Study Guide for Educators

Home , Eliza Doolittle, My Fair Lady, The Rain in Spain

PRESENTS

Book and lyrics by JAY ALAN LERNER Music by FREDERICK LOEWE Adapted from PYGMALION by GEORGE BERNARD SHAW Marian Theatre: April 23–May 10, 2015 Photos: Luis Escobar Reflections Solvang Festival Theater: June 11–July 12, 2015 www.pcpa.org Photography Studio TABLE OF CONTENTS

Welcome to the PCPA / Theater Etiquette...... 2 How to Use This Study Guide...... 3 Story and Production Elements Production Team and Cast...... 4 About the Authors...... 5 Synopsis of My Fair Lady...... 6 Themes...... 10 Key Words...... 11 British Currency Reference Guide...... 12 Student Activities Additional Materials...... 13 Writing and Discussion Prompts...... 14 Excerpts from Pygmalion Act 2: Doolittle’s “undeserving poor” speech...... 15 Act 5: Doolittle’s “middle class morality” speech...... 16 Act 4: Eliza and Higgins’s argument...... 17 Sequel: What Happened Afterwards (Shaw’s epilogue)...... 20

1 A NOTE TO THE TEACHER Thank you for bringing your students to the PCPA’s Paciﬁc Conservatory Theatre at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theater for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance, and to prompt discussion, critical thought, and creativity after the performance.

SUGGESTIONS FOR STUDENT ETIQUETTE Notable behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single ﬁle. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every group of ten students. Teachers and adults must remain with their group during the entire performance. 2. Once seated in the theater, students may go to the bathroom in small groups with the teacher's permission. Please chaperone younger students. Once the show is over, please remain seated until the House Manager dismisses your school. 3. Please remind your students that we do not permit: ‣ food, gum, drinks, smoking, hats, backpacks, or large purses ‣ disruptive talking ‣ disorderly and inappropriate behavior (stepping on/over seats, throwing objects, etc.) ‣ cameras, iPods, cell phones, beepers, tape recorders, handheld video games ‣ (Adults are asked to put any beepers or cell phones on silent or vibrate) In cases of disorderly behavior, groups may be asked to leave the theater without ticket refunds. 4. Teachers should take time to remind students before attending the show of the following about a live performance: Sometimes we forget when we come into a theater that we are one of the most important parts of the production. Without an audience there would be no performance. Your contribution of laughter, quiet attention, and applause is part of the play. When we watch movies or television we are watching images on a screen, and what we say or do cannot affect them. In live theater, the actors are real people who are present and creating an experience with us at that very moment. They see and hear us and are sensitive to our response. They know how we feel about the play by how we watch and listen. An invisible bond is formed between actors and a good audience, and it enables the actors to do their best for you. A good audience helps make a good performance.

The PCPA welcomes you as a partner in the live theater experience from the moment you take your seats. We hope that your visit will be a highlight of your school year.

2 How to use this study guide

This study guide is a companion piece designed to explore many ideas depicted in the PCPA’s stage production of My Fair Lady. Although the guide’s intent is to enhance the student’s theatrical experience, it can also be used as an introduction to the components of a play and the production elements involved in a play’s presentation. The guide has been organized into three major sections:

Story and Production Elements

Student Activities

Excerpts from Pygmalion

Teachers and group leaders will want to select portions of the guide for their speciﬁc usage. Discussion questions are meant to provoke a line of thought about a particular topic. The answers to the discussion questions in many instances will initiate the process of exploration and discovery of varied interpretations by everyone involved. This can be as rewarding as the wonderful experience of sight and sound that My Fair Lady creates onstage.

See the “Additional Materials” page in the Student Activities section for recommendations to prepare students before attending the PCPA performance of My Fair Lady or to enrich post-performance discussions and analyses. Use the Excerpts from Pygmalion section as a comparison tool and as a reference for important thematic moments in the story.

3 MY FAIR LADY

Book and lyrics by JAY ALAN LERNER Music by FREDERICK LOEWE Adapted from PYGMALION by GEORGE BERNARD SHAW

CREATIVE TEAM Director/Choreographer Michael Jenkinson Musical Director Callum Morris Scenic Designer Jason Bolen Costume Designer Eddy L. Barrows Lighting Designer Michael P. Frohling Sound Designer Elisabeth Rebel Stage Manager Jahana Azodi*

CAST OF CHARACTERS Eliza Doolittle Karin Hendricks Colonel Pickering Peter S. Hadres* Mrs. Higgins Kitty Balay* Henry Higgins Andrew Philpot* Freddy Eynsford-Hill Matt Koenig Alfred P. Doolittle Erik Stein* Harry Chad Patterson Jamie George Walker Mrs. Pearce Elizabeth Stuart* Mrs. Eynsford-Hill Ambre Shoneff Ensemble Sydni Abenido, Lucas Michael Chandler, Mike Fiore, Annali Fuchs, Holly Halay, Spencer Hamilton, Jacob Inman, Mia Mekjian, Jillian Osborne, Alysa Perry, Alex Stewart, Galen Schloming, Jordan Stidham, Katie Wackowski

* Member, Actors’ Equity Association

4 About the Authors

Jay Alan Lerner (book and lyrics, My Fair Lady) Lerner was born into a wealthy family in 1918 and studied piano beginning at the age of 5. He attended Juilliard in 1936-1937 and later graduated from Harvard. There he lost the sight in one eye during a boxing match forcing him to give up his plans of becoming a pilot. He opted for Harvard’s theater program and developed a love of writing radio plays. His mentors were Oscar Hammerstein and Lorenz Hart. His partnership with Frederick Loewe began in 1942. After three unsuccessful attempts they landed their first real hit with Brigadoon. The team is also credited for creating Paint Your Wagon, Gigi, and Camelot. Their final collaboration, after Lerner coaxed Loewe out of retirement, was the unsuccessful film The Little Prince, 1974. Lerner continued writing musicals, one of which won him an Academy Award for his screenplay for An American in Paris. Working with Burton Lane he wrote Royal Wedding and On a Clear Day You Can See Forever. During his career he has collaborate with Kurt Weill, Andre Previn, and Leonard Bernstein twice, once as a fellow classmates at Harvard then much later, in 1976, on Bernstein’s last musical, 1600 Pennsylvania Avenue. After Oscar Hammerstein passed away, Lerner attempted a collaboration with Richard Rodgers, though that proved unworkable.

Frederick Loewe (composer, My Fair Lady) Loewe was born in Berlin in 1901. A self-taught pianist (from the age of 8) he helped his father—an operetta star—rehearse for shows. By the time he turned 15, he was receiving public recognition for his compositions and performances. Accompanying his father to New York in 1925 he decided to make a go of it on Broadway, though with little success. He took odd jobs, including playing piano in movie theaters accompanying silent pictures which he improvized on the spot. Loewe met Lerner by chance at a famous night spot, The Lambs Club, in 1942 and their first collaboration was on the production of Life of the Party which was not a hit. It took a couple more attempts before they created Brigadoon which established the writing team with world-wide recognition. Following the film musical Gigi in 1958 – which won nine Academy Awards including Best Picture – the team wrote Camelot to unenthusiastic responses from the first audiences. The stars, Richard Burton, Julie Andrews, and Robert Goulet were summoned to sing a few numbers from the musical on the Ed Sullivan Show. Overnight, Camelot was an immediate hit. Lowe retired to Palm Springs, California. He was inducted into the Songwriters Hall of Fame in 1972.

