Pygmalion:
Act V & the Postscript
Two Kinds of Transformation
And More …
Outline
• Act V
1. Two Transformations
2. Creator/Creature vs. Self-Made Woman
3. Eliza’s Relapses: Class Issues
4. Higgins and Eliza’s Battle of Will
• Postscript & Conclusion
1. Romance, Eliza’s decision & Higgins’
2. Consequences: Eliza’s and Freddy’s
marriage and families, their residence and
livelihood, their ‘education.’
3. Clara
Next Week
4. Summary
Housekeeping First
• 1) 11/19 12:30-1:30 technical meeting: Stage Managers,
costumes/cosmetics, Props, Lighting and Sound crews
to go get the training or be familiar with the place.
• 2) Cast:
Group B: Pygmalion Act 4
Freddy ?
Group A: Pygmalion Act 5 Eliza’s Choice
• 3) 12/10 (Thurs) 9:00 – 12:00/12:30. Hegel (all but
costumes)
• 4) 12/16 (Wed) 1:00 - 3:30 dress rehearsal (sandwiches
prepared)
• 5) 12/17 (Thurs) 8:00 - 12:30 (the theatre will be open for
you at 8:00)(dumplings and potstickers as lunch)
Cast & Crew
• Be quiet, walk and speak softly unless it is
your time to perform.
• Handle the props carefully; fine will be
imposed should they be damaged
• 12/17 -- One person at least from each
small group to help clean the place
ACT V-1 TWO KINDS OF
TRANSFORMATION
11/19 Class Discussion
Questions
On Act V & Postscript; Post your group responses before class
Group A . Mr. Doolittle (pp. 89-93): --what do you think
about his transformation? Is it funny? Ironical? What
does it say about Mr. Higgins and the issue of morality in
Victorian society?
• -- And about Mr. Doolittle? Do you agree with him that
taking the money and being intimidated by middle-class
morality is the only choice he has?
• 2) How is he a contrast to Eliza? (re. money, class
status and marriage)
Group B Eliza’s transformation: In what ways do Higgins,
Mrs. Pearce, Pickering and Mrs. Higgins help Eliza
get a better life?
–What does she achieve by herself?
11/19 Class Discussion
Questions
On Act V & Postscript; Post your group responses before class
Group C. “The difference between a lady and a flower
girl is not how she behaves, but how's she's
treated.“ Do you agree?
1) Does Eliza have a “relapse” (to low-class manners)
when she sees her father? (99)
Group D. [Battle of Will] What do they each insist on
and see as goals of their lives in Act 5? How do
they change their tactics to win the debate?
1) [Higgins’ changes] Acts IV & V show Higgins
undergoing changes regarding his views of and
relation to Eliza. Where are the turning points and
are there traces of his affection for her?
11/19 Class Discussion
Questions
On Act V & Postscript; Post your group responses before class
Group E The Ending -- What do you think about the
ending of Act 5? Is it possible for Eliza and Higgins to
get married?
Compare this ending with the endings
-- suggested by the Postscript
-- of the film versions of Pygmalion (1938 and 1973 BBC
version) and My Fair Lady?
Group F In what ways does the Sequel ‘revise’ Pygmalion
as a romance? Or deny that it is a romance? -- What are
the reasons added here against Eliza’s staying with Higgins
as a soul mate?
-- Why does it also introduce the changes of Clara?
A. 1) Mr. Doolittle (pp. 89-93): --what do you think
about his transformation? Is it funny? Ironical?
What does it say about Mr. Higgins and the issue of
morality in Victorian society?
-- And about Mr. Doolittle? Do you agree with him
that taking the money and being intimidated by
middle-class morality is the only choice he has?
2) How is he a contrast to Eliza? (re. money, class
status and marriage)
1. TWO TRANSFORMATIONS
Higgins’ Role in
Mr. Doolittle’s Changes
1. the most original moralist at present in
England (“a silly joke”) Wannafeller
2. “Dustman! Oh no, sir: a gentleman.”
3. “Ruined me. Destroyed my happiness.
Tied me up and delivered me into the
hands of middle class morality” (91)
“you, Enry
Iggins”(90).
Mr. Doolittle’s Changes
•
His changes (pp. 89-93): tied to middleclass morality and
intimidated.
