1. Act II & Act III (Part I): Eliza’s Education – Purposes and Manners
Pygmalion
Act II & Act III (Part I):
Eliza’s Education –
Purposes and Manners

2. Act II: Eliza’s “Education”
0. Education (1): Higgins as a Scientist
Education (2): Purposes-- Who Wants it, why and how?
The Views of Eliza’s Education
Education (3): Mr. Doolittle as a foil, who does not want improvement
Education (4): Comedy of Manners
Pronunciation, Rhetoric and Comic Elements
Act III: Characters and Manners
Education

3. 11/14 Class Discussion Questions --Act II
On Act II & III; Post your group responses before class
Group 11 & 12 Stage Direction (Act II)  What does the stage description on pp reveal more about Higgins? Do you find him a likeable person? Can you recreate the scene in class (on your ppt)? Group 9 & 10 Theme: Eliza’s Education – What do Mrs. Pearce’s & Pickering’s cautions against Higgins say about themselves and about Higgins? Which do you agree with more?

4. 1. Stage Directions Characters: Higgins vs. the Others
What does the stage description on pp reveal more about Higgins?  

5. Setting – Higgin’s
a fireplace, leather-covered easy-chair at the side of the hearth nearest the door, and a coal-scuttle; a clock on the mantelpiece; a stand for newspapers.
a telephone and the telephone directory. a grand piano,
On the piano is a dessert dish heaped with fruit and sweets, mostly chocolates.
Eliza – ostrich feathers in orange, sky-blue, and red

6. Setting (1184-85) – a scientist’s room
two tall file cabinets
on the writing table – a phonograph, a laryngoscope喉鏡, a row of tiny organ pipes with a bellows風箱, a set of lamp chimneys煤油燈用的玻璃燈罩 for singing flames with burners attached to a gas plug in the wall by an india rubber tube, several tuning-forks of different sizes,
a life-size image of half a human head, showing in section the vocal organs,
a box containing a supply of wax cylinders for the phonograph.
On the walls, engravings; mostly Piranesi’s and mezzotint (鏤刻銅版) portraits. No paintings. (a contrast to Mrs. Higgins’)

7. Art works in Higgins’ Living Room
Giovanni Battista Piranesi’s Etching (source: Wikipedia)
mezzotint (鏤刻銅版) portrait

8. Stage Direction  Higgins
Well-off, a lot of furniture, etchings but not paintings
Scientific: a lot of machines in his drawing room.
“a robust, vital, appetizing sort of man of forty or thereabouts”
“a professional-looking black frock-coat”
“heartily, even violently interested in everything that can be studied as a scientific subject”
“careless about himself and other people, including their feelings.
Childish: described as “babylike” twice; sweets
like a very impetuous baby "taking notice" eagerly and loudly; [upon seeing Eliza] baby-like, making an intolerable grievance of it
“so entirely frank and void of malice that he remains likeable even in his least reasonable moments.
* GBS’s bias for Higgins.

9. 2. Characters in a Tug of War (1): Higgins vs. the Other 3 Characters
i. What does Eliza want to achieve? 
And how about Higgins? 

10. Discussion as a tug of war (pp. 27-37)= H winning
1. Higgins not interested 
2. Eliza makes a move with money offered
3. Higgins on money 
4. Eliza shocked by the idea of paying 60 pounds  in tears (“But I ain't got sixty pounds.”) keeps handkerchief
5. Pickering provides an incentive (31) Higgins gets carried away 
6. Eliza shocked and hurt
7. Intervention (1) by Pearce and Pickering (32) Higgins softens
8. Higgins’ rhetoric confuses Eliza  makes her way to leave (33)
9. H persuasion (1) Higgins stops her, and, knowing that she does not have parents, asks to take her upstairs
10. Intervention (2) (34): What’s to become of her; she’s got feelings * H: “throw her out”   Eliza rejecting (1) (35) 
11. Higgins persuasion (2) with chocolate, taxi, gold and diamond (35)
Intervention (3) by Pearce and Pickering (36) [her future] 
12. Higgins clarifies the deal (36)
 Eliza, “I won’t stay if I don’t like” taken upstairs –won’t go near the king...

