Pygmalion by George Bernard Shaw




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Wealth and Poverty


One of the many subjects under examination in Pygmalion is class consciousness, a concept first given name in 1887. Shaw's play, like so many of his writings, examines both the realities of class and its subjective markers. The linguistic signals of social identity, for example, are simultaneously an issue of class. Economic issues are central to Liza's crisis at the conclusion of Higgms's experiment, for she lacks the means to maintain the standard of living he and Pickering enjoy. Doolittle's unforeseen rise into the middle class similarly allows Shaw to examine wealth and poverty. Though Doolittle fears the workhouse he's not happy with his new class identity, either; Shaw injects humor through Doolittle's surprising (according to traditional class values) distaste for his new status.


Style


Plotting with a Purpose


In Pygmalion's plot, Higgins, a phonetics expert, makes a friendly bet with his colleague Colonel Pickering that he can transform the speech and manners of Liza, a common flower girl, and present her as a lady to fashionable society. He succeeds, but Liza gains independence m the process, and leaves her former tutor because he is incapable of responding to her needs.


Pygmalion has a tightly-constructed plot, rising conflict, and other qualities of the "well-made play," a popular form at the time. Shaw, however, revolutionized the English stage by disposing of other conventions of the well-made play; he discarded its theatrical dependence on prolonging and then resolving conflict in a sometimes contrived manner for a theater of ideas grounded in realism. Shaw was greatly influenced by Henrik Ibsen, whom he claimed as a forerunner to his theatre of discussion or ideas. Ibsen's A Doll House, Shaw felt, was an example of how to end a play indeterminately, leading the audience to reflect upon character and theme, rather than simply entertaining them with a neatly-resolved conclusion.


Intellect vs. Entertainment


Shaw broke both with the predominant intellectual principle of his day, that of "art for art's sake," as well as with the popular notion that the purpose of the theatre was strictly to entertain. Refusing to write a single sentence for the sake of either art or entertainment alone, Shaw openly declared that he was for a theater which preached to its audience on social issues. Edward Wagenknecht wrote in A Guide to Bernard Shaw that Shaw's plays "are not plays: they are tracts in dramatic form." He further reflected a popular perception of Shaw's plays as intellectual exercises by stating that Shaw "has created one great character_G.B.S. [George Bernard Shaw]_and in play after play he performs infinite variations upon it." Thus, in his day Shaw was viewed as succeeding despite his dramatic technique rather than because of it. Wagenknecht again: "it is amazing that a man whose theory of art is so patently wrong should have achieved such a place as Shaw has won."


Though his plays do tend towards ideological discussion rather than dramatic tension, Shaw succeeded because he nevertheless understood what made a play theatrical, wrote scintillating dialogue, and always created rich, complex characters in the center of a philosophically complex drama. Among his character creations are some of the greatest in the modern theatre, especially the women: Major Barbara, Saint Joan, Liza Doohttle. Also, Shaw's deep belief in the need for social improvement did not prevent him from having a wry sense of humor, an additional component of his dramatic technique which helped his plays, Pygmalion most predominantly, bridge a gap between popular and intellectual art.


Romance


In calling Pygmalion a romance (its subtitle is "A Romance in Five Acts"), Shaw was referencing a well-established literary form (not usually employed in theatre), to which Pygmalion does not fully conform. (Shaw was aiming to provoke thought by designating his play thusly.) The term romance does not imply, as it was misinterpreted to mean by many of Shaw's contemporaries, a romantic element between Liza and Higgins. Since the middle ages, romances have been distinguished from more realistic forms by their exotic, exaggerated narratives, and their idealized characters and themes. Shaw playfully suggests Pygmalion is a romance because of the almost magical transformations which occur in the play and the idealized qualities to which the characters aspire.


Historical Context


World War I


Nineteen-fourteen, the year of Pygmalion's London premiere, marked tremendous changes in British society. On July 28, the Austrian archduke Franz Ferdinand and his wife were assassinated in Sarajevo, Bosnia, setting off an international conflict due to a complicated set of alliances which had developed in Europe. Within two weeks, this conflict had erupted into a world war (known in Britain at the time as the "Great War"). By the end of World War I (as it came to be known later), 8.5 million people had been killed and 21 million wounded, including significant civilian casualties. The war constituted the most intense physical, economic and psychological assault on European society in its history; Britain was not alone in experiencing devastating effects on its national morale and other aspects of society.


It is ironic, Eldon C. Hill wrote in George Bernard Shaw, that Pygmalion, "written partly to demonstrate that language (phonetics particularly) could contribute to understanding among men, should be closed because of the outbreak of World War I." The war brought out Shaw's compassion, as well as his disgust with the European societies that would tolerate the destruction of so many lives. When the actress Mrs. Patrick Campbell informed Shaw of the death of her son in battle, he replied that he could not be sympathetic, but only furious: "Killed just because people are blasted fools," Hill quoted the playwright saying. To Shaw, the war only demonstrated more clearly the need for human advancement on an individual and social level, to reach a level of understanding that would prevent such tragic devastation.