– [money] regular pension of 3000 a year on the condition of
giving up to 6 speeches a year for the Moral Reform World
League.  to have to perform what he preaches
– [money] [seen as a benefactor of relatives and patient of
doctors] (92)
•
•
Used to "put the touch" on anyone for drinking money  Now
everyone (50 relatives) comes to him, demanding favors and
monetary support.
Used to be shoved around (or “shut of”擺脫) by doctors and solicitors
 Now the center of their attention.
– [language] “'Ill have to learn to speak middle class
language from you, instead of speaking proper English.
That’s where you’ll come in; and I daresay that’s what you
done it for.' ”
– [marriage] Has to get married. (100)
Mr. Doolittle’s Changes (2):
Related Issues
A. “Creator” Henry Higgins’ is not careful about the
changes he may bring to others;
B. Mr. Doolittle’s Education? Not really.
1. No choice: given the choice between “the Skilly of the
workhouse and the Char Bydis of the middle class” (“Scylla and
Charybdis” an Italian rock and a whirlpool nearby) Money is still
attractive for him as an “undeserving poor,” since going to “the
workhouse” (老年貧民收容所) is the only alternative.
2. Money – still selfish
–
Creates a sense of burden, too. (expected to be ‘respectable’
and to support others.)
–
Cares about Eliza only in terms of middle class morality(95);
does not want to support her.
C. Social Morality: superficial, promoted through making
speeches?
Mr. Doolittle vs. Eliza—both “dis-classed”
Father
Daughter
1. Through a “silly joke” of
Higgins
2. Gain 3000 pounds a year.
1. 'Enry Iggins‘90,95
2. With a lot of money, tied to
middleclass morality; sought
after; refuses to take care of his
daughter.
3. intimidated and cannot choose.‘
4. [sequel] extremely popular in
the smartest society‘—upper
class
1. self-motivated + H & P’s
bet
2. goes for education (accent,
manners and mind—
more later).
1. “Aa-ooo” when seeing her
father. (99) 'Enry Iggins‘ (108)
2. Has no money.
3. Improved her accent, language,
culture & mind;
4. Needs respect and tenderess
5. [sequel] chooses to work and
be independent.—middle
class & “feminist”
B.
In what ways do Higgins, Mrs. Pearce, Pickering
and Mrs. Higgins help Eliza get a better life?
What does she achieve by herself?
ACT V-2. CREATOR/CREATURE VS.
SELF-MADE WOMAN
From Romance to Social Realism
Whether as Pygmalion story or that of “self-made woman,” Eliza’s
story cannot be a complete success
Creators or Helpers?
•
Higgins: creator who is careless about the other
consequences of his “creatures” (Mr. Doolittle and
Eliza)
Act IV: HIGGINS [looking at her in cool wonder] The creature
IS nervous, after all.
LIZA [gives a suffocated scream of fury, and instinctively darts
her nails at his face]!!
[after throwing the ring at the fireplace] HIGGINS. Hit you! You
infamous creature, how dare you accuse me of such a thing?
Act V: [before Eliza appears] Pickering, Let us put on our best
Sunday manners for this creature that we picked out of the
mud. (95)
Higgins: I tell you I have created this thing out of the squashed
cabbage leaves of Covent Garden; and now she pretends to
play the fine lady with me. (97)
Creators or Helpers?
Pickering Yes: in her self-respect (courteous manners,
Mrs.
Pearce
Mrs.
Higgins
preventing sexual exploitation)
-- [sequel] offers financial support
No: -- gets carried away by experiment and then its
success;
-- not know what to do but calling the police;
-- suspects E of buying D clothes;
-- does not understand E; asks Eliza back, but on
Higgins’ side
Yes: –in manners (language, table manners and
dressing) 
No: -- limited (glad to get help; can only say “You
don’t think sir.”)
Yes: –In speaking for Eliza (Act III & V) and offering a
space for negotiation. (94-96)
No: --proposing to have her father take care of Eliza;
the last ambiguous remark “I'm afraid you’ve spoiled
that girl, Henry.”
Eliza’s Self-Transformation
[after the romance: miraculous transformation]
1. Asserting herself (since Act 4; esp. 96-99)
2. Fighting back in their battle of wills
3. [sequel] Making a wise choice of “the weak”;
4. [sequel] Continuous self-improvement
through going to classes
But – [sequel]
a. She still needs financial support;
b. She is still attracted to Higgins
c. She is limited in receiving education. (12223)
.