11. Battle of will tug of war (1)
1. Higgins not interested
2. Eliza offers money
4. Eliza shocked by the idea of paying 60 pounds  in tears  wants handkerchief
3. Higgins on money
 6. Eliza shocked and hurt
5. Pickering provides an incentive (31) Higgins gets carried away ”put her in dustbin”

12. Battle of will tug of war (1)
7. Intervention (1) by Pearce and Pickering (32) 
8. Higgins softens, using rhetoric, which confuses to Eliza  about to leave
* 10. Intervention (2)(34): P: what’s to become of her. She has feelings
H: “throw her out”
9. Higgins stopping her (1) take her upstairs
Eliza rejecting and leaving again (35)
11. Higgins persuasion (2) with chocolate, taxi, gold and diamond
13. Higgins clarifies the deal:
1) having your head cut off as penalty
2) 7 and 6 pence as award
12. Intervention (3) (36)  future; clear explanation

13. Eliza – to be a lady in a flower shop
Theme (1): Education
Theme (2): Scientific Ideal vs. Human Caution
Higgins: Pronunciation
Pickering: sympathetic & courteous, but interested in the experiment
Pierce:
clean, respectable and aware of the future

14. 11/14 Class Discussion Questions --Act II
On Act II & III; Post your group responses before class
Group 7 & 8 Mr. Doolittle (Act II): Language and Rhetoric –What are the rhetorical skills used by Mr. Doolittle? Why are his statements funny? Choose 2 of his ideas and 1 of Higgins and discuss how you agree and/or disagree with them.

15. Mr. Doolittle: Another Way of Life
Work + Fun: He drinks, does his job (as a navvy, unskilled laborer or digger, 工人) only once in a while, and tries to get money out of others. (53) So he is a disgrace to Eliza.
Honest: He is straightforward (after the first trick of claiming to get his daughter back fails): about what he wants, about his being “undeserving.” (48-50)
Not Greedy: He will ‘make good use of the 5 pounds, and does not want more.
“Just one good spree (狂歡) for myself and the missus, There won't be a penny of it left by Monday: I'll have to go to work same as if I'd never had it. It won't pauperize me…”
10 pounds will make him “prudent like.”

16. Education (3): Morality vs. Mr. Doolittle
Mr. Doolittle – a reversal of Victorian morality.
His View about Marriage and Family:
Does not want to protect his daughter; wants money for drinking.
Feel bound to his woman because they are unmarried  
Money: happy with 5 pounds
His Rhetoric-- Higgins finds his argument irresistible (p.50). How about you?

17. Act II: Pattern
Two Parts: two verbal encounter (or fights) showing Eliza vs. Higgins & Higgins vs. Doolittle;
Similarities: discussion with Higgins which is similar to a tug of war,
Intention: Both Eliza and Doolittle go there desiring something, but almost fail to get it.
Contradictions (in action or in words): Eliza wants both to leave and to stay; Doolittle is all talk.
Higgins: willful, getting what he wants and paying when he likes to.
Major Difference: Eliza wants education, while Doolittle wants only money.

18. Relative Opposition between Middle (+) and Lower Classes (-)
Pygmalion
Manners
Taste
Accent
Dress, Taxi
Lessons
Money
Class
Morality
Marriage ?
Class Mobility vs.
Relative Opposition between Middle (+) and Lower Classes (-)

19. Education (4): The Comical: The Play as a Comedy of Manners
The comical: Manners or lack of it shown to an absurd degree to reveal human foibles.
Lack of it: Eliza’s responses and her “Ah-ooo.”
Higgins’ exaggerated manners (42): his dialogue with Mrs. Pearce (“Only this morning, sir, you applied it [dirty word] to your boots, to the butter, and to the brown bread”); his treatment of Eliza.
The use rhetoric: e.g.
pp Mr. Doolittle’s: Governor. Well, what's a five pound note to you? And what's Eliza to me?

20. Doolittle’s Use of Rhetoric
[Review of Bro. Koss’s Points]: ingratiating, negotiating, self-asserting, being honest, using parallelism & rhetoric questions
pp [being undeserving poor] I'm playing straight with you. I ain't pretending to be deserving. I'm undeserving; and I mean to go on being undeserving. I like it; and that's the truth. Will you take advantage of a man's nature to do him out of the price of his own daughter what he's brought up and fed and clothed by the sweat of his brow until she's growed big enough to be interesting to you two gentlemen? Is five pounds unreasonable? I put it to you; and I leave it to you.
HIGGINS [rising, and going over to Pickering] Pickering: if we were to take this man in hand for three months, he could choose between a seat in the Cabinet and a popular pulpit in Wales.
PICKERING: What do you say to that, Doolittle?

21. Higgins’ “Proverbs”
Woman (41)-- 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. When you let them into your life, you find that the woman is driving at one thing and youre driving at another.
(re. Eliza’s education) Ambition in Life
(31) -- What is life but a series of inspired follies? The difficulty is to find them to do. Never lose a chance: it doesn’t come every day. I shall make a duchess of this draggle-tailed guttersnipe.