George Bernard Shaw (playwright, Pygmalion) George Bernard Shaw was born in 1856 in Dublin, Ireland. His father was an alcoholic and cut off Shaw’s education at the age of 15. In 1876, he moved to London and established himself as a leading music and theater critic along with writing novels and essays on a wide variety of subjects. He also wrote thirty-six plays, writing up until his death at the age of 94. He spoke out on politics, poverty, class struggle, and women’s rights. He won an Academy Award for Pygmalion in 1938 and the Nobel Prize for literature in 1925. Other famous plays by Shaw include Mrs. Warren’s Profession, Candida, Major Barbara, Heartbreak House and Saint Joan. Shaw did not wish to see Pygmalion, his witty study of middle-class morality and class distinction, become a musical. And, it wasn’t until after his death, that Lerner and Loewe were asked by ﬁlm producer Gabriel Pascal to take on the project.

5 Synopsis of My Fair Lady (Page 1 of 4)

–––––SONG LIST––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Act 1, Sc. 1 Act 1, Sc. 5 Act 2, Sc. 1 Act 2, Sc. 4 - Why Can’t the - Just You Wait - You Did It - A Hymn to Him English? The Servants’ Chorus Reprise: Just You Wait - - Act 2, Sc. 5 - Wouldn’t It Be - The Rain in Spain Loverly? Act 2, Sc. 2 - Without You - I Could Have Danced Reprise: On the Street - Act 2, Sc. 6 Act 1, Sc. 2 All Night Where You Live - With a Little Bit of - I’ve Grown Act 1, Sc. 7 - Show Me Accustomed to Luck Ascot Gavotte - Act 2, Sc. 3 Her Face Act 1, Sc. 3 - End of Gavotte - The Flower Market - I’m an Ordinary Man Act 1, Sc. 8 - Get Me to the Church Act 1, Sc. 4 - On the Street Where On Time - Reprise: With a Little You Live Bit of Luck

––––––––––ACT ONE–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Eliza Doolittle is a poor Cockney girl who sells flowers on the streets of London’s Covent Garden market. One day, she meets gentlemen Colonel Pickering, a respected dialectician, and Henry Higgins, a gifted and intelligent professor of phonetics. Higgins makes a large amount of money tutoring people who wish to exchange their natural dialect for the upper class British style of speech (“Received Pronunciation,” or RP). Higgins boasts that he is so skilled he could reform even Eliza's thick, lower class Cockney accent and pass her off as a duchess at the upcoming Embassy Ball. Higgins invites Pickering to stay at his home. After they leave, Eliza and her Cockney friends sing about their simple desire for a warm home, relaxation, and companionship (“Wouldn’t It Be Loverly?”). On her way home, Eliza runs into her chronically absent father, Alfie Doolittle. Doolittle and his pals Harry and Jamie were kicked out of a bar for not paying their tab. Doolittle begs Eliza for some coin and Eliza initially refuses. After some wheedling from her father, Eliza relents because of her good fortune that night from Higgins. Doolittle sings about his inexplicable good luck and opportunism in “With a Little Bit of Luck.” Later, Higgins and Pickering are surprised with a visit from Eliza, who is interested in lessons in the RP dialect so she can get a good middle class job as a lady in a shop. Pickering ups the ante by betting Higgins all the expenses of the lessons that he couldn’t pass Eliza off as a duchess at the Embassy Ball (as Higgins had boasted of in the first scene). Higgins accepts the bet, excited by the challenge. However, Eliza almost leaves due to Higgins’s brash treatment of her. Eventually, Eliza accepts the offer and Higgins’s housekeeper, Mrs. Pearce takes her off to begin the transformation. Pickering expresses his concern about Higgins taking advantage of Eliza. Higgins reassures him, emphasizing his distaste for relationships with women in the song “I'm an Ordinary Man.” Three days laters, Eliza's father Alfie Doolittle finds out that Eliza has moved in with a wealthy gentleman. Doolittle, excited to take advantage of the situation, again celebrates his inexplicable good fortune with another iteration of “With a Little Bit of Luck.”

6 Synopsis of My Fair Lady (Page 2 of 4) Alﬁe Doolittle visits Higgins and Pickering at Higgins's home. Doolittle makes his case as one of the “undeserving poor” (Pygmalion 2.256). Higgins, impressed with and entertained by the man's unique gift of rhetoric, acquiesces to his request of ﬁve pounds in exchange for Eliza.

Andrew Philpot* as Henry Higgins, Karin Hendricks as Eliza Doolittle

After Doolittle leaves, Higgins instructs Mrs. Pearce to send Doolittle’s information to Ezra Wallingford, an American millionaire looking for a speaker for his moral reform league. Eliza, who has been drilling her vowel sounds all day, complains to Higgins of the constant exercise. Higgins tells Eliza she can only have a break when she can correctly pronounce her vowels in the RP dialect. Eliza vents her frustration and anger with Higgins in the song “Just You Wait.” Time progresses as Eliza continues her pronunciation exercises. The household staff grows increasing concerned for Higgins as he works with Eliza into the early hours of the morning (“The Servants’ Chorus”). Then, late one night, Eliza ﬁnally becomes able to pronounce the RP dialect properly. Eliza, Higgins, and Pickering celebrate the success in the song “The Rain in Spain” and Higgins dances with Eliza in celebration. Higgins decides to test Eliza’s progress at Ascot, a highly

* Member, Actors’ Equity Association

7 Synopsis of My Fair Lady (Page 3 of 4) fashionable, upper class horse race event. Mrs. Pearce attempts to usher Eliza to bed, but Eliza is too elated from her dance with Higgins to sleep (“I Could Have Danced All Night”). At Ascot, Colonel Pickering runs into Higgins’s mother, Mrs. Higgins, who is shocked to learn that her son has brought a common ﬂower girl to the races. Eliza meets Mrs. Higgins, Freddy Eynsford- Hill, his mother, and the Lord and Lady Boxington. She shocks these upper class folk with unconventional conversation and a shockingly explicit word.

Andrew Philpot* as Henry Higgins, Karin Hendricks as Eliza Doolittle, Peter S. Hadres* as Colonel Pickering

Freddy Eynsford-Hill, however, is charmed by Eliza's unconventional behavior. He attempts to call on Eliza later that day, but she refuses to see anyone after the Ascot debacle. Freddy doesn't mind; he is happy to simply wait outside her door (“On the Street Where You Live”). After six weeks of intense training in upper class behavior and etiquette, the day of the Embassy Ball has arrived. Higgins and Pickering are waiting for Eliza to finish getting ready; Pickering is rattled with nerves, but Higgins is confident in Eliza's ability. In a rare moment of honest self-reflection, Higgins talks about what Eliza means to him and to this project. Finally, Eliza makes her grand entrance and the three of them leave for the ball.

* Member, Actors’ Equity Association

8 Synopsis of My Fair Lady (Page 4 of 4) ––––––––––ACT TWO–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– The second act opens with Eliza, Higgins, and Pickering returning from the Embassy Ball in the early hours of the morning. Eliza was hugely successful, fooling everyone into thinking she was an upper class lady—a princess, even. Higgins and Pickering recall the events of the evening and congratulate each other on their accomplishment in the song “You Did It.” When Pickering leaves for bed, Eliza explodes in anger to Higgins for ignoring her own part in the night’s success and for being so relieved that the project is over. She is driven by her anxiety over what will happen to her now that the experiment is over, fearing that she really will get tossed back onto the streets. Higgins is perplexed by her outburst, failing to understand where her worry is coming from. Eliza, hurt and angry, leaves the house with a suitcase of her clothes. She immediately runs into Freddy, who has been hanging around outside Higgins’s front door and writing to Eliza daily ever since Ascot. In the song “Show Me,” Freddy showers Eliza with beautiful language about his feelings for her. Eliza rejects his words, demanding action instead. In the early hours of the morning, Eliza arrives in Covent Garden. She finds some of her old Cockney friends who fail to recognize her with her new speech and clothes. Then her father Alfie Doolittle appears wearing fancy new clothes and treating money with flippancy. Ezra Wallingford, the American millionaire that Higgins recommended Doolittle to, was so taken by Doolittle that he left him four thousand pounds a year in his will (the modern equivalent of about $340,000). Doolittle bemoans his new fate as a respectable member of the middle class. He is on his way to the fashionable St. George's church to finally get married to the woman he’s been living with (as is expected according to middle class morality). He celebrates his last few hours of bachelorhood in the song “Get Me to the Church On Time.” Higgins and Pickering wake to find that Eliza is gone and has taken all her clothes with her. They are at a loss as to why she left and are anxious to get her back. Higgins expresses his bewilderment over her actions (and the behavior of women in general) in the song “Hymn to Him.” Later that morning, Higgins finally finds Eliza at his mother's house. He attempts to bring her back home, but Eliza and Mrs. Higgins resist his efforts, insisting he treat Eliza with more respect. Higgins and Eliza end up arguing and debating some more and again fail to come to an understanding. Eliza expresses her independence from Higgins in the song “Without You.” Higgins is impressed by Eliza's strength and articulation. Eliza leaves, declaring that she will never see Higgins again. Higgins makes his way back home exploring his conflicting feelings of missing Eliza and feeling angry with her (“Accustomed to Her Face”). When Higgins arrives home, he turns on a phonograph recording of their first meeting at his home and listens to her voice. In the final moment of the play, Eliza appears back in Higgins’s home.