(bookkeeping, shorthand & Calligraphy, typing,
economics)  the London School + Kew Gardens 
“there own way was the best”
1) “The difference between a lady and a flower girl is not
how she behaves, but how's she's treated.“ Do you
agree?
2) Does Eliza have a “relapse” (to low-class manners)
when she sees her father? (99)
C. CLASS ISSUES
4-1. “The difference between a lady and
a flower girl is not how she behaves, but
how's she's treated.“
Yes and No.
Yes – One’s social identity is relational. We
cannot insists on a certain identity unless we
are recognized as such by others, or through
some rituals.
No – Since social identity is relational, we need
to produce signs and send out messages
expressive of this identity.
Eliza’s Relapse?
A. Eliza
– When seeing her father: a natural response,
which shows that one cannot forget one’s
mother tongue completely.
– (p. 108) “Enry Iggins” – used consciously as
a means of getting even or fighting back.
(compared with her grammar correction on
pp. 105, 106)
• Mr. Doolittle:
– The father: “Enry Iggins” (90, 95) -- just a sign
of anger.
1) D. [Battle of Will] What do they each insist on and see as
goals of their lives? How do they change their tactics to win
the debate?
2) [Higgins’ changes] Acts IV & V show Higgins undergoing
changes regarding his views of and relation to Eliza. Where
are the turning points and are there traces of his affection
for her?
3) E. [Ending] What do you think about the ending of Act V?
Would you be happy with it as the play’s ending (without
the sequel)?
D. HIGGINS AND ELIZA’S
BATTLE OF WILL
First Battle in Act II
Higgins
•
•
•
•
Eliza
• Taking the initiative
• Confused and
Shocked
• Staying despite her
wanting to leave
Not interested
Tempted by the bet
All excited
Persuasive
2nd Battle in Act IV
Eliza
• Angry about being
ignored
• Worried about the
future
• Wins back a bit by
making separation of
the property.
Higgins
•
•
•
•
Surprised and uneasy
Dismissive
Offers solutions
Angered
Their Battle of Wills in Act V
Higgins
Eliza
0. (96) – As possessive as a god;
(97) – Does not trust Eliza’s improvement
(‘relapse’)
1. “real education” (97-98) cares about
manners, proper language and respect;
[Asks her to go back. ]
3. (after the interruption of Doolittle)
[equality 1] (102)
The same manner to everyone
2. [terms?] [usage as a maid] (102)
5. [Independence/arrogance] Can do
without anyone.
[with humility] I shall miss you.
4. [attention & equal treatment](103)
Will not be ‘passed over.’ Wants a sense
of importance and respect.
6. [equality 2] care for humanity, refutes
Eliza’s plea as commercialism; Offers
fellowship and to adopt her,
but refuses to change.
"By George, Eliza, I said I'd make a woman of
you; and I have"
9 (the life of the gutter vs. the life of a
scientist and lady)
[recognition ad equality 3]Amazed at
Eliza’s improvement in the mind. “Three
old bachelors together.”
7. [kindness] Eliza (104-05) Complains
about the trouble he causes, not being
‘noticed.’ Still wants “a little kindness.”
-- (106) Thinks of Freddy as a solution.
Be natural, be friendly.
8. [Independence]
 marry Freddy
 [strike back] Threatens to assist the
Hungarian or to use the knowledge he
teaches her.
Summary: Higgins and Eliza’s
Differences
• turning points
– Act IV:
• 1) After E throws slippers at his face, H gets to understand
Eliza’s concern;
• 2) H -- angered when Eliza separates her possession from his
and returns him the ring;
– Act V:
• 1) H -- nervous upon finding her gone (still sees her as
something from “the mud”;
• 2) H –[offers] equal manners; offers good fellowship;
• 4) E –[wants] tenderness & attention
• 5) E –[fights back] marriage to Freddy; her livelihood as a
phonetics teacher or assistant to N.
• Higgins – unwilling to marry, to change his (lack of)
manners or his treatment of Eliza as a housekeeper.
Higgins and Eliza: Traces of Their
Mutual Affection
• (IV) never thought of her
leaving; angered
• Higgins’ nervousness (“in
a state”) when finding
Eliza gone.
• To Doolittle: “Have you
found Eliza? (91)
• Gets angry at the thought
of Dolittle’s getting her
back (93)
• [the moment he sees her]: “Get
up and come home; and
dont be a fool. ” (96)
• Eliza’s –
• (103)“I know you did[know
she could leave], you brute.
