Pygmalion LIT LIFE Act II Act III Part

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

Your Works * Give names of reporters A 1/10 13 B 2/7 13 C 3/9 12 P-Act 5 P- Act 4 P-Act 2 Meeting 1* 1* 1 Analysis 2 2? 2 reports D 4/11 11 E 5/8 13 F 6/12 12 P- ACT 1 P- ACT 3 Act 2 training Meeting ? 2 1 Analysis 2 (2 nd too short) 2 ? 2 reports Upcoming!!! 1) 11/7 Script due (at Eng. Site) – with an explanation of your theme, what you’ve cut and/or changed 2) Costumes—get costumes by 11/19; estimate expenses, too. Each group no more than 2000 dollars. 3) 11/19 – (sound lighting) meeting? Libri. Vox Act 1 Act 2 Act 3 Act 4 Act 5 14: 50 43: 45 23: 00 13: 59 36: 00

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

Class Discussion Questions -Act II On Act II & III; Post your group responses before class Group C Stage Direction (Act II) What does the stage description on pp. 26 -26 reveal more about Higgins? Do you find him a likeable person? Can you recreate the scene in class (on your ppt)? Group D 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?

1. Stage Directions Characters: Higgins vs. the Others i. LIT. & LIFE What does the stage description on pp. 26 -27 reveal more about Higgins?

Setting – Higgin’s (1) class difference • 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

Setting (1184 -85) – (2) 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’)

Art works in Higgins’ Living Room Giovanni Battista Piranesi’s Etching (source: Wikipedia) mezzotint (鏤刻 銅版) portrait Lack of colors and warm human concern

Stage Direction Higgins • Well-off, a lot of furniture, etchings but not paintings • Scientific: a lot of machines in his drawing room. • GBS’s bias for Higgins? – “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.

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? LIT. & LIFE

Discussion as a tug of war (pp. 27 -37)= H active & 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) where to put her 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 & diamond (35 -36) 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. . .

Battle of will tug of war (1): MONEY, PASSION WITHOUT A PLAN • 1. Higgins not interested 2. Eliza offers money 3. Higgins on money • 4. Eliza shocked by the idea of paying 60 pounds in tears wants handkerchief • 6. Eliza shocked and hurt 5. Pickering provides an incentive (31) Higgins gets carried away ”put her in dustbin”

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

MORE DISCUSSIONS (40 -43) Pickering Mrs. Pearce • Are you a gentleman? Re: Higgins on women • Watch your manners and language -- not swear -- personal cleanliness -- not in dressing gown, not use it as napkin, not eat everything from the same plate,

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

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

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 p. 39. Clean and respectable lady Pearce -- corrects Higgins’ language, dressing and table manners. Act 3 p. 69 pronunciation and cultural taste

Summary: Their Influences on Eliza • • Higgins’ analysis + training + scolding Mrs. Pearce – not just a housekeeper, but a mother figure in this house. – 1. 2. • 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; (1195 -96) 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)

Class Discussion Questions -Act II On Act II & III; Post your group responses before class Group E 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.

Mr. Doolittle: Another Way of Life • Work + Fun: He drinks, does his job (as a navvy, unskilled laborer or digger, 人) only once in a while, and tries to get money out of others. (53) So he is a disgrace to Eliza. • His Rhetoric • 1) emotional appeal and common moral reasoning • 2) practical appeal: straightforward in appealing to H as “a man of the world, ” bargaining • 3) self-assertive claims: to take the line of being “undeserving” poor (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. ”

Doolittle’s Use of Rhetoric [Review of Bro. Koss’s Points]: ingratiating, negotiating, self- asserting, being honest, using parallelism & rhetoric questions • pp. 48 -49 [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?

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

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.

Pygmalion: “underserving poor” = more money means higher class and moral status? How about upper class? Eliza – accent = higher class; how about money & marriage? • Dress, Taxi • Lessons Upper Class Less Money Middle Class More Money Lower Class Less/No Money • Manners • Taste • Accent Money Class Marriage Morality ? ? Class Mobility vs. Relative Opposition between Middle (+) and Lower Classes (-)

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. 47 -48 Mr. Doolittle’s: Governor. Well, what's a five pound note to you? And what's Eliza to me?

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.

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) • 61 -62 -- "we're all savages" speech.

Class Discussion Questions - Act III On Act II & III; Post your group responses before class Group A: Stage Direction (Act III) What does it reveal about Mrs. Higgins. Again, try to recreate the setting. Group F (Act III) : How does Mrs. Higgins look at Higgins’ experiment differently from Higgins and Pickering? Group B: 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?

1. Characters and Manners LIT. & LIFE i. Mrs. Higgins vs. Higgins (Stage directions and Dialogue) (Group A)

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

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

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

Mrs. Higgins • 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. (Ref) • Cares about social occasion such as athome tea party and its proper manners

Mrs. Higgins’ blue and white Arts and Crafts garden Room Image source: http: //www. rosso-ubarri. com/blog/

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.