9 Themes

Social class For a very long time, the English believed that the upper class was inherently more moral than the lower class. The imbalance of wealth between the upper and lower class was overwhelmingly high. Ascending the social hierarchy was a dream achieved by few. Henry Higgins transforms Eliza into an upper class lady by reforming Eliza’s speech, behavior, and clothing. This displays Higgins’s somewhat radical belief that class is not something one is born with, but something that one projects through certain speech, dress, and behavior patterns associated with wealth.

Female agency Eliza decides to take make a big change in her life by seeking lessons from Higgins. She is determined to raise her status from the desperately poor lower class and instead live a comfortable middle class life. Eliza’s dilemma over her future after the Embassy Ball highlights how few options were available to women of that time period. Indeed, the ﬁrst solution Higgins offers Eliza is to ﬁnd someone to marry. For the vast majority of women in that time period, marriage was the only option. However, Eliza wants more; she wants to live independently and provide for herself.

Peter S. Hadres* as Colonel Pickering, Andrew Philpot* as Henry Higgins, Karin Hendricks as Eliza Doolittle

* Member, Actors’ Equity Association

10 Key Words

Cockney: Refers to the culture and dialect of the Phonetic alphabet: “Bell’s Visible Speech” and working class of London. London’s working class “Broad Romic” referenced in My Fair Lady are both lived short and difficult lives, fraught with illness, phonetic alphabets used to record words by the way hunger, and poor working conditions. they sound rather than by the way they are spelled. Covent Garden: A major square in London, home Pygmalion: A story in Greek mythology in which to the Royal Opera House and St. Paul’s Church. A an artist named Pygmalion falls in love with a statue thriving market was held in Covent Garden, in of a beautiful woman he sculpted, Galatea, who is which street vendors sold a variety of goods ranging brought to life by the goddess Aphrodite. from flowers and produce to boxes of kittens. Received Pronunciation (RP): Previously called Dialect: A regional manner of speaking a particular “Queen's English,” colloquially called “posh” by language, including pronunciation and slang words many. This is the prestigious dialect of the British (i.e., Southern American English, Scottish English). upper class. Often confused with accent, which refers to the manner of speaking a non-native language. British slang terms London: At the turn of the century, London was Balmies: Crazies (also sp. “barmy”). the largest city in the world and had high influence as the capital of the British Empire, the world’s Blackguard: (Pronounced “blaggard”) A scoundrel. largest empire. Blighter: A person, usually male, who behaves in an Phonetics: The study of speech sounds. objectionable manner. Blimey (also Bly me): Expressing surprise, anger, etc; from the expression “[God] blind me.” Blinking, Blooming: Used as intensifiers; euphemistic substitutes for the expletive “bloody.” Bloke: A man, fellow. By George: An exclamation of astonishment, approval, determination, emphasis, etc.; euphemistic substitute for the phrase “by God.” Chap: A man; fellow. Chum: Close friend; roommate. Copper: Policeman; from slang term “cop,” meaning to catch, snatch, grab. Dashed: A term expressing astonishment. Ducky: A term of endearment or familiarity. Frightfully: Used as an intensifier. Garn: A response of disbelief, mockery, etc. Governer: Used to refer to one’s superior; someone in authority. Muttonheaded: Stupid or ignorant; foolish. Nark: A police informer. Off his chump: Crazy. Ruddy: Used as an intensifier; a euphemism for the expletive “bloody.” Swell: Dandy; a man who is much concerned with his dress and appearance. Karin Hendricks as Eliza Doolittle Tec: Shortening of “detective.”

11 British Currency Reference Guide

2005 equivalent British currency, 1910 in US dollars pound (£ or / ) 20 shillings $84.89

shilling (s or /-) 12 pence (pennies) $4.24 penny (d) 2 halfpence / 4 farthings (quarter pennies) $0.36

2005 equivalent Other monetary terms in US dollars sovereign 1 pound coin (£1) $84.89

half sovereign 1/2 pound coin (10s) $42.45

crown 5 shillings (5s) $21.20

half crown 2 shillings and 6 pence (2s 6d) $10.61

florin ( a ‘two bob bit’) 2 shillings (2s) $8.48

shilling (a ‘bob’) 12 pence (12d) $4.32

sixpence (a ‘tanner’) 6 pence (6d) $2.16

thruppence 3 pence (3d) $1.08

tuppence 2 pence (2d) $0.72

Source: http://www.nationalarchives.gov.uk/currency/default0.asp

12 Additional Materials Reading - Pygmalion by George Bernard Shaw (1912). Although some details were altered, the vast majority of the text of My Fair Lady was drawn directly from George Bernard Shaw’s 1912 play Pygmalion. The text is available online and in multiple downloadable formats at: http://www.gutenberg.org/ebooks/3825 • Excerpts from Pygmalion have been included in the ﬁnal pages of this guide. • Suggestion: Students can read the play together in class or they can group up and perform scenes for the class. - A Doll’s House by Henrik Ibsen (1879). George Bernard Shaw was inﬂuenced by the work of Henrik Ibsen, and particularly by his 1879 play A Doll’s House. As Mrs. Higgins says in her reprimand of Higgins and Pickering for their treatment of Eliza: “You certainly are a pretty pair of babies, playing with your live doll” (Pygmalion 3.180). Both plays explore to some extent the limited opportunities for women and the inherent expectation of dependence on the men in their lives. Viewing - 1900 UK (also: Britain in 1900). An informative documentary about Great Britain at the turn of the century, including interviews from people who were alive during the time period. - Servants: The True Story Of Life Below Stairs. A three-party BBC documentary series about the lives of British servants during the Victorian era through to World War II. - Downton Abbey (2010–present). Rated TV-PG by the MPAA. A popular British TV drama about a country manor house in Edwardian and post-Edwardian England. Although the life of the working class is somewhat romanticized and sanitized, this show can still provide a sense of the life and manners of the classes during the Edwardian era.

Peter S. Hadres* as Colonel Pickering, Andrew Philpot* as Henry Higgins, Karin Hendricks as Eliza Doolittle * Member, Actors’ Equity Association

13 Writing and Discussion Prompts

Elements of production 1. Critique the PCPA production of My Fair Lady. Think about speciﬁc production elements that worked or didn’t work for the play. How did the directing and choreography serve the story? What did the scenic design tell you about the world of the play? How did the lighting designer use lighting to create ambience and set the scene? What did the costume designs inform you about the characters and setting? How did the music add to and tell the story in different ways?