You wanted to get rid of
me.”
• Her pleas for
“kindness.”(105)
• (109) As she is leaving Mrs.
Higgins' house, she still
offers advice “disdainfully”
to Higgins' about his gloves,
ties, cheese, and calls to
remind Mrs. Pearce about
the ham.
Eliza’s and Higgins’ ambiguous expressions
(1) the same to all: 103-104
(103) LIZA. I dont care how you treat me. I dont mind your swearing at me.
I dont mind a black eye: Ive had one before this. But [standing up and
facing him] I wont be passed over.
HIGGINS Then get out of my way; for I won't stop for you. You talk about
me as if I were a motor bus.
LIZA So you are a motor bus: all bounce and go, and no consideration for
anyone. But I can do without you: Don't think I can't.
HIGGINS I know you can. I told you you could.
LIZA. You wanted to get rid of me.
HIGGINS Liar
LIZA. Thank you.
HIGGINS. You never asked yourself, I suppose, whether I could do
without you. [She sits down with dignity.]
LIZA [earnestly] Don't you try to get round me. You'll HAVE to do without
me.
HIGGINS [arrogant] I can do without anybody…I shall miss you, Eliza
(103)
Eliza: beating about the bushes, or striving for
equality? (2) fellowship:104-106
HIGGINS … Making life means making trouble.
LIZA I'm no preacher: I don't notice things like that. I notice that you don't
notice me.
HIGGINS [jumping up and walking about intolerantly] Eliza: You‘re an idiot. I
waste the treasures of my Miltonic mind by spreading them before you. …So
you can come back or go to the devil: Which you please.
LIZA What am I to come back for?
HIGGINS [bouncing up on his knees on the ottoman and leaning over it to her]
For the fun of it. That's why I took you on.
LIZA [with averted face] And you may throw me out tomorrow if I don't do
everything you want me to?
HIGGINS Yes; and you may walk out tomorrow if I don't do everything YOU
want me to.
Equality?
LIZA And live with my stepmother?
HIGGINS Yes, or sell flowers.
LIZA Oh! if I only COULD go back to my flower basket!  Freddy
…
H: That's just how I
feel.
LIZA [much troubled] I want a little kindness. (106-107)
Higgins’ Changes
professional
• Eliza as his
creature
Intellectual
• Eliza as
a fellow
Personal?
• Determined
bachelor, he
wants her to
be one, too
Ambiguities in
their Relationship (2)
• Higgins –theoretical, professional, but
1. Cannot live without her; shocked whenever E
mentions separation and marriage; does try to get her
back.
2. (103) Recognizes her values; “I cant turn your soul on.
Leave me those feelings; and you can take away the
voice and the face. They are not you. ”
3. Changes (from seeing her as a guttersnipe to an
intellectual equal).
4. Other signs: the ring, his efforts on her and
“spreading his mind” before her.
5. The last two remarks (109-10)
Pickering! Nonsense: she's going to marry Freddy. Ha ha! Freddy!
Freddy!! Ha ha ha ha ha!! ! !! [He roars with laughter as the
play ends]. ...
Are there chances
for their getting married
at the end of Act V?
No, unless
• Higgins is willing to change himself and be
loving, or
• Eliza is willing to stay unmarried and inferior
to him.
See Notes (1)
Eliza’s Education vs. Mr. Dolittle’s Transformation
The Themes of Pygmalion vs. Self-Made Woman
Class Relations & Language: The use of coarse
language as relapse or strategy
(Small talk as a sign of trendiness;
correct English as a sign of foreignness)
4. The battle of will between Higgins and Eliza
1.
2.
3.
Task for All
1. Comment on a Saying (next slide)
2. SM & Crew: What did you do last week?
-- Write on the board.
3. Suggestions for the performing group you observe
Performers
Audience
Time
Group D: Pygmalion Act 1 The Rain that Leads
to Everything
Group A
11:10-11:08
Group C: Pygmalion Act 2 The Presumptuous
Requests
Group D
11:08-11:16
Group F Pygmalion Act 2 Enchanted
Group C
11:16-11:24
Group E: Pygmalion Act 3 Social Climbing
Trial
Group F
11:24-11:32
Group B: Pygmalion Act 4 Money or Dignity?
