently and 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 longer afraid of Higgins and talks to him on terms of equality. In fact she even negates Higgins' contribution to her metamorphosis and insists that "the difference between a lady and a flower girl is not how she behaves, but how she's treated". She categorically asserts that it was Colonel Pickering's unfailing courteousness and manners rather than Higgins' phonetic lessons that truly made her a lady. She does not let Higgins dominate her and rejects his proposal that he, she and Pickering live together like old bachelor buddies. She astounds Higgins with her announcement that she will marry Freddy, who loves her and support him by offering herself as an assistant to Nepommuck, Higgins' former student. Although shocked, Higgins is also happy that Eliza is no longer a worrisome "millstone" weighing down his neck. He cannot give her what she needs and so she must leave to find it. He is only concerned with reforming humanity while she is concerned with human compassion and intimacy.
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[الزهرة الخضراء]

Analysis of "Pygmalion" by Bernard Shaw
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Numerous times a piece of literature is changed into a movie or musical it’s plot and or theme has been changed to suit the director’s thought of what would appeal to the public. One such example is Bernard Shaw’s play Pygmalion. In this play Shaw’s purpose and ideas were horribly misconstrued to the point at which he was forced to write an Epilogue to try to reconcile the injustice done to his masterpiece. In the Epilogue he bluntly expressed his points and purposes so that the ignorant public could no longer discount Shaw’s theme of the play and change it in to a happy ending love story. Shaw’s outrage was set off by the director’s construction of characters and dialogue. Character’s roles were strengthened and belittled according to the director’s purpose. This was accomplished by added scenes, songs and changed dialogue accompanied with omitted scenes and minimizing other characters roles. One such character’s role that was altered and changed from Shaw’s entire purpose was Henry Higgins. The two main things that were altered in Henry Higgins character were his outlook on life and his profession accompanied closely by his relationship with Eliza.

Higgins outlook on life and profession and over all character was enhanced and did little to change the over all-purpose of Shaw. But nonetheless in multiple and added and omitted scenes accompanied by songs explaining his thought process strengthened and changed his character. One such scene was on the street corner when Higgins told the crowd their origin and dialect. This was emphasized to show Higgins profession and abilities. Also a dialogue is added to voice Higgins extremist opinion on poor grammar and speech. It is best said in the quote, not found in the play, “A woman who utters such disgusting and depressing noises has no right to be anywhere, no right to live. Remember that you’re a human being with a soul and the divine gift of articulate speech. That your nature language is the language of Shakespeare, Milton, and the Bible, don’t sit there crooning like a bilious pigeon.” This quote is followed by the song “Why can’t the English teach their children to speak. These combined immensely strengthen Higgins views and opinion on language. Later Higgins voices like views on women with Colonel Pickering through the song “Why can’t a woman be more like a man.” In the play Higgins simply states he is a confirmed old bachelor but in the movie it is over dramatized in the song. The best contribution that the movie bestows upon the play is in the dialogue where he expresses his purpose for taking on the bet. He says what could be more gratifying than changing a person’s class and character solely through speech. This is and excellent line which captures Higgins purpose perfectly.

The other aspect that was greatly changed which so enraged Shaw was Higgins’ and Eliza’s relationship. The move transfers from a condescending relationship to a love that will endure. It adds the scenes and events of Eliza’s teachings, which the play passed by shortly. This is where we see the change in their relationship. In the beginning of the drills Higgins makes Eliza say a phrase every night and he says,“ You’ll get much farther with the Lord if you learn not to offend his ears.” Then later he is drilling her with marbles and she swallows one and he assures her he has plenty more. This is the character that Shaw would of approved of. For the first time one late night Higgins affirms Eliza and converses with her civilly and tells her she will succeed. At this moment Eliza can speak clearly and perform all the drills flawlessly. And it was triggered by Higgins affirmation. Here Eliza is shown admiring the Professor and has a song in which her feelings are expressed. Then Higgins expresses that he wants to reward Eliza for her accomplishments. Later scenes show Higgins’ determination and stubbornness hand in hand with his confidence in Eliza. Many different things fantasize their relationship such as Higgins’ worry for Eliza at the ball. At the beginning of the movie he wouldn’t even have thought twice about her welfare. In the last song after Higgins was rebuked and discounted by Eliza he expresses that he loves and misses Eliza and doesn’t know what he will do without her. Then at the last scene where Eliza returns 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 and thus enraged Shaw.