Story and themes 2. How are the various levels of social class explored and deconstructed throughout the play? How do Higgins’s beliefs challenge traditional beliefs about what a class is? 3. Compare how different characters in the story treat Eliza and the various ways that affects her life and outlook. 4. Analyze and respond to Alﬁe Doolittle’s speech to Higgins and Pickering in Act 1, Scene 5 of My Fair Lady (or Act 2 in Pygmalion). What exactly is Doolittle saying in this speech? Why does he say it? In what ways do you agree or disagree with him? You can use the excerpt of Doolittle’s speech from Pygmalion as a reference, located on pg. 16 of this study guide. a. Examine what Doolittle says about himself and his new position in society after he’s inherited a portion of Wallingford’s money in his “middle class morality” speech (Act 2, Scene 3 in My Fair Lady, or Act 5 in Pygmalion—excerpt on pg. 17 of this study guide). 5. Choose a character from the play and write a character analysis on him/her. What needs and wants motivate him/her? What actions and tactics does the character employ to get what he/she wants? What is the character arc (how the character changes throughout the story) and how does it add to the story or highlight its themes? 6. Write your own sequel to My Fair Lady. What happens to the various characters in the play, both in the immediate and distant future? Alternatively, what would you want to happen, and what do you think actually would happen? Keep the setting and time period in mind as you explore your answer. a. Compare your sequel with George Bernard Shaw’s epilogue at the end of Pygmalion (see pg. 21 of this study guide). How is it different or similar to your sequel?

My Fair Lady and Pygmalion 7. Compare the ending of My Fair Lady with the ending of Pygmalion. Why do you think Pygmalion’s ending was changed in My Fair Lady? 8. Analyze the similarities and differences between My Fair Lady and Pygmalion. Why do you think changes were made? How did these changes affect the story, characters, and themes? Which versions of different events do you prefer and why? 9. What do you think of George Bernard Shaw’s sequel chapter to Pygmalion (see pg. 21 of this study guide)? Do you agree with his forecast for his characters’ futures? Why do you think he wrote the sequel the way he did? 10. Read A Doll’s House by Henrik Ibsen. What elements of Ibsen’s work do you ﬁnd (or ﬁnd absent) in Pygmalion or My Fair Lady?

14 Excerpts from Pygmalion Act 2: Doolittle’s “undeserving poor” speech

DOOLITTLE. Dont [sic] say that, Governor. Dont look at it that way. What am I, Governors both? I ask you, what am I? I'm one of the undeserving poor: thats what I am. Think of what that means to a man. It means that hes up agen middle class morality all the time. If theres anything going, and I put in for a bit of it, it's always the same story: "Youre undeserving; so you cant have it." But my needs is as great as the most deserving widow's that ever got money out of six different charities in one week for the death of the same husband. I dont need less than a deserving man: I need more. I dont eat less hearty than him; and I drink a lot more. I want a bit of amusement, cause I'm a thinking man. I want cheerfulness and a song and a band when I feel low. Well, they charge me just the same for everything as they charge the deserving. What is middle class morality? Just an excuse for never giving me anything. Therefore, I ask you, as two gentlemen, not to play that game on me. I'm playing straight with you. I aint pretending to be deserving. I'm undeserving; and I mean to go on being undeserving. I like it; and thats the truth. Will you take advantage of a man's nature to do him out of the price of his own daughter what hes brought up and fed and clothed by the sweat of his brow until shes 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.

Shaw, Bernard. Pygmalion, Act 2, Line 256. New York: Brentano, 1916. Bartleby Library: Great Books Online. Ed. Steven H. van Leeuwen. July 1999. The New Bartleby Library. 31 Mar. 2015..

15 Excerpts from Pygmalion Act 5: Doolittle’s “middle class morality” speech

DOOLITTLE. It aint [sic] the lecturing I mind. I'll lecture them blue in the face, I will, and not turn a hair. It's making a gentleman of me that I object to. Who asked him to make a gentleman of me? I was happy. I was free. I touched pretty nigh everybody for money when I wanted it, same as I touched you, Henry Higgins. Now I am worrited; tied neck and heels; and everybody touches me for money. It's a fine thing for you, says my solicitor. Is it? says I. You mean it's a good thing for you, I says. When I was a poor man and had a solicitor once when they found a pram in the dust cart, he got me off, and got shut of me and got me shut of him as quick as he could. Same with the doctors: used to shove me out of the hospital before I could hardly stand on my legs, and nothing to pay. Now they finds out that I'm not a healthy man and cant live unless they looks after me twice a day. In the house I'm not let do a hand's turn for myself: somebody else must do it and touch me for it. A year ago I hadnt a relative in the world except two or three that wouldnt speak to me. Now Ive fifty, and not a decent week's wages among the lot of them. I have to live for others and not for myself: thats middle class morality. You talk of losing Eliza. Dont you be anxious: I bet shes on my doorstep by this: she that could support herself easy by selling flowers if I wasnt respectable. And the next one to touch me will be you, Henry Higgins. I'll have to learn to speak middle class language from you, instead of speaking proper English. Thats where youll come in; and I daresay thats what you done it for. MRS. HIGGINS. But, my dear Mr. Doolittle, you need not suffer all this if you are really in earnest. Nobody can force you to accept this bequest. You can repudiate it. Isnt that so, Colonel Pickering? PICKERING. I believe so. DOOLITTLE: [softening his manner in deference to her sex] Thats the tragedy of it, maam. It's easy to say chuck it; but I havent the nerve. Which of us has? We're all intimidated. Intimidated, maam: thats what we are. What is there for me if I chuck it but the workhouse in my old age? I have to dye my hair already to keep my job as a dustman. If I was one of the deserving poor, and had put by a bit, I could chuck it; but then why should I, acause the deserving poor might as well be millionaires for all the happiness they ever has. They dont know what happiness is. But I, as one of the undeserving poor, have nothing between me and the pauper's uniform but this here blasted three thousand a year that shoves me into the middle class. (Excuse the expression, maam: youd use it yourself if you had my provocation). Theyve got you every way you turn: it's a choice between the Skilly of the workhouse and the Char Bydis of the middle class; and I havnt the nerve for the workhouse. Intimidated: thats what I am. Broke. Bought up. Happier men than me will call for my dust, and touch me for their tip; and I'll look on helpless, and envy them. And thats what your son has brought me to. [He is overcome by emotion].

Shaw, Bernard. Pygmalion, Act 5, Lines 61-4. New York: Brentano, 1916. Bartleby Library: Great Books Online. Ed. Steven H. van Leeuwen. July 1999. The New Bartleby Library. 31 Mar. 2015. .