Group E
11:32-11:40
Group A: Pygmalion Act 5 Eliza’s Choice
Group B
11:40-11:48
Do you agree? Discuss it in the context of
the play, and as a saying
A.
B.
C.
D.
E.
F.
Women: I find that the moment I let a woman make friends with me,
she becomes jealous, exacting, suspicious, and a damned
nuisance. I find that the moment I let myself make friends with a
woman, I become selfish and tyrannical. Women upset everything.
Manners: Higgins: “The great secret, Eliza, is not having bad
manners or good manners or any other particular 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.” (1236)
Manners: “[People’s saying] [w]hat they think they ought to think is
bad enough, Lord knows; but what they really think would break up
the whole show. [. . . ] We are all savages . . . (Act 3)
Life: “What is life but a series of inspired follies?” (Act 2) –rhetorical
questions
Life: “If you cant appreciate what you’ve got, youd better get what
you can appreciate.” (Act 5) – sententia (使用警句,格言 see Notes)
Weak vs. Strong: Accordingly, it is a truth everywhere in evidence
that strong people, masculine or feminine, not only do not marry
stronger people, but do not show any preference for them in
selecting their friends. (Sequel p. 114)
Pygmalion
the Sequel and
Conclusion
11/28 Class Discussion
Questions
Group F In what ways does the Sequel ‘revise’ Pygmalion
as a romance? Or deny that it is a romance? -- What are
the reasons added here against Eliza’s staying with Higgins
as a soul mate?
-- Why does it also introduce the changes of Clara?
The Sequel
Romance, Eliza’s decision & Higgins’
Consequences: Eliza’s and Freddy’s
marriage and families, their residence
and livelihood, their ‘education.’
3. Clara
 Do you agree with Shaw?
1.
2.
1-1. Conventions of Romance
Denied
• 1. Our imaginations have been enfeebled by “their
dependence on the ready-mades and reach-me-downs
(made for nobody in particular) of the ragshop in which
Romance keeps its stock of "happy endings" to misfit all
stories.
• 2. Eliza’s transformation: Not an uncommon story.
• 3. Does the hero have to marry the heroine? (Do the
married couple live happily ever after?)
• 4. Eliza and Freddy’s marriage and their shop.
1-2. Factors in Eliza’s Decision
to Leave Higgins
1.
Eliza’s Status:
•
(111) Her decision depends on “whether she is really
free to choose.” She is, since she is young and
pretty.
• “Eliza's instinct tells her not to marry Higgins. It
does not tell her to give him up.” What does this
mean?
2. Higgins:
a. His love of his Mother
– Typical of an “imaginative boy” with an intelligent
and graceful mother. (112) “Oedipus Complex” according to
Freud
disengagement of his affections, his sense
of beauty, and his idealism from his specifically
sexual impulses ”
b. His interest in Milton and the Universal Alphabet (113)

Leads to “a
1-2. Factors in Eliza’s Choice of
Freddy
2. Higgins’ – 113
c. her resentment of Higgins's domineering superiority,
d. her mistrust of his coaxing cleverness in getting
round her and evading her wrath when he had gone
too far with his impetuous bullying.
(113) Eliza and Freddy
• He is a gentleman;
• He is weak, thus attracted to Eliza as a strong
woman.
(conclusion 115: “Will she look forward to a lifetime of
fetching Higgins's slippers or to a lifetime of Freddy
fetching hers? […] Unless Freddy is biologically
repulsive to her [. . .]”)
* Do you agree with Eliza’s or with Shaw’s reasons?
Do you want to marry one that is
weaker than you, or stronger? (ref. p. 114)
• When a lion meets another with a louder
roar "the first lion thinks the last a bore."
The man or woman who feels strong
enough for two, seeks for every other
quality in a partner than strength.
• weak people want to marry strong people
who do not frighten them too much; and
this often leads them to make the mistake
we describe metaphorically as "biting off
more than they can chew."
1-2. Factors in Eliza’s Decision
Kate’s personal views:
Agree-- “strength” not the most important factor
1. There is a lot to consider in choosing one’s spouse.
(Besides love, personality, career, class, family,
pattern of relationship, sexual attraction, money, one’s
age and the choices available.)
2. Eliza should not stay with one who is domineering and
refusing to change.
Disagree –
1. Does the strong one really want to marry a weak one?
Or maybe there is attraction of two who are congenial
to but different from each other.