22. Higgins’ “Proverbs”
36 -- …do any of us understand what we are doing? If we did, would we ever do it?
42-- Take care of the pence and the pounds will take care of themselves is as true of personal habits as of money. (積少成多;集腋成裘,聚沙成塔;小 事留意,大事順利)
"we're all savages" speech. 

23. 11/14 Class Discussion Questions --Act III
On Act II & III; Post your group responses before class
Group 5 & 6 (Act III) : How does Mrs. Higgins look at Higgins’ experiment differently from Higgins and Pickering?
Group 3 & 4: Stage Direction (Act III) What does it reveal about Mrs. Higgins. Again, try to recreate the setting.
Group 1 & 2: Education and Manners: What has she achieved in the first part of Act 3 (the at-home party), and where does she fall short? Any interesting plot reversals? (67; 68-70) How do they shed light on Victorian manners?

24. Mr. Higgins’ vs Mrs. Higgins’ Rooms
Instruments; file cabinet
a life-size image of Human head with vocal cord;
Portraits
& engravings
Morris wallpaper
chintz (印花棉布) window curtains
Giovanni Battista
Piranesi

25. Mrs. Higgins’ Room: Painting and Nature
Burne Jones paintings
Cecil Lawson landscape painting,
three windows looking on the river;
A balcony with flowers in pots

26. Mrs. Higgins’ Room: Well-Designed Furniture
There is a Chippendale chair further back in the room between her and the window nearest her side. At the other side of the room, further forward, is an Elizabethan chair roughly carved in the taste of Inigo Jones.
Chippendale chair--chair made by or in the style of Thomas Chippendale (1718?-79), English cabinetmark and influenced to some extent by Louis XV.
Elizabethan (Indigo Jones) chair

27. Mrs. Higgins brought up on Morris and Burne Jones; once rebellious
Wise and with more sense of style, or taste
brought up on Morris and Burne Jones; once rebellious
There is a portrait of Mrs. Higgins as she was when she defied fashion in her youth in one of the beautiful Rossettian costumes which, when caricatured by people who did not understand, led to the absurdities of popular estheticism in the eighteen-seventies.
Cares about social occasion such as at-home tea party and its proper manners

28. Mrs. Higgins’ blue and white Arts and Crafts garden Room
Image source:

29. Higgins about His Mother
Emotionally attached & obedient to his mother. (58)
His idea of a loveable woman: “something as like you as possible”; young women – all idiots
MRS. HIGGINS. Do you know what you would do if you really loved me, Henry?  
HIGGINS. Oh bother! What? Marry, I suppose?
MRS. HIGGINS. No. Stop fidgeting and take your hands out of your pockets. [With a gesture of despair, he obeys and sits down again]. That’s a good boy. Now tell me about the girl.

30. Higgins: Manners His rudeness: pp. 59-63
to Mrs. Eynsford Hill; “I haven’t the ghost of a notion where; but I’ve heard your voice. [Drearily] It doesn’t matter. You’d better sit down.” (59)
To Pickering -- [over his shoulder] We were interrupted: damn it! (60)
To Freddie -- [looking at him much as if he were a pickpocket] –(61)
Curses & coarse movements (63)
HIGGINS [suddenly] By George, yes: it all comes back to me! [They stare at him.] Covent Garden! [Lamentably] What a damned thing!
MRS HIGGINS Henry, please! [He is about to sit on the edge of the table.] Don't sit on my writing-table: You'll break it.
HIGGINS [sulkily] Sorry.
[He goes to the divan, stumbling into the fender and over the fire-irons on his way; extricating himself with muttered imprecations; and finishing his disastrous journey by throwing himself so impatiently on the divan that he almost breaks it. Mrs. Higgins looks at him, but controls herself and says nothing.]

31. Higgins: His Frankness
(61) –
What one really thinks--not decent ;
HIGGINS What they think they ought to think is bad enough, Lord knows; but what they really think would break up the whole show. Do you suppose it would be really agreeable if I were to come out now with what I really think?
MISS EYNSFORD HILL [gaily] Is it so very cynical?
HIGGINS. Cynical! Who the dickens said it was cynical? I mean it wouldn't be decent.
MRS EYNSFORD HILL [seriously] Oh! I'm sure you don't mean that, Mr. Higgins.
“We” not civilized;
We can be pretentious in small talks, while not really knowing the subjects (e.g. of poetry, science, medicine, etc.)
we're all savages, more or less. We're supposed to be civilized and cultured—to know all about poetry and philosophy and art and science, and so on; but how many of us know even the meanings of these names?