16 Excerpts from Pygmalion Act 4: Eliza and Higgins’s ﬁght (Page 1 of 4)

HIGGINS. Yes: thats what drives me mad: the silly HIGGINS [looking at her in cool wonder] The people dont [sic] know their own silly business. creature i s nervous, after all. [Rising] However, it's over and done with; and now I LIZA [gives a suffocated scream of fury, and can go to bed at last without dreading tomorrow. instinctively darts her nails at his face] !! Eliza's beauty becomes murderous. HIGGINS [catching her wrists] Ah! would you? PICKERING. I think I shall turn in too. Still, it's been Claws in, you cat. How dare you shew your temper to a great occasion: a triumph for you. Good-night. [He me? Sit down and be quiet. [He throws her roughly goes]. (20) into the easy-chair]. (30) HIGGINS [following him] Good-night. [Over his LIZA [crushed by superior strength and weight] shoulder, at the door] Put out the lights, Eliza; and tell Whats to become of me? Whats to become of me? Mrs. Pearce not to make coffee for me in the morning: HIGGINS. How the devil do I know whats to become I'll take tea. [He goes out]. of you? What does it matter what becomes of you? Eliza tries to control herself and feel indifferent as she LIZA. You dont care. I know you dont care. You rises and walks across to the hearth to switch off the wouldnt care if I was dead. I'm nothing to you—not so lights. By the time she gets there she is on the point of much as them slippers. screaming. She sits down in Higgins's chair and holds HIGGINS [thundering] T h o s e slippers. on hard to the arms. Finally she gives way and flings LIZA [with bitter submission] Those slippers. I didnt herself furiously on the floor raging. think it made any difference now. HIGGINS [in despairing wrath outside] What the A pause. Eliza hopeless and crushed. Higgins a little devil have I done with my slippers? [He appears at the uneasy. (35) door]. HIGGINS [in his loftiest manner] Why have you LIZA [snatching up the slippers, and hurling them at begun going on like this? May I ask whether you him one after the other with all her force] There are complain of your treatment here? your slippers. And there. Take your slippers; and may LIZA. No. you never have a day's luck with them! HIGGINS. Has anybody behaved badly to you? HIGGINS [astounded] What on earth—! [He comes Colonel Pickering? Mrs. Pearce? Any of the servants? to her]. Whats the matter? Get up. [He pulls her up]. LIZA. No. Anything wrong? HIGGINS. I presume you dont pretend that I have LIZA [breathless] Nothing wrong—with y o u. Ive treated you badly. (40) won your bet for you, havnt I? Thats enough for you. I LIZA. No. dont matter, I suppose. (25) HIGGINS. I am glad to hear it. [He moderates his HIGGINS. Y o u won my bet! You! Presumptuous tone]. Perhaps youre tired after the strain of the day. insect! I won it. What did you throw those slippers at Will you have a glass of champagne? [He moves me for? towards the door]. LIZA. Because I wanted to smash your face. I'd like LIZA. No. [Recollecting her manners] Thank you. to kill you, you selfish brute. Why didnt you leave me HIGGINS [good-humored again] This has been where you picked me out of—in the gutter? You thank coming on you for some days. I suppose it was natural God it's all over, and that now you can throw me back for you to be anxious about the garden party. But thats again there, do you? [She crisps her fingers frantically].

17 Excerpts from Pygmalion Act 4: Eliza and Higgins’s ﬁght (Page 2 of 4) all over now. [He pats her kindly on the shoulder. She pleasure to look at you sometimes—not now, of course, writhes]. Theres nothing more to worry about. because youre crying and looking as ugly as the very LIZA. No. Nothing more for y o u to worry about. devil; but when youre all right and quite yourself, [She suddenly rises and gets away from him by going youre what I should call attractive. That is, to the to the piano bench, where she sits and hides her face]. people in the marrying line, you understand. You go to Oh God! I wish I was dead. (45) bed and have a good nice rest; and then get up and look HIGGINS [staring after her in sincere surprise] at yourself in the glass; and you wont feel so cheap. Why? in heaven's name, why? [Reasonably, going to Eliza again looks at him, speechless, and does not her] Listen to me, Eliza. All this irritation is purely stir. subjective. The look is quite lost on him: he eats his apple with a LIZA. I dont understand. I'm too ignorant. dreamy expression of happiness, as it is quite a good HIGGINS. It's only imagination. Low spirits and one. nothing else. Nobody's hurting you. Nothing's wrong. HIGGINS [a genial afterthought occurring to him] I You go to bed like a good girl and sleep it off. Have a daresay my mother could find some chap or other who little cry and say your prayers: that will make you would do very well. comfortable. LIZA. We were above that at the corner of Tottenham LIZA. I heard y o u r prayers. "Thank God it's all Court Road. over!" HIGGINS [waking up] What do you mean? (55) HIGGINS [impatiently] Well, dont you thank God it's LIZA. I sold flowers. I didnt sell myself. Now youve all over? Now you are free and can do what you made a lady of me I'm not fit to sell anything else. I like. (50) wish youd left me where you found me. LIZA [pulling herself together in desperation] What HIGGINS. [slinging the core of the apple decisively am I fit for? What have you left me fit for? Where am I into the grate] Tosh, Eliza. Dont you insult human to go? What am I to do? Whats to become of me? relations by dragging all this cant about buying and HIGGINS [enlightened, but not at all impressed] Oh, selling into it. You neednt marry the fellow if you dont thats whats worrying you, is it? [He thrusts his hands like him. into his pockets, and walks about in his usual manner, LIZA. What else am I to do? rattling the contents of his pockets, as if condescending HIGGINS. Oh, lots of things. What about your old to a trivial subject out of pure kindness]. I shouldnt idea of a florist's shop? Pickering could set you up in bother about it if I were you. I should imagine you one: hes lots of money. [Chuckling] He'll have to pay wont have much difficulty in settling yourself for all those togs you have been wearing today; and somewhere or other, though I hadnt quite realized that that, with the hire of the jewellery, will make a big hole you were going away. [She looks quickly at him: he in two hundred pounds. Why, six months ago you does not look at her, but examines the dessert stand on would have thought it the millennium to have a flower the piano and decides that he will eat an apple]. You shop of your own. Come! youll be all right. I must might marry, you know. [He bites a large piece out of clear off to bed: I'm devilish sleepy. By the way, I came the apple, and munches it noisily]. You see, Eliza, all down for something: I forget what it was. men are not confirmed old bachelors like me and the LIZA. Your slippers. (60) Colonel. Most men are the marrying sort (poor devils!); and youre not bad-looking; it's quite a

18 Excerpts from Pygmalion Act 4: Eliza and Higgins’s ﬁght (Page 3 of 4)

HIGGINS. Oh yes, of course. You shied them at me. room and keep them safe? I dont want to run the risk of [He picks them up, and is going out when she rises and their being missing. speaks to him]. HIGGINS [furious] Hand them over. [She puts them LIZA. Before you go, sir— into his hands]. If these belonged to me instead of to HIGGINS [dropping the slippers in his surprise at the jeweler, I'd ram them down your ungrateful throat. her calling him Sir] Eh? [He perfunctorily thrusts them into his pockets, LIZA. Do my clothes belong to me or to Colonel unconsciously decorating himself with the protruding Pickering? ends of the chains]. (75) HIGGINS [coming back into the room as if her LIZA [taking a ring off] This ring isnt the jeweler's: question were the very climax of unreason] What the it's the one you bought me in Brighton. I dont want it devil use would they be to Pickering? (65) now. [Higgins dashes the ring violently into the LIZA. He might want them for the next girl you pick fireplace, and turns on her so threateningly that she up to experiment on. crouches over the piano with her hands over her face, HIGGINS [shocked and hurt] Is t h a t the way you and exclaims] Dont you hit me. feel towards us? HIGGINS. Hit you! You infamous creature, how dare LIZA. I dont want to hear anything more about that. you accuse me of such a thing? It is you who have hit All I want to know is whether anything belongs to me. me. You have wounded me to the heart. My own clothes were burnt. LIZA [thrilling with hidden joy] I'm glad. Ive got a HIGGINS. But what does it matter? Why need you little of my own back, anyhow. start bothering about that in the middle of the night? HIGGINS [with dignity, in his finest professional LIZA. I want to know what I may take away with me. style] You have caused me to lose my temper: a thing I dont want to be accused of stealing. (70) that has hardly ever happend to me before. I prefer to HIGGINS [now deeply wounded] Stealing! You say nothing more tonight. I am going to bed. shouldnt have said that, Eliza. That shews a want of LIZA [pertly] Youd better leave a note for Mrs. feeling. Pearce about the coffee; for she wont be told by LIZA. I'm sorry. I'm only a common ignorant girl; and me. (80) in my station I have to be careful. There cant be any HIGGINS [formally] Damn Mrs. Pearce; and damn feelings between the like of you and the like of me. the coffee; and damn you; and damn my own folly in Please will you tell me what belongs to me and what having lavished hard-earned knowledge and the doesn't? treasure of my regard and intimacy on a heartless HIGGINS [very sulky] You may take the whole guttersnipe. [He goes out with impressive decorum, and damned houseful if you like. Except the jewels. Theyre spoils it by slamming the door savagely]. hired. Will that satisfy you? [He turns on his heel and Eliza smiles for the first time; expresses her feelings is about to go in extreme dudgeon]. by a wild pantomime in which an imitation of Higgins's LIZA [drinking in his emotion like nectar, and exit is confused with her own triumph; and finally goes nagging him to provoke a further supply] Stop, please. down on her knees on the hearthrug to look for the [She takes off her jewels]. Will you take these to your ring.

