Pygmalion is in many ways a Cinderella story with its transformation of a poor but lovely young girl into a princess. But is Eliza the only character to undergo such a transformation? Consider her father, Alfred Doolittle, as well as Henry Higgins himself. Describe the other transformations. Whose transformation is the most significant? Why?
In the course of the play, Pygmalion, several characters undergo life changing transformations, whether it was their choice or not. Eliza certainly wanted to better herself and worked to move up in the world through Higgins' teachings, but her father Alfred Doolittle most certainly had no intentions of ever being better than what he was born with-- that is to say, he was happy living in the low class playing the high class off as an intellectual superior to them.
The characters that did, change, though, changed in ways they would likely see as unfavorable. Eliza, despite herself, did not become the high class lady Higgins would have wanted her to be, though she could certainly play the role of such. As she said herself at the end of Act III, "Nothing can make [her] like them". At the same time, however, she could not possibly be categorized along with the street urchins she was once so much like. She really is like the fairy tale, Cinderella, in that she plays the part well, but is not quite the same. Realistically, could Cinderella really play the role of a princess or queen? That most certainly is not who she is as a character, and the same goes for Eliza in Pygmalion.
Henry Higgins also changed in the sense of his moral character. Certainly his brash, unpleasant nature is just as offensive, but as much as he wish it were not the case, he is no longer self-sufficient. He inadvertently made Eliza a hugely important and vital part of his life, and the thought of losing her is so unacceptable that he thinks he still has her even when she is already gone for good. Though he is still harsh, he has grown compassionate, and the combination makes his character destined to be heartbroken, despite how hard he has tried all his life to remain a proud and bachelor.
Lastly, Alfred Doolittle's change comes not only as the most surprising, but as the most comical and character changing, as well. Especially after his morality speeches in his first scene, his suddenly ascending to the high class comes quite ironically, and it sends his character into a conflicting state. Alfred has the most reason to resent the upper classes, yet now that he is a part of them, he hardly has anyone to point a finger at. His life has changed so drastically that he has no idea what to do with himself, so he holds desperately to the life he has known for so long.
In the course of the play, Pygmalion, several characters undergo life changing transformations, whether it was their choice or not. Eliza certainly wanted to better herself and worked to move up in the world through Higgins' teachings, but her father Alfred Doolittle most certainly had no intentions of ever being better than what he was born with-- that is to say, he was happy living in the low class playing the high class off as an intellectual superior to them.
The characters that did, change, though, changed in ways they would likely see as unfavorable. Eliza, despite herself, did not become the high class lady Higgins would have wanted her to be, though she could certainly play the role of such. As she said herself at the end of Act III, "Nothing can make [her] like them". At the same time, however, she could not possibly be categorized along with the street urchins she was once so much like. She really is like the fairy tale, Cinderella, in that she plays the part well, but is not quite the same. Realistically, could Cinderella really play the role of a princess or queen? That most certainly is not who she is as a character, and the same goes for Eliza in Pygmalion.
Henry Higgins also changed in the sense of his moral character. Certainly his brash, unpleasant nature is just as offensive, but as much as he wish it were not the case, he is no longer self-sufficient. He inadvertently made Eliza a hugely important and vital part of his life, and the thought of losing her is so unacceptable that he thinks he still has her even when she is already gone for good. Though he is still harsh, he has grown compassionate, and the combination makes his character destined to be heartbroken, despite how hard he has tried all his life to remain a proud and bachelor.
Lastly, Alfred Doolittle's change comes not only as the most surprising, but as the most comical and character changing, as well. Especially after his morality speeches in his first scene, his suddenly ascending to the high class comes quite ironically, and it sends his character into a conflicting state. Alfred has the most reason to resent the upper classes, yet now that he is a part of them, he hardly has anyone to point a finger at. His life has changed so drastically that he has no idea what to do with himself, so he holds desperately to the life he has known for so long.