Class and Gender conflict in Pygmalion

 In addition, the way that Shaw chooses to spell each dialect creates a stark contrast between each of the characters. The flower girl's language stands out as being tedious and mispronounced, whilst the reader is made aware that the Einsford Hill's speech is the dialect which is to be considered normal through the spelling of their diction. For example, the flower girl's dialect is represented in such a way: `Wal, fewd dan y' d-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy athaht pyin. Will ye-oo py me f'them"' (Shaw, 2003:11) In this passage, Shaw makes it quite clear that there exists an obvious difference between the two types of language. Ultimately the difference that Shaw wishes to convey is not only that which is prevalent between the dialects, but the defining difference that separates the certain sub-cultures that exist within the play. In comparison to such language, as Liza enters the final scene of the play, she speaks in the refined manner of the upper class: `How do you do Professor Higgins? Are you quite well"' (Shaw, 2003:93) It is her newly acquired mastery over the English language that has transformed Eliza from a flower girl into somebody who is fit to be `a consort for a king.' (Shaw, 2003:104)

 Also, the narrative expectations that existed within society at the time that Shaw wrote Pygmalion, typically involved romance and traditional conventions of marriage. The viewer is expected to hope for a happy ending, and in many cases, as far as women were concerned, such endings usually resulted in the women finding happiness within the marriage to the man she loves. Such defined gender roles that are prevalent within such literature, and within the nature of society as a whole, are in some ways subverted within Pygmalion. An audience might expect Liza to grow to love Higgins, as he comes to represent the `saviour' figure who has rescued her from a fate that potentially would render her as trapped within the lower class of society. As a common flower girl, Liza is without a voice or opinions to which anybody of class would have the desire to listen.

Despite the social class within which an individual may function, one is essentially responsible for their own sense of morality and common decency. Shaw highlights this in the contrasting behaviour demonstrated by Higgins and Liza. In the final act, Liza makes Higgins aware of her plan to teach phonetics as a way to become financially independent. Liza reminds him that he had previously told her she `had a finer ear' than he possessed and adds, `And I can be kind and civil to people, which is more than you can.` (Shaw, 2003:104) Higgins is instantly infuriated and replies: `You damned impudent slut, you! (Shaw, 2003:104) In this, it is evident that Shaw wishes to comment on the nature of the human character, that can be ignored or overlooked due to class prejudice. In the opening scene, it is Higgins who reveals a sense of contempt towards the lower class peasant as in:

 `A woman who utters such depressing and disgusting sounds has no right to be

 anywhere- no right to live. Remember that you are a human being with a soul and the

 divine gift of articulate speech: that your native language is the language of

 Shakespeare and Milton and The Bible: and don't sit their crooning like a bilious

 pigeon.' (Shaw, 2003:18)

 Thus the assumptions that are made with regards to the nature of humanity as it exists within hierarchical systems, should not involve the issues of morality and notions that set out to define the differences of human character that are stereotyped to each class.

Furthermore, Eric Bentley effectively communicates the moral conflict that comes into play when an individual takes responsibility to define and shape the life of another. With regards to issues of gender, this conflict is relevant as it identifies with the ways that women are defined in their roles in relation to men. Within a patriarchal society, it is possible to perceive that the role of women can be shaped by men and to the benefit of the male sector of society. This concept is substantiated by the idea that the original tale of Pygmalion involves a man who creates his ideal women in the form of a statue and wishes that she be brought to life. Bentley draws the parallel between this story and Shaw's play, although highlights the fact that the transition from statue to human being has been inverted within the play, as shown in:

 `The Pygmalion of `natural history' tries to turn a human being into a statue, tries to

 make of Eliza Dolittle a mechanical doll in the role of a duchess. Or rather he tries to

 make from one kind of doll- a flower girl who cannot afford the luxury of being

 human- another kind of doll- a duchess to whom manners are an adequate substitute

 for morals.' (Bentley, 1967:83)

 What we observe, therefore, is that Shaw's play is essentially a comment on the capacity for society to govern both the role of an individual, as well as the way that an individual is perceived by other members of the social system. The importance of language is identified as a means to ascertain power within a judgmental and class driven social

structure. Further, the playwright enables the viewer to gain an accurate insight and understanding into the ways that social roles can be gendered, both with regards to the society of Shaw's time and of contemporary society. Liza is an independent woman at the closing of the play, when one takes into consideration that she possesses an assertive sense of free will and a determination to maintain her strength of character. Ultimately, Liza's insistence on remaining true to herself is a positive ramification of a transformation process, that in itself presented many moral questions to the perceptive audience. The protagonist has confronted the obstacles imposed on her by social conventions, with regards to both gender and class stereotypes, and has essentially deconstructed the boundaries that had previously prevented her from fulfilling her own capabilities and sense of self worth.

Bibliography

        •          Bentley, E. Bernard Shaw, 2nd edn. London: Methuen, 1967.

        •          Shaw, B. Pygmalion, London: Penguin Books, 2003.