Though the musical strengthened some aspects of the play, it mutilated Shaw’s purpose of making Eliza independent. In the book at the end Eliza is the alpha person and teacher while Higgins is the outcast and rebuked by society. But in the musical Eliza and Higgins are falling in love and Eliza will fetch his slippers. Through this belittled characterization of Eliza, Higgins character is strengthened. This is just another way of the many that Higgins character was strengthened. The two points mentioned above are the main changes in the conversion from the play to the musical adaptation. You ask a person 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 as displayed in this essay the original literature and the movie or musical can be totally different. This will always be true because not all literature will be appealing to the public or satisfy its needs and wants for perfect endings and tranquility. Thus you can never judge a book by the movie.
http://www.echeat.com/essay.php?t=32...asc&highlight=
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[الزهرة الخضراء]

Changes in Eliza in Pygmalion
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Before Eliza first encountered Mr. Higgins, she was simply a dirty, yet caring girl in the gutter of London. During her time with both Mr. Higgins and Colonel Pickering, Eliza did change, for the fist few weeks of her stay in Wimpole Street, she questioned everything that Higgins asked 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 his best to teach her, and therefore should be respected. After the ambassador's ball, we see more of the old Eliza resurfacing. She starts to worry again, and since she has grown attached to Higgins and Pickering, is devastated to see their finding her so trivial. Eliza's basic character remains relatively unchanged. We can still observe the old Eliza, under the upper-class persona. The play, "Pygmalion" brings out the message that looks can be extremely deceiving, while touching on the issue that self presentation really does change the 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 well moneyed 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 by Shaw as in innocent dreamer. Eliza is concerned for her own safety, in making sure 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 to sell 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 shows great pride in her line of work, and that she stays above the law, not resorting to illegal prostitution or stealing. The introduction of Higgins taking down Eliza's speech gives the author a further chance to display Eliza's will to stay innocent and good. Another way that Shaw shows us the real Eliza is in the way that she starts crawling over the dirty ground to locate the money thrown down at her by Higgins. The way that Eliza is so very grateful indicates her real kindness and simple mission to live any sort of life. She now realizes that she can ask Mr. Higgins to help her fulfill her dream and become a lady in a flower shop: 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. Eliza doesn't understand the way that Mr. Higgins treats people, she thinks, as would any 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, and wanting to throw the "baggage" out of the window. Eliza shows little emotion towards the wager set by Pickering; she merely thanks him for offering to pay for the lessons. During her lessons, Eliza is worked to such an extent that she comes to resent Higgins more than a student should a teacher. Her hatred towards the man soon lightens as she realizes that she can only accomplish her dream of working as a lady in a flower shop Higgins can shape her into a lady. Higgins made Eliza more aggressive in the way that he treated her. She was very good at bottling up her anger towards him, she tried to put it away and saw Higgins as a good friend. She didn't realize that Higgins took pride in his challenge, not in his 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 says later that it was Pickering that allowed her to be a lady, teaching her through example how to be well mannered.



For Higgins and Pickering the ambassador's ball was a great success. Eliza, on the other hand, had fulfilled her purpose as far a Higgins was concerned. She was merely a tool used to enhance Higgins reputation in society. Having shown absolutely no appreciation towards Eliza, Higgins kept boasting about his success, and failed to acknowledge Eliza, besides the one time he did, which was simply to make clear that it was not Eliza the won his bet, but it was himself. Eliza is shattered upon hearing this. Higgins had drilled into Eliza that she was a lady, she would speak like a lady and also that she would act like a lady. What he had not realized, because he shows the same level of selfishness to everyone, was that he had slowly been making Eliza a stronger person, as illustrated by Shaw in Eliza's throwing the slippers at Higgins. Eliza finally stands up to Higgins and uses his own tactics against him.



Higgins did change Eliza. Originally she was a kind innocent girl trying to stay alive in the gutter of London. Higgins through the introduction to high-society had altered Eliza's way of thinking. It was good for Eliza to become stronger as she did. It was good that Mr. Higgins finally had something go wrong for him. Eliza was changed by her interactions with Higgins. Now at the end of the play, she becomes overpowering to Higgins, her beauty becomes murderous as Higgins realizes that she is leaving. It took the threat of Eliza leaving for him to see his true feelings towards her. He is portrayed to the end as an ignorant fool, when even after all is said and done; he still hides his feelings mocking Eliza for wanting Freddie.
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[الزهرة الخضراء]

ووووأخيراً ... يا Horror Master ... و Teacter22... واي شخص يطلب اي شيئ عن مسرحية Pygmalion هذا رابط موقع يتناول المسرحية بالتفصيل من جميع نواحيها ...

http://pinkmonkey.com/booknotes/monk...ygmalion02.asp
وهذا رابط موقع قووقل للترجمة عشان لو صعب عليكم شيئ (وان شاء الله مايصعب) ... يساعدكم في ترجمته ...

http://www.google.com/translate_t
الله يوفقكم ...
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[Horror Master]

تسلم لي هالانامل...