32. 1. Characters and Manners
iii. Eliza’s Performances & The Eynsford Hill’s Responses

33. Eliza’s Performances
Higgins’ work: I've taught her to speak properly; and she has strict orders as to her behavior. She's to keep to two subjects: the weather and everybody's health (58)
-- how she pronounces, but not what she pronounces
Mrs. Higgins’ comments (pp ) (outsides vs. insides)
Eliza: (62-65)
Weather: like weather forecast
Aunt – sb did her in --Higgins: new small talk
Father—chronically drunk; Wives getting their husbands drunk to make them “fit to live with.”
Ha! ha! how awfully funny!
[puzzled] Done her in?
How dreadful for you!
sniggering

34. Freddy, Mrs. Eynsford Hill & Clara: Stage Direction
Freddy: [shaking hands with Mrs. Higgins] Ahdedo?
--forced and unnatural pronunciation
Mrs. Eynsford Hill: The mother is well bred, quiet, and has the habitual anxiety of straitened means.(59)
Clara: The daughter has acquired a gay air of being very much at home in society: the bravado of genteel poverty.

35. Freddy, Mrs. Eynsford Hill & Clara: Their Responses
Freddy: infatuated, not comprehending. (63)
Clara: needs to be in the marriage market  eager to please others and follow the trends
To her mother: [if you are not used to the small talk,] “People will think we never go anywhere or see anybody if you are so old-fashioned.”
' Nobody means anything by it. It's so quaint, and gives such a smart emphasis to things that are not in themselves very witty. I find the new small talk delightful and quite innocent' (66)
Rejects “early Victorian prudery” (67)
Mrs. Eynsford Hill:
not used to “[Clara’s] talking about men as rotters, and calling everything filthy and beastly” (65);
cannot take Eliza’s.

36. Let’s Take a Break 10: 30 – 10:45 Break 10:45 – 11:00 Group !
Mr. Higgins
Mrs. Higgins
Style
The Eynsford Hills
Eliza
Manners

37. About the story you chose, or Pygmalion – Finalized Script
11/14 Every Group
About the story you chose, or Pygmalion – Finalized Script
What is the theme and main message of your work, as opposed to the original one? (They can be the same.)
Which scene do you want to focus on in your text? How do you skip some?
How much dialogue? Among whom? Are you going to fill out the gaps in the original texts?
Setting – location and main props
Line Reading

38. 3. Review: Education & the Characters
Eliza, Higgins, Pickering and Mrs. Pearce: What do they each want or care about?
What are the three’s influences on Eliza?

39. Higgins’ and Eliza’s Desires
1) described as a baby twice
2) bad-tempered & impetuous, but likable (?)
3) Only scientific interest in humans (as accent 27); not interested in Eliza before 1) Eliza’s offer 2) Pickering’s bet.
4) Takes up the challenge (to turn a “draggletailed guttersnipe” [拖著又髒又濕的長裙的(邋遢)女子]流浪兒into a lady) without consideration of human feelings.
Eliza:
Wants to sell flowers in a flower shop
Willing to spend 2/5 of her income to do so.
Cannot fully comprehend all of what’s been discussed.
(35) Refuses to be bullied; insists on her right.
(37) repeatedly asserts herself with the limited language she has or learns on the spot (e.g. “good girl” “has feelings”).

40. Pearce’s and Pickering’s Cautions
Higgins: elated with the idea and his elocution;
-- You can adopt her.
-- She can return to the gutter.
-- Have some chocolate.
-- Does not think E has feelings or understand anything.(35);
-- Does not want to think about consequences.(36)
-- cannot stand women.
Pearce : practical
(34) -- where to put her;
-- He does not know her family
-- What’s to become of her
-- Her status in the house
-- “You’re tempting the girl.”
Pickering (36, 40)–sympathetic but interested in the experiment
-- places the bet
-- the girl has feelings
-- “woman”– not be violated

41. Three Pygmalion’s (pp. 40-43)
Higgins – Interested in proving his abilities in teaching pronunciation; strict
Pickering – checks to see if Higgins is a gentleman, comforting
Pearce -- corrects Higgins’ language, dressing and table manners.
Act 3 p. 69 pronunciation and cultural taste
p. 39. Clean and respectable lady

42. Summary: Their Influences on Eliza
Higgins’ analysis + training + scolding
Mrs. Pearce – not just a housekeeper, but a mother figure in this house.
Higgins: “Here I am, a shy, diffident sort of man. I’ve never been able to feel really grown-up and tremendous, like other chaps.” (43)
Bathing and dressing her properly;
( ) Asks Higgins to behave himself in language (not to swear), dressing, table manners(to wipe his hands on his dressing gown), etc, in front of Eliza.
Pickering:
Offers a spiritual support (54-55); like a buffer zone between the two.
Teaches her self-respect-- courteous, calls Eliza Ms. Doolittle (29; 36; 53);

