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Pygmalion

by Bernard Shaw

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Set in early 20th-century London, the play by Bernard Shaw presents a social satire centered on language, class, and identity. It depicts the attempt of phonetics professor Henry Higgins to transform a Cockney flower girl, Eliza Doolittle, into a person capable of passing as a member of high society through proper speech lessons. The story unfolds as Higgins and Colonel Pickering agree to a bet, with Eliza seeking to improve her social prospects. The play examines themes of social class distinctions, personal transformation, and the arbitrary nature of societal standards, set against the backdrop of Edwardian Britain.

Written in 1912, "Pygmalion" belongs to the British dramatic tradition and exemplifies Shaw's wit and social critique. The work is a comedy that combines elements of satire and character study, highlighting the contrasts and tensions between different social classes. It remains influential for its exploration of language’s role in social mobility and identity, later inspiring adaptations beyond the theatrical stage.

From the opening pages

apostrophes for contractions such as “can’t”, “wouldn’t” and “he’d” were omitted, to read as “cant”, “wouldnt”, and “hed”. This etext edition restores the omitted apostrophes. PYGMALION BERNARD SHAW 1912 PREFACE TO PYGMALION. A Professor of Phonetics. As will be seen later on, Pygmalion needs, not a preface, but a sequel, which I have supplied in its due place. The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what it sounds like. It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him. German and Spanish are accessible to foreigners: English is not accessible even to Englishmen. The reformer England needs today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play. There have been heroes of that kind crying in the wilderness for many years past. When I became interested in the subject towards the end of the eighteen-seventies, Melville Bell was dead; but Alexander J. Ellis was still a living patriarch, with an impressive head always covered by a velvet skull cap, for which he would apologize to public meetings in a very courtly manner. He and Tito Pagliardini, another phonetic veteran, were men whom it was impossible to dislike. Henry Sweet, then a young man, lacked their sweetness of character: he was about as conciliatory to conventional mortals as Ibsen or Samuel Butler. His great ability as a phonetician (he was, I think, the best of them all at his job) would have entitled him to high official recognition, and perhaps enabled him to popularize his subject, but for his Satanic contempt for all academic dignitaries and persons in general who thought more of Greek than of phonetics. Once, in the days when the Imperial Institute rose in South Kensington, and Joseph Chamberlain was booming the Empire, I induced the editor of a leading monthly review to commission an article from Sweet on the imperial importance of his subject. When it arrived, it contained nothing but a savagely derisive attack on a professor of language and literature whose chair Sweet regarded as proper to a phonetic expert only. The article, being libelous, had to be returned as impossible; and I had to renounce my dream of dragging its author into the…

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