الله يخليك ويحفظك لاهلك وللي يحبونك....

ربي يسعدك بكل خطوه ويحقق احلامك

عملك كبير وعيا الشكر يكفيه****كل ابجديات الشكر ينضب حبرها

[madali]

:36_4_12: الســـــــــــــــــــــل ام عليكم ورحمة الله وبركاتة :36_4_12:
بالاضافة ما قدمته الاخت الزهراء الخضراء عن Pygmalion اقدم لك summary و themes و Analysis عن كل فصل لزيادة فهم المسرحية لانها تحمل معنى التشويق بمعنى الكلمة ...



6.summary and analsis of acts


ACT I

* summary:

It is raining in Covent Garden at 11:15 p.m. Clara complains that Freddy has not found a cab yet. Freddy returns to his mother and sister and explains that there are no cabs to be found. They chide him, and as he runs off to try again to find a cab, he knocks into Liza, a flower girl, spilling her flowers into the mud. Freddy's mother gives her sixpence when she complains that her flowers are ruined. Colonel Pickering comes onstage, and Liza tries to sell him a flower. He gives her three hapence. A bystander advises Liza to give Pickering a flower for it, because there is a man behind a pillar taking down every word that she says.

Liza becomes hysterical, claiming that she has done nothing wrong. She thinks that he is an informant for the police. The man, Higgins, shows Liza what he has written--which is not a record of possible misdeeds. When she complains that she cannot read it, he reads it out to her, reproducing what she has said in her exact accent.

Higgins amuses the small crowd that has gathered when he listens to what they say and guesses their hometowns with exactitude. Higgins whistles for a taxi for Clara and her mother, and they exit.

Liza picks her flowers out of the mud while Higgins explains to Pickering that he is able to guess where people are from because he studies phonetics. To make money, he gives lessons to millionaires to improve their English, which allows them to be accepted in higher social milieus. When Higgins finds out that Pickering has been in India and is the writer of [I]Spoken Sanskrit, he exclaims that he was planning to travel to India to meet the man. Pickering is equally excited when he realizes that he has happened upon the creator of "Higgins's Universal Alphabet"--for he has traveled from India to meet Higgins.

They arrange to have dinner together. Liza makes a last-ditch effort to sell Pickering some flowers, claiming that she is short for her rent. Having recorded what she was saying, Higgins points out that she cannot be short for her rent because she said she had change for half a crown. (His record traps her in her own words after all.) Liza flings her basket at him in desperation. Higgins hears a church bell tolling and generously fills her basket with money anyway, before leaving with Pickering.

Freddy arrives in a cab, looking for his mother and sister. He does not know what to do with the cab when he realizes that they have left already, but Liza wants to take the cab home. The cabman looks doubtful at her ragged appearance, but she shows him her money before she gets in.



*Analysis
Besides introducing the major characters of the play, this act introduces socioeconomic class as a central theme of Pygmalion. As a socialist, Shaw was particularly concerned with exploring and exposing the power divide between the poor and the rich. By setting the play in London, Shaw chooses to deal with a society that is particularly stratified. British class-consciousness is based not only on economic power, as it is in many other societies, but also on history (historic class differences). The play highlights British people's recognition of accents to differentiate among themselves not only geographically (a Welsh accent is distinct from a Scottish accent, which is distinct from a Surrey accent), but also to distinguish (on another but related dimension of accents) the various social classes.

Higgins's ability to pinpoint the location of origin of members of the crowd means not only that he can tell what part of England, or even what neighborhood of London, they are from, but also that he can probably guess fairly easily their socioeconomic status. In the early twentieth century, social mobility in Britain was slim to none, so the fact that Pickering's accent is audibly a Cambridge one (tying him to a very upper-class university) means that he is upper-class and likely to remain so. Conversely, Liza was born into Lisson Grove and, correspondingly, grew up speaking with what was considered a terrible accent. She is thus likely to remain poor not only because her family was poor, but also because everyone else can tell that she had a poor upbringing from the way that she speaks.