Shaw, Bernard. Pygmalion, Act 4, Lines 19-81. New York: Brentano, 1916. Bartleby Library: Great Books Online. Ed. Steven H. van Leeuwen. July 1999. The New Bartleby Library. 31 Mar. 2015. .

19 Excerpts from Pygmalion Sequel (Shaw’s epilogue)

Sequel: What Happened Afterwards THE rest of the story need not be shown in action, and indeed, would hardly need telling if our imaginations were not so enfeebled by their lazy dependence on the ready-mades and reach-me-downs of the ragshop in which Romance keeps its stock of "happy endings" to misfit all stories. Now, the history of Eliza Doolittle, though called a romance because of the transfiguration it records seems exceedingly improbable, is common enough. Such transfigurations have been achieved by hundreds of resolutely ambitious young women since Nell Gwynne set them the example by playing queens and fascinating kings in the theatre in which she began by selling oranges. Nevertheless, people in all directions have assumed, for no other reason than that she became the heroine of a romance, that she must have married the hero of it. This is unbearable, not only because her little drama, if acted on such a thoughtless assumption, must be spoiled, but because the true sequel is patent to anyone with a sense of human nature in general, and of feminine instinct in particular. 1 Eliza, in telling Higgins she would not marry him if he asked her, was not coquetting: she was announcing a well-considered decision. When a bachelor interests, and dominates, and teaches, and becomes important to a spinster, as Higgins with Eliza, she always, if she has character enough to be capable of it, considers very seriously indeed whether she will play for becoming that bachelor's wife, especially if he is so little interested in marriage that a determined and devoted woman might capture him if she set herself resolutely to do it. Her decision will depend a good deal on whether she is really free to choose; and that, again, will depend on her age and income. If she is at the end of her youth, and has no security for her livelihood, she will marry him because she must marry anybody who will provide for her. But at Eliza's age a good-looking girl does not feel that pressure: she feels free to pick and choose. She is therefore guided by her instinct in the matter. Eliza's instinct tells her not to marry Higgins. It does not tell her to give him up. It is not in the slightest doubt as to his remaining one of the strongest personal interests in her life. It would be very sorely strained if there was another woman likely to supplant her with him. But as she feels sure of him on that last point, she has no doubt at all as to her course, and would not have any, even if the difference of twenty years in age, which seems so great to youth, did not exist between them. 2 As our own instincts are not appealed to by her conclusion, let us see whether we cannot discover some reason in it. When Higgins excused his indifference to young women on the ground that they had an irresistible rival in his mother, he gave the clue to his inveterate old-bachelordom. The case is uncommon only to the extent that remarkable mothers are uncommon. If an imaginative boy has a sufficiently rich mother who has intelligence, personal grace, dignity of character without harshness, and a cultivated sense of the best art of her time to enable her to make her house beautiful, she sets a standard for him against which very few women can struggle, besides effecting for him a disengagement of his affections, his sense of beauty, and his idealism from his specifically sexual impulses. This makes him a standing puzzle to the huge number of uncultivated people who have been brought up in tasteless homes by commonplace or disagreeable parents, and to whom, consequently, literature, painting, sculpture, music, and affectionate personal relations come as modes of sex if they come at all. The word passion means nothing else to them; and that Higgins could have a passion for phonetics and idealize his mother instead of Eliza, would seem to them absurd and unnatural. Nevertheless, when we look round and see that hardly anyone is too ugly or disagreeable to find a wife or a husband if he or she wants one, whilst many old maids and bachelors are above the average in quality and culture, we cannot help suspecting that the disentanglement of sex

20 Excerpts from Pygmalion Sequel (Shaw’s epilogue) from the associations with which it is so commonly confused, a disentanglement which persons of genius achieve by sheer intellectual analysis, is sometimes produced or aided by parental fascination. 3 Now, though Eliza was incapable of thus explaining to herself Higgins's formidable powers of resistance to the charm that prostrated Freddy at the first glance, she was instinctively aware that she could never obtain a complete grip of him, or come between him and his mother (the first necessity of the married woman). To put it shortly, she knew that for some mysterious reason he had not the makings of a married man in him, according to her conception of a husband as one to whom she would be his nearest and fondest and warmest interest. Even had there been no mother-rival, she would still have refused to accept an interest in herself that was secondary to philosophic interests. Had Mrs. Higgins died, there would still have been Milton and the Universal Alphabet. Landor's remark that to those who have the greatest power of loving, love is a secondary affair, would not have recommended Landor to Eliza. Put that along with her resentment of Higgins's domineering superiority, and her mistrust of his coaxing cleverness in getting round her and evading her wrath when he had gone too far with his impetuous bullying, and you will see that Eliza's instinct had good grounds for warning her not to marry her Pygmalion. 4 And now, whom did Eliza marry? For if Higgins was a predestinate old bachelor, she was most certainly not a predestinate old maid. Well, that can be told very shortly to those who have not guessed it from the indications she has herself given them. 5 Almost immediately after Eliza is stung into proclaiming her considered determination not to marry Higgins, she mentions the fact that young Mr. Frederick Eynsford Hill is pouring out his love for her daily through the post. Now Freddy is young, practically twenty years younger than Higgins: he is a gentleman (or, as Eliza would qualify him, a toff), and speaks like one; he is nicely dressed, is treated by the Colonel as an equal, loves her unaffectedly, and is not her master, nor ever likely to dominate her in spite of his advantage of social standing. Eliza has no use for the foolish romantic tradition that all women love to be mastered, if not actually bullied and beaten. "When you go to women," says Nietzsche, "take your whip with you." Sensible despots have never confined that precaution to women: they have taken their whips with them when they have dealt with men, and been slavishly idealized by the men over whom they have flourished the whip much more than by women. No doubt there are slavish women as well as slavish men; and women, like men, admire those that are stronger than themselves. But to admire a strong person and to live under that strong person's thumb are two different things. The weak may not be admired and hero-worshipped; but they are by no means disliked or shunned; and they never seem to have the least difficulty in marrying people who are too good for them. They may fail in emergencies; but life is not one long emergency: it is mostly a string of situations for which no exceptional strength is needed, and with which even rather weak people can cope if they have a stronger partner to help them out. Accordingly, it is a truth everywhere in evidence that strong people, masculine or feminine, not only do not marry stronger people, but do not shew any preference for them in selecting their friends. When a lion meets another with a louder roar "the first lion thinks the last a bore." The man or woman who feels strong enough for two, seeks for every other quality in a partner than strength. 6 The converse is also true. Weak people want to marry strong people who do not frighten them too much; and this often leads them to make the mistake we describe metaphorically as "biting off more than they can chew." They want too much for too little; and when the bargain is unreasonable beyond all bearing, the union