43. Eliza’s Education
From Rags to Riches-- The First Few Things she learns:
Material base: the advantage of bathing; wearing night gown;
Self-Image: the Mirror  needs to get used to it (? Self-image, vanity, sexual identity)
Self-Respect: being called “Miss Doolittle” (53) “it sounded so genteel.”
“something to shew”— (snobbery)
Take a taxi to put the girls in their place a bit. I wouldn’t speak to them, you know.
the fashionable (53)
5. Pronunciation: (54)

44. 6. Overview: Emerging General Issues
Class differences and social mobility
How are class differences marked?  And changed?
Money, dresses, boots, whistle sound, taxi.
Language & Accent  Place (Lisson Grove, Wimpole Street, Earlscourt, etc.); rooms
Jobs (flower girl, dustman) and activities (drinking, theatre-going, “at-home” day, parties)
Ways of survival and sense of Morality
a woman or lady’s positions: e.g. Eliza, Clara, Mrs. Higgins, Mrs. Pearce and Mrs Eynsford Hill
Transformation & Class Mobility: Eliza, Mr. Doolittle, The Eynsford Hills.
Appearance:
manners
Reality

45. Overview: Emerging General Issues
4. The play as a comedy of manners
5. The play as a “romance” vs. gender relations
How does Shaw re-define romance?
Changes of Eliza’s relations with Higgins–
"that thing," "insect" "squashed cabbage leave" ”draggle-tailed guttersnipe”

46. Plot Development III IV V Eliza on the rise (princess)
Acts III – V: a series of transformation and reversals
III
Eliza on the rise (princess)
the beginning of Clara’s education IV
No longer an artificial duchess, Eliza leaves Wimpole, changing to walking dress. V
Eliza’s argument with Higgins on equal position—another tug of war
Mr. Doolittle’s transformation
Se-quel
Eliza & Higgins, & Freddie; Eliza & Higgins.
Clara’s changes

47. See you next time!!!

48. Next Time Read Act III (pp. 71-87) + Act V
Answer 1 question online and in class
the script final—with all the lines ready and stage directions—ideas about stage prop (Act II & III, split stage?) subtitles?
11/28 noon -- theatre meeting with the backstage crew

49. 11/21 Class Discussion Questions
On Act III; Post your group responses before class
Characters & Manners:
Group 9 & 10 Eliza’s Education: What has she achieved respectively in the two parts of Act 3, and where does she fall short?
Group 11 & 12 Any interesting plot reversals? (67; 68-70; 75)
Group 5 & 6 What do they shed light on Victorian manners?
Group 3 & 4 The original theatrical version does not show the climatic scene of the Embassy’s party. Do you know why?

50. 11/21 Class Discussion Questions
On Act IV; Post your group responses before class
Group 7 & 8: Scientific Creation vs. Human Concern
i. Higgins, Pickering & Eliza : Why is Eliza angry at the beginning of Act IV?
Why are Higgins or Pickering ignorant about it?
What are the clues to their lack of comprehension?
ii. Higgins & Eliza What do you think about the fight between the two? What does Eliza want and can Higgins come to terms with her? What do they each care about? Where are the turning points in their dialogue? Are there signs of affection?
Group 1 & 2 What about Freddy? Is he Eliza’s “Way Out”? Aren’t their meeting and kisses at night dangerous or scandalous?

51. 11/21 Class Discussion Questions –for all
Now with the plot finalized, can you describe the theme of your performance?
How does the stage setting, or any of the props, help you convey the theme?
Character Performance: one character memorizes a few lines to perform in class

52. Your Choices
Group 1 & 2: Act 5 Group 3 & 4: Act 3 Group 5 & 6: Act 1 Group 7 & 8: Act 4
Group 9 & 10: Act 3 (At-Home Party, maybe with practice of manners) Group 11&12: Act 2

53. Mini Play Contest: Tentative Schedule
Group
10月31日
General Introd
Job Division
11月7日
Act I and Act II. (pp )
Character Analysis & Theme
11月14日
Act II & III (pp )
Line Reading &
Creative Adaptation (script 1st draft ready)
11月21日
Act III-IV (pp Act V)
Performance &
Set and Prop
11月28日
Act V and Postscript
Theme and Overall Presentation
12月5日
Mini Play Preparation Poetry I: Lyric and Tone
Rehearsal 12/10
(12:15-3:30)
12月12日
Performance Day

54. See you next time!!!