Nevertheless, Higgins's system of teaching better English serves to undermine the system in which his keen awareness of language so easily has allowed him to participate. Higgins, like Shaw, sees the strict hierarchy of British society as mutable after all. Higgins's alphabet is a new type of shorthand which more accurately conveys the exact sound of the speaker's voice. So, while normal shorthand conveys the content of a conversation, Higgins's form also records the intonation and accent of a speaker's voice. Even the name of his system of shorthand writing, "Higgins's Universal Alphabet," not only indicates that it reproduces all the sounds of language, but also implies that he believes that everyone should have access to elevated language.



ACT II



*summary

The next day at 11:00 a.m., Higgins and Pickering are at Higgins's place on Wimpole Street. Higgins has just shown Pickering his Universal Alphabet, and they are about to break for lunch when Mrs. Pearce shows Liza in. She has cleaned up somewhat and wants it to be known that she arrived in a cab. She wants to take language lessons from Higgins, and she offers to pay him back some of the money that he threw into her basket the night before in exchange. She also implies that he was drunk when he gave her the money. Ultimately, she wants to work in a flower shop, which requires that her accent become more genteel.

The idea of teaching someone like Liza grows on Higgins, especially after Pickering bets him he could not pass her off as a lady at the Ambassador's Ball in six months. Pickering offers to pay the full costs of the experiment, having Liza live in the house to become a full-time pupil. Mrs. Pearce protests that the arrangement would be improper. She urges Liza to go home to her parents, but Liza replies that her parents turned her out of their home once she was old enough to make a living. Pickering protests that the girl might have some feelings, but Higgins claims that she has none at all.

Liza attempts to leave, but Higgins offers her a chocolate. As a claim of good faith and to settle her fear that it is poisoned, he cuts it in half, eats one half, and gives her the other. He says that if she is a successful student, he will give her some money to start life as a shop lady. She accepts. She is hustled away by Mrs. Pearce to be given a bath.

Pickering asks Higgins if he is to be trusted around women, and Higgins expresses incredulity at the idea of being attracted to Liza. Pickering feels assured of his honorable intentions. Mrs. Pearce reenters the room and makes Higgins promise to act as a role model for Liza by not swearing. The training is to be about culture and manners rather than language alone.

Liza's father, Alfred Doolittle, arrives at the house. Higgins amazes Alfred by immediately guessing that his mother was Welsh. Undeterred, Alfred claims that he wants his daughter back. Higgins says that she is upstairs and that her father may have her at once. Alfred, taken aback, says that Higgins is taking advantage of him. Higgins claims the reverse, arguing that Alfred is trying to blackmail him. Higgins says that Alfred sent Liza there on purpose. Alfred claims that he has not even asked for money yet, saying that he only found out where Liza was because she took the son of her landlady for a ride in the cab on the way over to Higgins's house. He stayed around hoping to get a ride home, and she sent him to get her luggage when she decided to stay at Higgins's house. The boy reported to Alfred that she only wanted her luggage, but not to bother with any clothes. Alfred says that this report naturally made him anxious as a father.

Higgins, seeing that Alfred has brought his daughter her luggage, asks him why he would do that if he wanted to bring Liza back home. In not too subtle language, Alfred says that he does not mind if Liza becomes Higgins's prostitute so long as he gets some money out of it, too. He asks for five pounds. He adds that his life is very hard because he is one of the "undeserving poor."

Higgins, who finds this character delightful, offers him ten pounds, but Alfred takes only five, saying that ten is too much and might make him feel so prudent that he would want to save the money. Five pounds is just enough for a spree for himself and his "missus." Pickering says that he should marry his missus. Alfred replies that he is willing, but the missus likes being unmarried because it means that he has to be nicer to her and give her presents.

Liza enters wearing a stylish Japanese kimono, now that she is clean from her bath. She asks her father if he recognizes her, and Pickering and Higgins express surprise that she has cleaned up so well. Higgins invites Alfred to come back, saying that he would like his brother the clergyman to talk with him. Alfred makes a quick escape, however, and Higgins explains to Eliza that he said that so that her father would not return anytime soon.

Mrs. Pearce announces that the new clothes have come for Eliza to try on, and she rushes out excitedly. Pickering and Higgins remark about how difficult their job will be.



*Analysis
Despite the somewhat pathetic figure that she cuts initially, Liza's goal is admirable. She longs for that which is precisely so difficult in British society: self-improvement. In this act, Mrs. Pearce is the foil for Liza; she represents propriety and morality. Mrs. Pearce is duly shocked at Liza's wish to attain a higher social class. The American motif of success and class mobility through individual hard work is not part of Mrs. Pearce's cultural inheritance.