Colonialism and the British Empire


In 1914 Great Britain was very much still a colonial power, but while victory in the First World War actually increased the size of the British Empire, the war itself simultaneously accelerated the development of nationalism and autonomy in the provinces. Even before the war, British pride in its Empire had reached a climax prior to the death of Queen Victoria in 1901, and the brutalities of the Boer War (1899-1902), fought to assert Britain's authority in South Africa. Still, British society proudly proclaimed that "the sun never sets on the British Empire" and believed in Britain's providential mission in geographies as widely diverse as Ireland, Australia and New Zealand, India, Burma, Egypt, the Sudan, South Africa, Nigeria, Guyana, Honduras, Jamaica, and numerous other islands throughout the Caribbean, and Canada.


In addition to providing a symbolic unity to the Empire, the long reign of Queen Victoria (1837-1901) also gave coherence to British society at home, through a set of values known as Victorianism. Victorian values revolved around social high-mindedness (a Christian sense of charity and service), domesticity (most education and entertainment occurred in the home, but children, who "should be seen and not heard," were reared with a strict hand) and a confidence in the expansion of knowledge and the power of reasoned argument to change society. By the time of Victoria's death, many of the more traditional mid-Victorian values were already being challenged, as was the class structure upon which many of these values depended. Victorianism, however, survived in a modified form through the reign of Victoria's son, Edward. 1914, the year of Pygmalion and the onset of the Great War, constituted a much different kind of break, symbolic and social.


Industrialization


The growth of industrialization throughout the nineteenth century had a tremendous impact on the organization of British society, which had (much more so than the United States) a tradition of a landed aristocracy and a more hierarchical class system_a pyramid of descending ranks and degrees. Allowing for the growth of a merchant middle class, industrialization changed British society into a plutocracy_an aristocracy of money more than land. Social mobility, however, still did not widely extend into the lower classes, propagating a lack of opportunity reflected in Liza's anxiety over what is to happen to her following Higgins's experiment.


Industrialization brought about a demographic shift throughout the nineteenth century, with more and more agricultural laborers coming to seek work in the cities. Unskilled laborers like the Doolittles competed for limited employment amid the poverty of the inner city and were largely at the mercy of employers. Increased health standards combated urban crises like tuberculosis and cholera, but slum conditions and rampant urban poverty remained a major social problem after the turn of the century. Pygmalion suggests the subjectivity of class identity, and the rapid deterioration of many pre-mdustri-al social structures, but strict class distinctions of another kind nevertheless persisted. This fact is suggested by the severely disproportionate distribution of wealth in Britain at the time: during the years 1911-1913, the top 1% of the population controlled 65.5% of the nation's capital. The poorest of the poor, meanwhile, were often forced into workhouses, institutions which had been developed in the 17th century to employ paupers and the indigent at profitable work. Conditions in the workhouses differed little from prisons; they were deliberately harsh and degrading in order to discourage the poor from relying upon them. Conditions in the workhouses improved later in the 19th century but were still unpleasant enough that fear of going to one, for example, causes Doolittle in Pygmalion to accept his new position in the middle class even though it is displeasing to him for other reasons.


The Rise of Women and the Working Classes


During the decade which produced Pygmalion, the political power of the working class increased greatly, through massive increases in trade union membership. Bitter class divisions gave rise to waves of strikes and disturbances, including amajor railway strike in 1911, a national miners' strike in 1912, and the' Triple Alliance" of miners, railway, and transport workers in 1914. A new political party, Labour, came into existence in 1893, advancing an eight-hour work day and other workplace reforms. Meanwhile, reforms to laws concerning suffrage, the right to vote, further brought men (and later, women) of the working class into Britain's ever-more participatory democracy. Suffrage (the right to vote) had in Britain always been based on requirements of property ownership, reflecting the contemporary idea that only landowners were considered reasoned and informed enough to vote but also that they would do so in the best interest of those in the classes below them. These property requirements were gradually relaxed throughout the nineteenth century, gradually increasing the size of the male electorate.


Only after many years of political straggle by organizations of women known as "suffragettes" did women achieve the right to vote: first in 1918 for women over 30 who also met a requirement of property ownership, then extended in 1928 to all women over the age of 21 (as was already the case for men). Increased political participation further prompted a shift in sex roles: British society had already noted the phenomenon of "the new woman," and was to see further changes such as increasing numbers of women in the work force, as well as reforms to divorce laws and other impacts upon domestic life.


Critical Overview


Building upon the acclaim Pygmalion had received from German-language production and publication, the original English production of the play at His Majesty's Theatre was likewise a success, securing Shaw's reputation as a popular playwright. Still, contemporary reviews of Pygmalion are mixed, revealing the somewhat prejudicial views English critics continue to hold towards Shaw's work. For example, an unsigned review in the Westminster Gazette, reprinted in Shaw: The Critical Heritage, criticized many aspects of the production but had qualified praise for the play, "a puzzling work." Aware that Shaw usually "does not use the drama merely as a vehicle for telling stories," the critic expressed a curiosity about what "the foundation idea" of Pygmalion might be. "Curiosity, in the present instance," however, "remains unsatisfied. There are plenty of ideas, but none is predominant.