21 Excerpts from Pygmalion Sequel (Shaw’s epilogue) becomes impossible: it ends in the weaker party being either discarded or borne as a cross, which is worse. People who are not only weak, but silly or obtuse as well, are often in these difficulties. 7 This being the state of human affairs, what is Eliza fairly sure to do when she is placed between Freddy and Higgins? Will she look forward to a lifetime of fetching Higgins's slippers or to a lifetime of Freddy fetching hers? There can be no doubt about the answer. Unless Freddy is biologically repulsive to her, and Higgins biologically attractive to a degree that overwhelms all her other instincts, she will, if she marries either of them, marry Freddy. 8 And that is just what Eliza did. 9 Complications ensued; but they were economic, not romantic. Freddy had no money and no occupation. His mother's jointure, a last relic of the opulence of Largelady Park, had enabled her to struggle along in Earlscourt with an air of gentility, but not to procure any serious secondary education for her children, much less give the boy a profession. A clerkship at thirty shillings a week was beneath Freddy's dignity, and extremely distasteful to him besides. His prospects consisted of a hope that if he kept up appearances somebody would do something for him. The something appeared vaguely to his imagination as a private secretaryship or a sinecure of some sort. To his mother it perhaps appeared as a marriage to some lady of means who could not resist her boy's niceness. Fancy her feelings when he married a flower girl who had become déclassée under extraordinary circumstances which were now notorious! 10 It is true that Eliza's situation did not seem wholly ineligible. Her father, though formerly a dustman, and now fantastically disclassed, had become extremely popular in the smartest society by a social talent which triumphed over every prejudice and every disadvantage. Rejected by the middle class, which he loathed, he had shot up at once into the highest circles by his wit, his dustmanship (which he carried like a banner), and his Nietzschean transcendence of good and evil. At intimate ducal dinners he sat on the right hand of the Duchess; and in country houses he smoked in the pantry and was made much of by the butler when he was not feeding in the dining-room and being consulted by cabinet ministers. But he found it almost as hard to do all this on four thousand a year as Mrs. Eynsford Hill to live in Earlscourt on an income so pitiably smaller that I have not the heart to disclose its exact figure. He absolutely refused to add the last straw to his burden by contributing to Eliza's support. 11 Thus Freddy and Eliza, now Mr. and Mrs. Eynsford Hill, would have spent a penniless honeymoon but for a wedding present of £500 from the Colonel to Eliza. It lasted a long time because Freddy did not know how to spend money, never having had any to spend, and Eliza, socially trained by a pair of old bachelors, wore her clothes as long as they held together and looked pretty, without the least regard to their being many months out of fashion. Still, £500 will not last two young people for ever; and they both knew, and Eliza felt as well, that they must shift for themselves in the end. She could quarter herself on Wimpole Street because it had come to be her home; but she was quite aware that she ought not to quarter Freddy there, and that it would not be good for his character if she did. 12 Not that the Wimpole Street bachelors objected. When she consulted them, Higgins declined to be bothered about her housing problem when that solution was so simple. Eliza's desire to have Freddy in the house with her seemed of no more importance than if she had wanted an extra piece of bedroom furniture. Pleas as to Freddy's character, and the moral obligation on him to earn his own living, were lost on Higgins. He denied that

22 Excerpts from Pygmalion Sequel (Shaw’s epilogue)

Freddy had any character, and declared that if he tried to do any useful work some competent person would have the trouble of undoing it: a procedure involving a net loss to the community, and great unhappiness to Freddy himself, who was obviously intended by Nature for such light work as amusing Eliza, which, Higgins declared, was a much more useful and honorable occupation than working in the city. When Eliza referred again to her project of teaching phonetics, Higgins abated not a jot of his violent opposition to it. He said she was not within ten years of being qualified to meddle with his pet subject; and as it was evident that the Colonel agreed with him, she felt she could not go against them in this grave matter, and that she had no right, without Higgins's consent, to exploit the knowledge he had given her; for his knowledge seemed to her as much his private property as his watch: Eliza was no communist. Besides, she was superstitiously devoted to them both, more entirely and frankly after her marriage than before it. 13 It was the Colonel who finally solved the problem, which had cost him much perplexed cogitation. He one day asked Eliza, rather shyly, whether she had quite given up her notion of keeping a flower shop. She replied that she had thought of it, but had put it out of her head, because the Colonel had said, that day at Mrs. Higgins's, that it would never do. The Colonel confessed that when he said that, he had not quite recovered from the dazzling impression of the day before. They broke the matter to Higgins that evening. The sole comment vouchsafed by him very nearly led to a serious quarrel with Eliza. It was to the effect that she would have in Freddy an ideal errand boy. 14 Freddy himself was next sounded on the subject. He said he had been thinking of a shop himself; though it had presented itself to his pennilessness as a small place in which Eliza should sell tobacco at one counter whilst he sold newspapers at the opposite one. But he agreed that it would be extraordinarily jolly to go early every morning with Eliza to Covent Garden and buy flowers on the scene of their first meeting: a sentiment which earned him many kisses from his wife. He added that he had always been afraid to propose anything of the sort, because Clara would make an awful row about a step that must damage her matrimonial chances, and his mother could not be expected to like it after clinging for so many years to that step of the social ladder on which retail trade is impossible. 15 This difficulty was removed by an event highly unexpected by Freddy's mother. Clara, in the course of her incursions into those artistic circles which were the highest within her reach, discovered that her conversational qualifications were expected to include a grounding in the novels of Mr. H. G. Wells. She borrowed them in various directions so energetically that she swallowed them all within two months. The result was a conversion of a kind quite common today. A modern Acts of the Apostles would fill fifty whole Bibles if anyone were capable of writing it. 16 Poor Clara, who appeared to Higgins and his mother as a disagreeable and ridiculous person, and to her own mother as in some inexplicable way a social failure, had never seen herself in either light; for, though to some extent ridiculed and mimicked in West Kensington like everybody else there, she was accepted as a rational and normal—or shall we say inevitable?—sort of human being. At worst they called her The Pusher; but to them no more than to herself had it ever occurred that she was pushing the air, and pushing it in a wrong direction. Still, she was not happy. She was growing desperate. Her one asset, the fact that her mother was what the Epsom greengrocer called a carriage lady had no exchange value, apparently. It had prevented her from getting educated, because the only education she could have afforded was education with the Earlscourt greengrocer's daughter. It had led her to seek the society of her mother's class; and that class simply would not have her, because she was

23 Excerpts from Pygmalion Sequel (Shaw’s epilogue) much poorer than the greengrocer, and, far from being able to afford a maid, could not afford even a housemaid, and had to scrape along at home with an illiberally treated general servant. Under such circumstances nothing could give her an air of being a genuine product of Largelady Park. And yet its tradition made her regard a marriage with anyone within her reach as an unbearable humiliation. Commercial people and professional people in a small way were odious to her. She ran after painters and novelists; but she did not charm them; and her bold attempts to pick up and practise artistic and literary talk irritated them. She was, in short, an utter failure, an ignorant, incompetent, pretentious, unwelcome, penniless, useless little snob; and though she did not admit these disqualifications (for nobody ever faces unpleasant truths of this kind until the possibility of a way out dawns on them) she felt their effects too keenly to be satisfied with her position. 17 Clara had a startling eyeopener when, on being suddenly wakened to enthusiasm by a girl of her own age who dazzled her and produced in her a gushing desire to take her for a model, and gain her friendship, she discovered that this exquisite apparition had graduated from the gutter in a few months' time. It shook her so violently, that when Mr. H. G. Wells lifted her on the point of his puissant pen, and placed her at the angle of view from which the life she was leading and the society to which she clung appeared in its true relation to real human needs and worthy social structure, he effected a conversion and a conviction of sin comparable to the most sensational feats of General Booth or Gypsy Smith. Clara's snobbery went bang. Life suddenly began to move with her. Without knowing how or why, she began to make friends and enemies. Some of the acquaintances to whom she had been a tedious or indifferent or ridiculous affliction, dropped her: others became cordial. To her amazement she found that some "quite nice" people were saturated with Wells, and that this accessibility to ideas was the secret of their niceness. People she had thought deeply religious, and had tried to conciliate on that tack with disastrous results, suddenly took an interest in her, and revealed a hostility to conventional religion which she had never conceived possible except among the most desperate characters. They made her read Galsworthy; and Galsworthy exposed the vanity of Largelady Park and finished her. It exasperated her to think that the dungeon in which she had languished for so many unhappy years had been unlocked all the time, and that the impulses she had so carefully struggled with and stifled for the sake of keeping well with society, were precisely those by which alone she could have come into any sort of sincere human contact. In the radiance of these discoveries, and the tumult of their reaction, she made a fool of herself as freely and conspicuously as when she so rashly adopted Eliza's expletive in Mrs. Higgins's drawing-room; for the new-born Wellsian had to find her bearings almost as ridiculously as a baby; but nobody hates a baby for its ineptitudes, or thinks the worse of it for trying to eat the matches; and Clara lost no friends by her follies. They laughed at her to her face this time; and she had to defend herself and fight it out as best she could. 18 When Freddy paid a visit to Earlscourt (which he never did when he could possibly help it) to make the desolating announcement that he and his Eliza were thinking of blackening the Largelady scutcheon by opening a shop, he found the little household already convulsed by a prior announcement from Clara that she also was going to work in an old furniture shop in Dover Street, which had been started by a fellow Wellsian. This appointment Clara owed, after all, to her old social accomplishment of Push. She had made up her mind that, cost what it might, she would see Mr. Wells in the flesh; and she had achieved her end at a garden party. She had better luck than so rash an enterprise deserved. Mr. Wells came up to her expectations. Age had not withered him, nor could custom stale his infinite variety in half an hour. His pleasant neatness and compactness, his small hands and feet, his teeming ready brain, his unaffected accessibility, and a certain fine apprehensiveness which stamped him as