Shaw is at pains in this act to show that Eliza does not enter into the deal willingly. Rather, she is manipulated into participating in the experiment by Higgins’s chocolates, plus his promises to her that she will get married or own a flower shop if she does what he says. His offer is one that she can hardly refuse in order to get what she wants. Shaw, who is often read as a feminist playwright, sets Eliza up as a victim of the two older, better educated men, who take up Eliza's case as a challenge rather than a humanitarian endeavor. This situation gives emotional weight to her later anger against them.

The appearance of Eliza’s father in this act is quite important, because we realize just how rough a background Eliza comes from. She is an illegitimate child whose father is a dustman willing to pimp his daughter. Doolittle, whose name is a pun on the fact that he hardly works, defines himself explicitly as a member of the undeserving poor. Despite the humor that arises when Doolittle explains that he is no less deserving than a widow who collects from a number of different funds for the death of the same husband, the man’s joke holds a grain of truth. As a socialist, Shaw was concerned with all of the poor, not just the working or bereaved poor.



ACT III



* summary

A few months later, Higgins's mother (Mrs. Higgins) is writing letters in her drawing room when she is interrupted by her son. She scolds him for turning up during her "at-home day," the day when she receives guests. Mrs. Higgins claims that her son scares off her guests.

Higgins explains his bet with Pickering over Eliza and says that she is coming to the house to try out her accent. Mrs. and Miss Eynsford Hill are shown in, and they are the same mother and daughter who were waiting for a cab at the beginning of the play. Higgins recognizes them, but he cannot figure out where he has seen them before. Freddy also arrives. Miss Eynsford Hill tries to flirt with Mr. Higgins, but he rails at the company (including himself) for having no knowledge of science, philosophy, or poetry--merely knowing how to act in society.

Eliza is shown in, exquisitely dressed, and she makes quite an impression. In fact, Freddy falls in love with her. Mr. Higgins realizes that they all met on that day at Covent Garden, but nobody else makes the connection. Eliza, who has been warned to limit her conversation to the weather and to people's health, talks about an aunt of hers who supposedly died of influenza but who was perhaps killed so that the killer might steal her new straw hat. Mr. Higgins grows alarmed, and Eliza leaves, but the Eynsford Hills think that by talking about coarse subjects and swearing, Eliza was using a new, fashionable type of slang. Pickering tries to support this assumption by declaring that he can no longer distinguish high society from a ship's forecastle now that people swear so often. Clara declares the "new slang" charming--and to her mother's horror, she herself uses the British curse word "bloody."

Mrs. Higgins invites the smitten Freddy back to spend more time with Eliza. The Eynsford Hills exit. Mrs. Higgins scolds the men, declaring that their project with Eliza, while clever, cannot work because no skill in pronunciation or fancy dresses can change the subject matter of what Eliza talks about. The content will trump the style; she will always give herself away. Like Mrs. Pearce, she also disapproves of the fact that Eliza lives in the house with the two men. Moreover, she complains that Pickering and Higgins are treating her like a "live doll."

The men protest that they take Eliza very seriously and are quite taken with her talents, including the fact that she has a wonderful ear and has taught herself to play the piano. Mrs. Higgins reminds them of the problem they have not yet faced--what to do with Eliza after the experiment is over--and the men reply that they will set her up in some sort of genteel occupation. They exit, talking about how they will take Eliza to a Shakespeare exhibition and then have her mimic all of the people there when they get home. Mrs. Higgins resumes writing letters and exclaims, "men!!" with exasperation.



*Analysis
In this act we witness the transformation of Liza the flower-girl into Eliza the society lady. The change caused by repackaging her in new clothing and providing her with a new accent is so complete that she goes unrecognized by people who have seen her in her former state. Even the rough content of her conversation does not reveal her class, despite the concerns of the people who know to look out for such content.

The fact that Freddy becomes instantly smitten with her emphasizes the concept of infatuation on the basis of external characteristics. He barely noticed her when she was a flower-girl, but the change in her looks and her talk has made her infinitely more attractive to him. These characteristics make her seem to be of a class much higher than before. The location makes a difference, too; what would a girl like Liza be doing in such a respectable home? Furthermore, the fact that the other characters play her as a cultured woman makes it harder for the visitors to become suspicious.

