Pygmalion and Galatea

Pygmalion and Galatea: How Help Beasts Introduction Pygmalion by George Bernard Shaw This project analyses how the lower class, who are usually the - The woman is also considered lower class inanimate sidekicks in the literary works that we chose to read, The play Pygmalion by and is therefore subjugated even further to are morally linked to the development of the high class. These George Bernard Shaw further the higher class man’s own gratification. patterns seem to originate from the Greek myth of Pygmalion adds to the structure previously created in the myth of - In both versions of Pygmalion it is clear and Galatea. While Beauty and the Beast adopts this idea, the Pygmalion and Galatea by that the woman isn’t the only character that Disney film excludes the tension of social class, seen in the play introducing class. It not only undergoes a transformation. by George Bernard Shaw. shows a woman helping a man, - The most important change is found in the but the lower class helping the man himself, though it may not have been higher class. Background intentional. The time period when a story was written usually reflect the standards and ideals that existed in the world at that time. “By George, Eliza, I said I’d make a woman Like today, there were class distinctions in the past that set of you; and I have. I like you like this” (Act 5). people apart. Social class has always determined the way that Pygmalion and Galatea. Digital image. Stories of Love and Island, DE. Cover of Pygmalion. Digital image. DE Ireland. Adventure. Weebly, n.d. Web. people lived, worked, and interacted. In both Shaw’s N.p., 14 July 2014. Web. Pygmalion and the myth of Pygmalion and Galatea, it virtually shows that the only purpose for the lower class is to Beauty and the Beast be a stepping stone to help the upper class to flourish. The Disney’s Beauty and the Beast is a pure combustion of the roles in Beauty and the Beast are switched around, with Belle original fairy tale, Pygmalion the myth, and Pygmalion the play. being the “beast” who is in the lower class. However, the - If the mere concept surrounding the Myth of Pygmalion and actual beast is the man, who must become humane with the Galatea depends primarily on the relationship between a man and woman, the play complexly incorporates the social Eliza Doolittle, Flower Girl. Digital image. Boston Decision Connection. Willoughby, Bob. Bob Willoughby: Audrey Hepburn: Photographs support of Belle. Boston Desi Connection, n.d. Web. 1953-1966. Digital image.Amazon. N.p., n.d. Web. abstraction of ‘class’ within its reach. - The drama taking place within the film is intensified with the Greek Myth of Pygmalion and Galatea addition of servants. These servants undoubtedly play a Beauty and the Beast: Reversal of the Play The myth of Pygmalion and significant role in transfiguring the cold heart of the Beast. Social class plays a -Higgins at the end still treats Galatea mainly focuses around the - With the addition of various side characters and a lower-class significant role in developing Eliza as someone who is less relationship between a man and a woman who aid in transforming the Beast into one of humanly woman. The myth excludes factors physique and character, there is evidence to the claim that the drama as well as enhancing the distinguished than himself such as class, creating a simple film, Beauty and the Beast, is a revamp of both literatures. plot. Unlike “Beauty and the -Eliza wants to marry Freddy message of an inanimate side Beast,” Shaw’s “Pygmalion” even after she transformed into character serving as a way to help a leaves the tension between someone of a higher class man grow and improve. social class unresolved. While -Happily Ever After in Disney - The lack of perfection in the Eliza has lost her identity, the servants are happy serving “Life is so unnerving, for a servant women around Pygmalion leads who’s not serving.” -”Be Our Guest” him to create someone to fit his others. perfect design. - The more he worked the more she Beauty and the Beast. Digital Image. Gérôme, Jean-Léon. Pygmalion and Galatea. 1890. Oil on Disney, n.d. Web. 17 May 2017. came to life in his eyes canvas. Metropolitan Museum of Art, Gallery 827. Conclusion “He made, with marvelous art, an ivory statue, - In the end, Pygmalion prays to For many generations, activated leaders have actively contributed to As white as snow, and gave it greater beauty Venus, stating that all he desires is fostering a tolerant, progressive societal climate. The societal ceiling for Than any girl could have, and fell in love those of the lower socio-economic bracket still plague our society, even for his ivory woman to come to With his own workmanship” (Lines 7-10) as we have steadily progressed to value meritocracy. In various forms of life. literature and pop culture, writers and artists have felt genuine inspiration to manifest these emotions into action. Through the myth and Bjorkman, James. Beauty and the Beast Servants. Digital image. Animated References Film Reviews. Blogger, 05 Nov. 2012. Web. Barolsky, Paul, and Eve D'Ambra. “Pygmalion's Doll.” Arion: A Journal of Humanities and the Classics, vol. 17, no. 1, 2009, pp. 19–24. play of Pygmalion and the film of Beauty and the Beast, people are able Beauty and the Beast. Dir. Gary Trousdale and Kirk Wise. Prod. Walt Disney. Buena Vista Pictures, 1991. DVD. to shatter the distinct line drawn between the lower-class and the Ovid. Metamorphoses Trans. Rolfe Humphries. Bloomington: Indiana UP, 1961. 241-43. upper-class. Sharrock, A. R. “Womanufacture.” The Journal of Roman Studies, vol. 81, 1991, pp. 36–49. Web..

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