2. “Strong vs. Weak” as binary opposition: Why are
there just these two choices for Eliza? Couldn’t she
work and wait a bit? (But at that time staying single
“may not be” a choice for her.)
3. Why is there only description of Eliza’s secret affection
for Higgins (124), but not the other way around?
Higgins’ “Secret” Affection
• For his mother? (Oedipal attachment to
his mother)
• For Pickering?
• There is no absolute difference between
homosexuality and homosociality at the
time when sex was a taboo and
homosexuality, a crime.
The Other Social Factors Still
the Same?
• Class: grouping becomes less visible, and
the boundaries, more fluid
• Language: not necessarily a class marker
• Professional Skills: should be useful
2. Consequences
• Money:
– Freddy – no money, no job.
– Doolittle – not willing to offer support.
– Honeymoon would have been penniless without P’s
support
– Uses the gift of 500 pounds for a long time; keeps
getting supported by the two bachelors
• Residence
– Considers living with the two bachelors, but decides
against it
• Occupation
– Opens a flower shop with the support of Pickering.
(117)
– Finally earning money.
• Education (122) (to write, shorthands and polytechnic (工藝)
class
Eliza’s Relation with Higgins
after her marriage
• Still meddles with Wimpole Street’s
housekeeping; still nagging;
• Still jealous of other women;
• Cannot become a professional
phonetician (no right to meddle with “his”
knowledge).
• her secret wish to be alone on a "desert
island" with Higgins to seduce him.
3. Clara
• 1. a “pusher” who pushes the air in the
wrong direction, not welcome by the class
she wants to join goes to join the artist
group
• 2. changed under the influence of Eliza’s
transformation, H. G. Wells and the
novelist Galsworthy to realize the vanity
and unimportance of her class;
• 3. works at a furniture store.
4. Conclusion
1.
2.
Pygmalion & Romance
Comedy of Manners -- Language and the Other Social
Markers//Appearance vs. Reality
1.
2.
3.
3.
Class Differences & Social Mobility
1.
2.
3.
4.
Manners: Pronunciation, Handwriting, Dress, manners, interest,
Marriage and Family
Morality – Class-bound? Prudery made fun of.
The ways upper class is presented – useless or fashionable
The background Shaw offers (in Act I and the Sequel) –of social
climbing
Eliza’s, Doolittle’s and Clara’s different kinds of changes
Scientific Creation, Education & Human Concern
1.
2.
3.
Professionalism (with Ideals) Higgins vs. Nepommuck
The Roles of Money
Lady as Self-Made, or result of others’ Respect
Conclusion (2)
5. Other Possible Readings: (For your reference ONLY)
-- Higgins as one suffering from Asperger’s syndrome (a kind of
autism) (Weintraub)
--Aspergen “has difficulties in social interaction, lacks empathy, or has
difficulties with it, has trouble with social role-taking and has
unusual responses to the environment similar to those in autism.”
--can achieve success in some specialized academic subjects.
E.g. computer programmers, dentists, scientists.
-- examples
–
–
–
of Higgins’ insensitivity to Eliza’s feelings Act II;
of his rude social behavior, lack of manners Acts I & III
of his exclusive interest in languages and accents
Notes: Between Scylla and
Charybdis
• In a position where avoidance of one dang
er exposes one to another danger.
Image source/
Notes –Act V: Rhetoric
•
•
•
•
(ref. http://www.virtualsalt.com/rhetoric.htm)
Pickering: this chap has a certain natural gift of
rhetoric. Observe the rhythm of his native
woodnotes wild. "I'm willing to tell you: I'm wanting
to tell you: I'm waiting to tell you." Sentimental
rhetoric!
[figurative language] metaphor, personification;
oxymoron
[others] repetition; parallelism (Several parts of a
sentence or several sentences are expressed similarly
to show that the ideas in the parts or sentences are
equal in importance.)
reverse parallelism; “He labors without
complaining and without bragging rests.” (He
labors without complaining and rests without bragging.)
Notes –Act V: Rhetoric (2)
• sententia (quoting a maxim or wise saying to
apply a general truth to the situation;
concluding or summing foregoing material by
offering a single, pithy statement of general
wisdom) e.g. “But, of course, to
understand all is to forgive all.”
• Oxymoron – Eliza: deliciously low
Notes (1) –Sequel
• H. G. Wells (who influences Clara) – a socialist and Utopia
novelist (work: The Time Machine)
– “Passionate concern for society led Wells to join the socialist
Fabian Society in London, but he soon quarreled with the
society's leaders, among them George Bernard Shaw.”