Act III also brings a sobering touch of realism back to the play. Standing alone, the bet between Pickering and Higgins seems amusing, worthwhile on humanitarian grounds, and intellectually and practically challenging. Taken in the context of society more generally, a stance which Mrs. Higgins emphasizes, the process is potentially dangerous. The primary function of genteel ladies at this time was to secure a safe and lucrative marriage for themselves, a fact of which we are reminded as Clara eyes Higgins. She views him as marriageable not because she loves him, but because she has calculated thatshe would be a "good catch" monetarily and in terms of his position in society. Eliza has already been made dangerous, however, because she exists outside of this market. Because of her background and lack of pedigree, she is unmarriageable, no matter how charming she may seem. Changing her accent and manner of dress ultimately will cause confusion because it will come out that she is taking part in a slice of society of which she cannot become fully a part—Freddy will only be disappointed. Mrs. Higgins puts it bluntly when she complains that Higgins has given Eliza the "manners and habits which disqualify a fine lady from earning her living without giving her a fine lady's income." The change of setting from the isolated Wimpole Street laboratory into a "society house" makes this shift even starker. Eliza is becoming too good for her old society, and she is not yet good enough for her new society. This gap in the experiment is troublesome, and something must be done about it. It is not clear, however, that the men are fully aware of the problem or that they have a viable solution.



ACT IV

* summary

At midnight on Wimpole Street, Eliza enters looking pale and tired, almost tragic. Pickering and Higgins ignore Eliza, talking about where Higgins's slippers are and whether there is any mail. They have been to a garden party, a dinner party, and the opera, and Eliza was extremely successful, fooling everyone. Higgins expresses his contempt for society and says that he is glad that the experiment is over, since he was beginning to grow tired of it. Pickering says that it is almost scary how good at it all Eliza is—she is better than the society ladies. Eliza, who has gone to find Higgins's slippers, begins to look angry, then murderous. Higgins leaves, asking Eliza to turn off the light and to ask Mrs. Pearce to make coffee in the morning.

Higgins returns, looking for his slippers again, and Eliza throws them at him. Eliza angrily explains that she does not know what to do with herself, now that she has won the bet. Higgins says that she is overreacting. He tells her that after she sleeps she will feel better. He adds that she is quite attractive, so maybe she could marry after all—perhaps his mother could find someone genteel for her to marry. Eliza responds that she was above selling herself when she was a working-class woman; she merely sold flowers instead of her body. Higgins replies that her moral judgment against marriage is unfair.

Eliza asks whether her clothes belong to her or Pickering, since he is the one who bought them. Higgins replies that of course they belong to her. When she protests that she did not want to be accused of stealing them, he is hurt. (She has not forgotten her roots in poverty.) He says that that her comment shows a want of feeling. Eliza pushes her advantage, asking him to take the hired jewels to his room so that they will be safe. Higgins exclaims that he would shove them down her throat if only he would not have to return them to the jeweler. Eliza also gives Higgins back a ring that he bought her, a piece of jewerly that was not borrowed. He angrily throws it into the fireplace and says that she has "wounded him to the heart."

Eliza is glad to get "a little of her own back." Higgins tries to regain his dignity, saying that he has lost his temper for the first time in a long time. He leaves the room in a controlled manner, but he slams the door on the way out. Eliza smiles, imitates his accent in a wild manner, and gets down on her knees to look in the ashes for the ring.



*Analysis
In this pivotal act, the relationship between Eliza and Higgins finally explodes. It is revealed that there has been a deeper feeling between them, and the fact that he has given her a ring certainly suggests a promise of marriage. This act also expresses Shaw's deepest 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 societal marriage is nothing better than the exchange of sex for money like what one sees among prostitutes. Eliza, if not also Shaw, views the upper-class marriage market as more degraded than her previous profession of selling flowers. From a class perspective, at least, her opinion expresses Shaw's deep socialism, supporting the claim that the working classes can and often do have more dignity than the hypocritical segments of the upper class.

Act Four also reveals an interesting power dynamic between Eliza and Higgins. Eliza most greatly resents the fact that Higgins views her success as his own, and she is infuriated by his idea that (like the mythological Pygmalion) he is the agent who created her. She views this claim as presumptuous and dehumanizing. Although by questioning Higgins about the jewelry she reminds him of the gap in class between them, she succeeds in making him angry. The ability to affect someone who 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 now includes 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 Eliza: what is she to do—stay or go? She mimicks Higgins, pleased that she has effectively gotten him angry, but she then begins to search, almost compulsively, for the ring that she has just discarded. This juxtaposition demonstrates that she still has feelings for Higgins, being not yet ready to throw away the sentimental token that he gave her. Searching for the ring also suggests an economic prudence on Eliza’s part; her future is very unclear.