24 Excerpts from Pygmalion Sequel (Shaw’s epilogue) susceptible from his topmost hair to his tipmost toe, proved irresistible. Clara talked of nothing else for weeks and weeks afterwards. And as she happened to talk to the lady of the furniture shop, and that lady also desired above all things to know Mr. Wells and sell pretty things to him, she offered Clara a job on the chance of achieving that end through her. 19 And so it came about that Eliza's luck held, and the expected opposition to the flower shop melted away. The shop is in the arcade of a railway station not very far from the Victoria and Albert Museum; and if you live in that neighborhood you may go there any day and buy a buttonhole from Eliza. 20 Now here is a last opportunity for romance. Would you not like to be assured that the shop was an immense success, thanks to Eliza's charms and her early business experience in Covent Garden? Alas! the truth is the truth: the shop did not pay for a long time, simply because Eliza and her Freddy did not know how to keep it. True, Eliza had not to begin at the very beginning: she knew the names and prices of the cheaper flowers; and her elation was unbounded when she found that Freddy, like all youths educated at cheap, pretentious, and thoroughly inefficient schools, knew a little Latin. It was very little, but enough to make him appear to her a Porson or Bentley, and to put him at his ease with botanical nomenclature. Unfortunately he knew nothing else; and Eliza, though she could count money up to eighteen shillings or so, and had acquired a certain familiarity with the language of Milton from her struggles to qualify herself for winning Higgins's bet, could not write out a bill without utterly disgracing the establishment. Freddy's power of stating in Latin that Balbus built a wall and that Gaul was divided into three parts did not carry with it the slightest knowledge of accounts or business: Colonel Pickering had to explain to him what a cheque book and a bank account meant. And the pair were by no means easily teachable. Freddy backed up Eliza in her obstinate refusal to believe that they could save money by engaging a bookkeeper with some knowledge of the business. How, they argued, could you possibly save money by going to extra expense when you already could not make both ends meet? But the Colonel, after making the ends meet over and over again, at last gently insisted; and Eliza, humbled to the dust by having to beg from him so often, and stung by the uproarious derision of Higgins, to whom the notion of Freddy succeeding at anything was a joke that never palled, grasped the fact that business, like phonetics, has to be learned. 21 On the piteous spectacle of the pair spending their evenings in shorthand schools and polytechnic classes, learning bookkeeping and typewriting with incipient junior clerks, male and female, from the elementary schools, let me not dwell. There were even classes at the London School of Economics, and a humble personal appeal to the director of that institution to recommend a course bearing on the flower business. He, being a humorist, explained to them the method of the celebrated Dickensian essay on Chinese Metaphysics by the gentleman who read an article on China and an article on Metaphysics and combined the information. He suggested that they should combine the London School with Kew Gardens. Eliza, to whom the procedure of the Dickensian gentleman seemed perfectly correct (as in fact it was) and not in the least funny (which was only her ignorance) took his advice with entire gravity. But the effort that cost her the deepest humiliation was a request to Higgins, whose pet artistic fancy, next to Milton's verse, was caligraphy, [sic] and who himself wrote a most beautiful Italian hand, that he would teach her to write. He declared that she was congenitally incapable of forming a single letter worthy of the least of Milton's words; but she persisted; and again he suddenly threw himself into the task of teaching her with a combination of stormy intensity, concentrated patience, and occasional bursts of interesting disquisition on the beauty and nobility, the august mission and destiny, of human handwriting. Eliza ended by acquiring an extremely uncommercial script which was a positive extension of her

25 Excerpts from Pygmalion Sequel (Shaw’s epilogue) personal beauty, and spending three times as much on stationery as anyone else because certain qualities and shapes of paper became indispensable to her. She could not even address an envelope in the usual way because it made the margins all wrong. 22 Their commercial school days were a period of disgrace and despair for the young couple. They seemed to be learning nothing about flower shops. At last they gave it up as hopeless, and shook the dust of the shorthand schools, and the polytechnics, and the London School of Economics from their feet for ever. Besides, the business was in some mysterious way beginning to take care of itself. They had somehow forgotten their objections to employing other people. They came to the conclusion that their own way was the best, and that they had really a remarkable talent for business. The Colonel, who had been compelled for some years to keep a sufficient sum on current account at his bankers to make up their deficits, found that the provision was unnecessary: the young people were prospering. It is true that there was not quite fair play between them and their competitors in trade. Their week-ends in the country cost them nothing, and saved them the price of their Sunday dinners; for the motor car was the Colonel's; and he and Higgins paid the hotel bills. Mr. F. Hill, florist and greengrocer (they soon discovered that there was money in asparagus; and asparagus led to other vegetables), had an air which stamped the business as classy; and in private life he was still Frederick Eynsford Hill, Esquire. Not that there was any swank about him: nobody but Eliza knew that he had been christened Frederick Challoner. Eliza herself swanked like anything. 23 That is all. That is how it has turned out. It is astonishing how much Eliza still manages to meddle in the housekeeping at Wimpole Street in spite of the shop and her own family. And it is notable that though she never nags her husband, and frankly loves the Colonel as if she were his favorite daughter, she has never got out of the habit of nagging Higgins that was established on the fatal night when she won his bet for him. She snaps his head off on the faintest provocation, or on none. He no longer dares to tease her by assuming an abysmal inferiority of Freddy's mind to his own. He storms and bullies and derides; but she stands up to him so ruthlessly that the Colonel has to ask her from time to time to be kinder to Higgins; and it is the only request of his that brings a mulish expression into her face. Nothing but some emergency or calamity great enough to break down all likes and dislikes, and throw them both back on their common humanity—and may they be spared any such trial!—will ever alter this. She knows that Higgins does not need her, just as her father did not need her. The very scrupulousness with which he told her that day that he had become used to having her there, and dependent on her for all sorts of little services, and that he should miss her if she went away (it would never have occurred to Freddy or the Colonel to say anything of the sort) deepens her inner certainty that she is "no more to him than them slippers", yet she has a sense, too, that his indifference is deeper than the infatuation of commoner souls. She is immensely interested in him. She has even secret mischievous moments in which she wishes she could get him alone, on a desert island, away from all ties and with nobody else in the world to consider, and just drag him off his pedestal and see him making love like any common man. We all have private imaginations of that sort. But when it comes to business, to the life that she really leads as distinguished from the life of dreams and fancies, she likes Freddy and she likes the Colonel; and she does not like Higgins and Mr. Doolittle. Galatea never does quite like Pygmalion: his relation to her is too godlike to be altogether agreeable. 24

Shaw, Bernard. Pygmalion, “Sequel: What Happened Afterwards,” Lines 1-24. New York: Brentano, 1916. Bartleby Library: Great Books Online. Ed. Steven H. van Leeuwen. July 1999. The New Bartleby Library. 31 Mar. 2015. .