• Kew Gardens (p. 122 “Combination of London School and Kew
Gardens”) -- the Royal Botanic Gardens
• Nell Gwynne: (1650-1687)
-- who originally sold oranges in the precincts of the Drury Lane
Theatre;
-- became an actress at the age of only fifteen;
-- became the mistress of King Charles II,
from 1670 until his death, and
thus popular to the public.
Notes (2) Shaw’s Emotional Life
•
Bernard Shaw: a Brief Biography
(1) Parents: Shaw (26 July 1856 – 2 November 1950)
-- His father was a failed corn-merchant, with a drinking problem and a squint (which
Oscar Wilde's father, a leading Dublin surgeon, tried unsuccessfully to correct); his
mother was a professional singer, the sole disciple of Vandeleur Lee, a voice
teacher claiming to have a unique and original approach to singing.
-- When Shaw was just short of his 16th birthday, his mother left her husband and son
and moved with Vandeleur Lee to London, where the two set up a household, along
with Shaw's older sister Lucy (who later became a successful music hall singer). Shaw
remained in Dublin with his father, completing his schooling (which he hated
passionately), and working as a clerk for an estate office (which he hated just as much
as school).
-- In 1876 (age 20), Shaw left Dublin and his father and moved to London, moving in
with his mother's menage. There he lived off of his mother and sister while pursuing a
career in journalism and writing. …
In 1898, after a serious illness, Shaw resigned as theatre critic, and moved out of his
mother's house (where he was still living) to marry Charlotte Payne-Townsend, an
Irish woman of independent means. Their marriage (quite possibly sexually
unconsummated) lasted until Charlotte's death in 1943.
Notes (3)
•
Weintraub, Rodelle. “Bernard Shaw's Henry Higgins: a classic
aspergen. ”English Literature in Transition 1880-1920, Fall 2006
v49 i4 p388-98)
Shaw’s ambiguities about love:
•
Wife Charlotte Payne-Townshend
•
Lover “Mrs. Pat” Mrs. Patrick Campbell (met Shaw in 1897, 2nd
marriage in 1914)
•
Theater Talk Life and work of playwright George Bernard Shaw
10:00- discussion of Shaw’s personal life and then Pygmalion
1989 1943
1912 -? Her
2nd marriage
Next Week
• Next two weeks: memorizing the lines,
blocking. Recording your lines. (see next
slide); group leaders— 4 more weekly
reports (due 11/23, 11/30, 12/7, 12/14)
• Poetry I: Lyric and Tone; Identity and Daily Life
[Reading and Paraphrase; theme & meanings]
Every group – short performance
Group A: W. Carlos Williams “This is just to say” (p. 797);
Group B: Chasin, Helen “The Word Plum” (p. 828)
Group C: Brooks, Gwendolyn “We Real Cool” (p 720)
Group D: Hayden, Robert “Those Winter Sundays” (p 783)
Group E: Frost, Robert “Stopping by Woods…” (p1091)
Group F: Dickinson, Emily “I’m Nobody! Who Are You?”*
Mini Play Contest: Tentative Schedule
Play
Cast
Crew
10/22 General Introd
Job Division starts
Group Leaders
10/29 Act I and Act II. (pp. 11-37)
Production Plan &
Casting
Text Chosen
Script Ready (11/6
11/5
Act II & III (pp. 38-71)
Line reading
11/12
Act III-IV (pp. 71-87 + Act V)
Rehearsal w/ script
Script Confirmed
Rehearsal w/ script
Technical Meeting;
Costume/PROP
deadline
11/19
Act V and Postscript
Mini Play Preparation
Rehearsal w/out
Poetry I: Lyric and Tone
script
Poetry II: Diction & Figurative
12/3
blocking
Language1
12/10 Mini Play Contest Rehearsal (1):
Advisor Hegel Tsai
11/26
12/17 Performance Day
the latest)
Set and Prop
Costumes
Subtitles produced
Dress Rehearsal
12/16 (1:00-3:30)
Performance Record 11/19
A(10, 1)
1. Analysis
2- Reading
3. Theme & Plot
4. Major Character
5. Character
6. Team Work
Performances
B(2, 7)
C(3, 9)
D(4, 11)
E(5, 8)
F(6, 12)