ACT V

* summary



Mrs. Higgins is in her drawing room when her parlor-maid enters and informs her that Pickering and Higgins are downstairs calling the police. Mrs. Higgins sends the parlor-maid upstairs to inform Eliza that the men are here and that she should not come until she is called. Higgins enters and explains that he is frantic that Eliza has left—he cannot find anything and now has nobody to remind him of his appointments. Mrs. Higgins scolds her son for calling the police as if Eliza were a lost parcel.

The parlor-maid announces Mr. Doolittle, who enters in a fancy waistcoat. Doolittle claims that Higgins has ruined his happiness. Higgins says that this is impossible because he only gave him a small amount of money, and because he has had only two conversations with him since the first one. Doolittle explains that Higgins wrote a letter to a man named Ezra D. Wannafeller saying that Doolittle was the most original moralist in England, and the man died and left his millions to Doolittle—partially to show that the Americans do not regard class in the same way that the English do. Doolittle says that he is miserable after being made a gentleman: everybody asks him for money, and he does not have the nerve to forsake his new wealth and station.

Mrs. Higgins says that at least he now can provide for his daughter. Higgins objects to this idea, saying that he bought her for five pounds. Mrs. Higgins reveals that Eliza is upstairs, having come upset very early in the morning. Mrs. Higgins censures them for not admiring Eliza or telling her she did a good job.

When Eliza comes down, she looks self-possessed and very much at home. She uses the genteel accents that Higgins has taught her. Higgins is furious and claims that he has made her what she is. Pickering assures Eliza that he does not think of her as just an experiment, and she expresses her gratitude to him for everything, especially for teaching manners to her. She adds pointedly says that Higgins could not have taught her such manners.

Eliza says that the difference between a lady and a flower-girl is not in anything that she does but in how she is treated. Pickering always treated her like a lady, whereas Higgins has treated her like dirt. Higgins claims in response that he treats everyone like dirt.

Doolittle tells his daughter that he is marrying her mother. Doolittle is nervous, and he asks Pickering to come to help see him through the wedding. Mrs. Higgins decides to go as well, leaving Higgins and Eliza alone. Eliza says that she will not come back because Higgins only wants her to pick up his slippers and the like. Higgins says that he cannot change his own manners, but at least he is democratic: again, he says he treats everyone as if they were of the lower class. Eliza says that she shall not be passed over and that she can do without Higgins. Higgins says that he needs to determine if he can do without her, since he has grown accustomed to having her around. Eliza claims that he should not have taught her anything because it only leads to trouble, but Higgins claims that all creation leads to trouble.



Eliza says that she is holding out for something more, adding that Freddy is infatuated with her and writes her letters every day. She says that she participated in the experiment because she had come to care for Higgins, and all she wanted was a little kindness. She had not forgotten the social and economic gaps between them. Higgins idealizes the lower-class life, saying that you work until you are inhuman, then you squabble or make love or drink until you fall asleep. He also says that Eliza needs too much attention. She says that to assert her independence she will marry Freddy or become a teacher of phonetics. He finds her spirit to be attractive and says that she is no longer a woman but a tower of strength. He suggests that she live with him and Colonel Pickering, the three of them together as bachelors.

Mrs. Higgins returns dressed for the wedding, and she takes Eliza with her. Higgins asks her to run his errands for him, including one to buy some cheese and ham. She says a final goodbye to him, and he seems confident that she will follow his command.

The onstage drama ends, and Shaw adds, in an epilogue, that Eliza recognizes Higgins as predestined to be a bachelor—and that she marries Freddy instead. (This was somewhat of a scandal, but the fact that Eliza’s father had become a social success made it less hard on the Eynsford Hills.) With a gift from Colonel Pickering, Eliza opens up a flower shop. The only person truly bothered by this state of affairs is Clara, who figures that the marriage will not help her own marriage prospects. But Clara began to read H.G. Wells and travel in the circles of his fans, and she decides to begin working in a furniture shop herself in the hopes that she might meet Wells (because the woman who owns the shop is also a fan of his). Freddy is not very practical, and he and Eliza have to take classes in bookkeeping to make their business a success. But they do make it a success, and they live a fairly comfortable life.



Analysis
The mythological themes that give the title to this play are at their strongest in this act. The audience learns conclusively that Higgins truly views himself as Eliza’s creator.