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. ]

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'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? – “We” not civilized; – We can be pretentious in small talks, while not really knowing the subjects (e. g. of poetry, science, medicine, etc. )

1. Characters and Manners LIT. & LIFE ii. Eliza’s Performances & The Eynsford Hill’s & Mrs. Higgins’ Responses (Group F & B)

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. 58 -59) (outsides vs. insides) [Mrs. E • Eliza: (62 -65) [F] Ha! ha! puzzled] Done her – in? Weather: like weather forecast how awfully funny! – Aunt – sb did her in --Higgins: new small talk – Father—chronically drunk; Wives getting their husbands drunk to make them “fit to live with. ” Mrs. E How [F] sniggering dreadful for you!

New Small Talk & Social Manners: 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.

Freddy, Mrs. Eynsford Hill & Clara: Their Responses to NST Freddy: infatuated, not comprehending. (63) Clara: needs to be on 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.

Mrs. Higgins’ Responses • [Before the conversation] no way to separate the social small talk with the “insides” • “A problem” came in with her. (70) – not her father – But “what’s to be done with her afterwards” • HIGGINS …She can go her own way, with all the advantages I have given her. • MRS HIGGINS The advantages of that poor woman [Clara] +who was here just now! The manners and habits that disqualify a fine lady from earning her own living without giving her a fine lady's income! Is that what you mean?

Every Group Pygmalion – Finalized Script A. Scene and Theme 1) What is theme and main message of your work, as opposed to the original one? (They can be the same. ) 2) Which scenes do you focus on in your text? What do you omit? Does this cutting affect your presentation of theme? 3) How much dialogue? Among whom? Are you going to fill out the gaps in the original texts? B. Your Setting – location and main props -DRAWING C. Line Reading & Recording

10: 30 – 10: 45 Break 10: 45 – 11: 00 Group ! Style LIT. & LIFE Manners Mr. Higgins The Eynsford Hills Mrs. Higgins Eliza

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

Higgins’ and Eliza’s Desires • Higgins: 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: 1. Wants to sell flowers in a flower shop 2. Willing to spend 2/5 of her income to do so. 3. Cannot fully comprehend all of what’s been discussed. 4. (35) Refuses to be bullied; insists on her right. 5. (37) repeatedly asserts herself with the limited language she has or learns on the spot (e. g. “good girl” “has feelings”).

Eliza’s Education • From Rags to Riches-- The First Few Things she learns: 1. 2. 3. 4. 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)

Overview: Emerging General Issues 1. Class differences and social mobility • How are class differences marked? And changed? • Appearance: • manners Reality • • Money, dresses, boots, whistle sound, taxi. Language & Accent Place (Lisson Grove, Wimpole Street, Earlscourt, etc. ); rooms Jobs (flower girl, dustman) and activities (drinking, theatregoing, “at-home” day, parties) Ways of survival and sense of Morality 2. a woman’s or lady’s positions: e. g. Eliza, Clara, Mrs. Higgins, Mrs. Pearce and Mrs Eynsford Hill 3. Transformation & Class Mobility: Eliza, Mr. Doolittle, The Eynsford Hills.

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”

Plot Development • 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 V Sequel duchess, Eliza leaves Wimpole, changing to walking dress. Eliza’s argument with Higgins on equal position— another tug of war Eliza & Higgins, & Freddie; Eliza & Higgins. Mr. Doolittle’s transformation Clara’s changes

Next Time 1. Read Act III (pp. 71 -87) + Act V 2. Answer 1 question online and in class 3. the script final—with all the lines ready and stage directions—ideas about stage prop (Act II & III, split stage? ) subtitles? LIT. & LIFE 4. 11/19 noon -- theatre meeting with the backstage crew (learning sound & lighting)

11/12 Class Discussion Questions On Act III; Post your group responses before class 1. Characters & Manners: – Characters & Manners: Group E Eliza’s Education: What has she achieved respectively in the two parts of Act 3, and where does she fall short? Group F Any interesting plot reversals? (67; 6870; 75) Group A What do they shed light on Victorian manners? Group B The original theatrical version does not show the climatic scene of the Embassy’s party. Do you know why?

11/12 Class Discussion Questions On Act IV; Post your group responses before class 1. 2. Group C: 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 D What about Freddy? Is he Eliza’s “Way Out”? Aren’t their meeting and kisses at night dangerous or scandalous?

11/12 Class Discussion Questions –for all 1. Now with the plot finalized, can you describe theme of your performance? How does the stage setting, or any of the props, help you convey theme? 2. Any problems with the costumes—bring photos to class. 3. Character Performance: one or two characters memorize a few lines to perform in class

Mini Play Contest: Tentative Schedule Play 10/22 General Introd 10/29 Act I and Act II. (pp. 11 -37) 11/5 Act II & III (pp. 38 -71) Cast Job Division starts Crew Group Leaders Production Plan & Text Chosen Casting Script Ready (11/6 Line reading the latest) 11/12 Act III-IV (pp. 71 -87 + Act V) Rehearsal w/ script Script Confirmed 11/19 Act V and Postscript Technical Meeting? Rehearsal w/ script Costume budget deadline Rehearsal w/out Set and Prop script Costumes Mini Play Preparation Poetry I: Lyric and Tone Poetry II: Diction & Figurative 12/3 blocking? Language 1 12/10 Mini Play Contest Rehearsal (1): Advisor Hegel Tsai 11/26 12/17 Performance Day 　 Subtitles produced Dress Rehearsal 12/16 (1: 00 -3: 30)

Performance Record 11/5 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)

LIT. & LIFE