Alex M. Thompson, meanwhile, wrote in a review in the Clarion that "Britain's most famous playwright has won his place at last on the stage of Britain's most famous playhouse" but regretted that "while the great play Wright's really significant plays" were wasted through production elsewhere, "the play admitted to our classic shrine is one whose purpose, according to the author himself, is 'to boil the pot."' H. W. Massingham, in a review for the Nation, declared that "there is a fault in the piece as well as in its production," namely that Shaw "observes too coldly": in pursuing the clash of wits, the excitement of argument, he obscures real beauty and affection. Shaw, somewhat like Higgins, "hides his spirituality or his tenderness under a mask of coarseness," to the extent that he "has failed to show his audience precisely what he meant."


The sensation caused by Shaw's use of the mild profanity "bloody" (breaking with tradition at His Majesty's Theatre) went a long way to ensure the publicity for Pygmalion, but many critics found the language of the play shocking. T. F. Evans commented in his notes for Shaw: The Critical Heritage, that "[it] is almost impossible ... to assess accurately the critical response to the play itself because of the totally disproportionate amount of space, time and attention that was given to the use by Shaw... of the word 'bloody'.... Some critics who might have been expected to give largely favourable comments on the play seem to have allowed the use of the adjective to affect them." By 1938, however, the year Pygmalion was made into a movie, Shaw's text was still dramatic and challenging but much of the shock had faded. Of the film version, Desmond MacCarthy observed in Shaw: The Plays that "'bloody' still gets its laugh, but it no longer releases the roar that greets the crash of a taboo."


In his 1929 study A Guide to Bernard Shaw, Edward Wagenknecht demonstrated the delicate balance many critical interpretations of Shaw in that era tried to maintain, explaining how Shaw had succeeded despite breaking many established conventions of dramatic art. Shaw "revolted" against deeply-held ideas that literature is writing which supersedes a specific purpose other than to communicate life experience, and is not didactic. "It is amazing," Wagenknecht wrote, "that a man whose theory of art is so patently wrong should have achieved such a place as Shaw has won."


By the end of Shaw's life, his status as perhaps the greatest single English dramatist since Shakespeare was secure, but nevertheless critical opinion on him appeared mixed and in many cases prejudiced. Eric Bentley wrote in his book Bernard Shaw, 1856-1950, that in reviewing the already voluminous writing on Shaw, "I found praise, but most of it naive or invidious. I found blame, but most of it incoherent and scurrilous." Perhaps Shaw's complexity of thought provoked these mixed (and largely unsatisfying) critical assessments, to the extent that to some critics "Shaw, the champion of will and feeling, is an arch-irrationalist," but to others "Shaw, the champion and incarnation of intellect, is the arch-rationalist." In Pygmalion Bentley found a play of "singularly elegant structure ... a good play by perfectly orthodox standards" needing "no theory to defend it."


In his summary of the play's merits, Bentley avoided the tendency of earlier critics to distinguish sharply between various aspects of Shaw's work, instead celebrating the intimate connection between them. Pygmalion, he wrote, "is Shavian, not in being made up of political or philosophic discussions, but in being based on the standard conflict of vitality and system, in working out this conflict through an inversion of romance, in bringing matters to a head in a battle of wills and words, in having an inner psychological action in counterpoint to the outer romantic action ... in delighting and surprising us with a constant flow of verbal music and more than verbal wit." Bentley' s modern assessment of the complexity of Shaw's political thought and dramatic method established a precedent for much Shavian criticism of the last fifty years.


Beginning immediately with the first English production of Pygmalion, a popular debate developed as to whether there should have been a romantic ending between Higgms and Liza. Shaw insisted that such an ending would have been misery for his characters but producers and audiences nevertheless tended to prefer a romantic ending. MacCarthy expressed the sentiments of many when he wrote about the original production "when the curtain fell on the mutual explanations of this pair [Higgins and Liza] I was in a fever to see it rise on Acts VI and VII; I wanted to see those two living together."


When the play was first published in 1916, Shaw added an afterword which recounted what Liza did after leaving Higgins and was intended to show to audiences that there was to be "no sentimental nonsense" about the possibility of Higgins and Liza being lovers. The English-language film of Pygmalion gave Shaw another opportunity to remove "virtually every suggestion of Higgins's possible romantic interest in Liza" He was to discover, however, at a press show two days before the film's premiere, that the director had hired other screenwriters who added a "sugar-sweet ending" in which Higgins and Liza are united as lovers. MacCarthy commented in 1938 that the effect of the changes in the film version "is merely that of a wish fulfillment love story of a poor girl who became a lady and married the man who made her one." He observes that the difference is "due to a peculiarity inherent in the art of cinema itself (a need for closure), and that the changed ending is no doubt what accounts for the film's "immense popularity."

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