Shaw sets up a strange, almost Freudian symmetry between Higgins and his mother on the one hand and Eliza and her father on the other. Higgins gives one of his reasons for never marrying as his too great respect for his mother. Her love of beauty, art, and philosophy has led her son to value Milton’s poetry and his own universal alphabet more highly than he could a relationship with a woman. From Eliza’s perspective, Higgins seems too much like her father in that neither of them really need her. Eliza genuinely cares about Higgins and is stung by the idea that he needs her no more than he needs his slippers. This represents the same sort of nonchalance with which Doolittle sells his only daughter in Act II for a five-pound note. Paternal relations and romantic relations, should be stronger than this. But Higgins's respect for his mother seems to interfere with his own life.

Shaw’s description of the final state of affairs shows an interesting perspective on love. Freddy was infatuated with Eliza and remains so, but it is unclear what her feelings are towards him. She certainly likes him, but she continues to feel the most passionately (mostly in anger) about Higgins. She wishes that she could get him on a “desert island” just to see him make love like any other man—but this remains a private fantasy which Shaw dismisses as ultimately unimportant. The social mores of the characters tend to favor balanced and practical love over passionate, romantic love.

Despite the fact that Shaw moved away from Ireland at a young age, he is a quintessentially Irish writer. (See, for instance, John Bull’s Other Island Show.) Read in the light of the imperial relationship between England and Ireland, Eliza’s final declaration of independence might have a political connotation, especially since language and location have been intertwined from the beginning. The fact that the English forced their language on the Gaelic-speaking Irish, after invading Ireland, has particular bearing on this play, where we witness a male forcibly teaching a female to speak. (One might consider the possibility of similar themes of colonization and intrusion that involve reshaping language in Shakespeare’s (otherwise very different play) The Tempest and, much later, Beckett’s Endgame.) Like Shakespeare's Caliban, Eliza may see a significant benefit of her newly-acquired language as the ability to curse her “master” with fluency. And Ireland (like many countries) is feminized in the Irish popular imagination, represented by female names like Erin and "Kathleen Ni Houlihan," while in colonial narratives the conqueror is usually portrayed as male. Pygmalion was produced only four years before the 1916 Easter Uprising, and Eliza’s demand for self-determination, after rising into her own social maturity, may reflect the Irish nationalist cause.



الملف كاملا على صيغة DOC على الرابط

http://www.saudienglish.net/vb/uploa...1176669459.doc

[madali]

لكن


ممكن طلب صغير


عايز المسرحية عرض مرئي يعنى فيلم ممكن ؟؟!!

[SUPER SNIPER]

السلام عليكم ورحمة الله وبركاته

أنا عضو جديد بالمنتدى وبصراحة منتدى أكثر من روعة وأشكركم على جهودكم الطيبة وعندي طلب صغير من اللي عنده خبرة في كتابة البحوث, إذا أمكن؟

ابي أعرف اساسيات كتابة البحوث الانجليزية يعني من : المقدمة .............الخاتمة

وشكرا جزيلا ....

[aljareah]

السلام عليكم حبيت اشارك في الموضوع واقول لك يا صاحب الطلب النص بالنص والا ترا اعلم عليك الدكتور ( حس حس )


ههههههههههههههههههههههه تحياتي

[Teacter22]

ما اقول الا الله يوفقكم ويجعله في ميزان حسناتكم يارب يوم لا ينفع مالا ولا بنون

[مشهوره]

لكن


ممكن طلب صغير


عايز المسرحية عرض مرئي يعنى فيلم ممكن ؟؟!!

موجود فلم مصري قديم..

من فتره عرض على روتانازمان

[Horror Master]

السلام عليكم حبيت اشارك في الموضوع واقول لك يا صاحب الطلب النص بالنص والا ترا اعلم عليك الدكتور ( حس حس )


ههههههههههههههههههههههه تحياتي

هلا هلا هلا

اوكيك النص بالنص

وراسلني خاص

باي

[redrosy]

thank u :36_4_12:

[student24]

اخواني الاعزاء

اللي كفى اثنين يكفي ثلاثه

وبدال النص بالنص خلوها الثلث بالثلث



ولا حارس بيحرس روسنا اذا جبنا نفس البحث

[البارقه]

السلام عليكم : انا ابغى مساعده عن نفس المسرحية pygmalion لكن النقاط غير :
1-concept of a lady in the English society:
A. can draw
B.can play piano
C.can speak French
2-developing of Eliza
ارجوكم يا اخواني مساعدتي لأن يوم السبت الاستاذه تبغى تتطلع عليه والله يجزاكم خير الجزاء
اختكم البارقة

[البارقه]

يا اخواني اذا في احد بيساعدني يردلى ب oK

[EBTESAM2]

thank you very much
surprise work