The original Pygmalion is a sculptor who creates a beautiful woman out of clay and is rewarded when she turns human. How does Henry Higgins mold Eliza’s character in much the same way? As Eliza’s creator, does Higgins deserve a certain amount of control over her? Where does his creation end and Eliza’s independence begin? What is the nature of the relationship between artists and their art? Discuss.
Henry Higgins formed Eliza’s character the same way Pygmalion formed Galatea because he molded her into a beautiful young lady. He made her dress according to his vision of the perfect woman, similar to how Pygmalion made Galatea from his vision of the ideal woman. Eliza was turned from clay – a flower girl who was harshly criticized by society – to human flesh when she made opinions of her own about society. Clay can also represent the hard layer that Eliza had to put on herself to protect her in the lower class. She had to sleep in a worn down apartment that was not protected against London’s freezing nights, and she had to defend herself in the streets. Once Higgins agreed to teach her, she knew Professor Higgins could give her the tools she needed to defy the stereotype that society forced upon her. As Eliza’s creator, Higgins did have a certain amount of control over her as he gave her lessons. Eliza always stood up for herself around him, but she knew he was the one responsible for how she would be perceived by the upper class. He took his role as a teacher very seriously. Yet, that control dissipated once Eliza, Higgins, and Pickering attended the ambassador’s garden party. Eliza was given everything she needed to be thought of as a duchess, which she dreamed of when she was a flower girl. She stated to Colonel Pickering, “Promise me not to let Professor Higgins wake me; for if he does I shall forget everything and talk as I used to in Drury Lane,” (Shaw 90, Act III). Here, Eliza became more self-reliant because she wanted to speak to people at the party without Higgins by her side to help her. She wanted to do this on her own. If Higgins called her any derogatory names or criticized her during the party, she would revert to speaking in her Cockney accent and purposely lose the bet for him. This threat proved Galatea was not afraid to defy her Pygmalion and that Eliza’s independence became stronger. Eliza further exercised her independence when she threw Higgins’s slippers at him and decided to leave Wimpole Street. She decided Henry was too inconsiderate and did not appreciate all the hard work that she did. When an artist creates, he puts all his efforts into what he is making. Every detail is taken into account, and the artist forms an attachment to his creation. The same occurred with Higgins; he carefully recorded Eliza and made each lesson suited specifically for her voice. Naturally, Higgins believed Eliza was a product of his work, and he grew fond of her. Perhaps Higgins hoped that Eliza would become as fond of him as he was fond of his mother. Henry considered Mrs. Higgins to be the loveliest woman and respected her the most. He might have been baffled as to why Eliza did not respect him as her creator. Art, however, forms a mind of its own the minute it is finished because it can take on a whole new life without the artist.
Henry Higgins formed Eliza’s character the same way Pygmalion formed Galatea because he molded her into a beautiful young lady. He made her dress according to his vision of the perfect woman, similar to how Pygmalion made Galatea from his vision of the ideal woman. Eliza was turned from clay – a flower girl who was harshly criticized by society – to human flesh when she made opinions of her own about society. Clay can also represent the hard layer that Eliza had to put on herself to protect her in the lower class. She had to sleep in a worn down apartment that was not protected against London’s freezing nights, and she had to defend herself in the streets. Once Higgins agreed to teach her, she knew Professor Higgins could give her the tools she needed to defy the stereotype that society forced upon her. As Eliza’s creator, Higgins did have a certain amount of control over her as he gave her lessons. Eliza always stood up for herself around him, but she knew he was the one responsible for how she would be perceived by the upper class. He took his role as a teacher very seriously. Yet, that control dissipated once Eliza, Higgins, and Pickering attended the ambassador’s garden party. Eliza was given everything she needed to be thought of as a duchess, which she dreamed of when she was a flower girl. She stated to Colonel Pickering, “Promise me not to let Professor Higgins wake me; for if he does I shall forget everything and talk as I used to in Drury Lane,” (Shaw 90, Act III). Here, Eliza became more self-reliant because she wanted to speak to people at the party without Higgins by her side to help her. She wanted to do this on her own. If Higgins called her any derogatory names or criticized her during the party, she would revert to speaking in her Cockney accent and purposely lose the bet for him. This threat proved Galatea was not afraid to defy her Pygmalion and that Eliza’s independence became stronger. Eliza further exercised her independence when she threw Higgins’s slippers at him and decided to leave Wimpole Street. She decided Henry was too inconsiderate and did not appreciate all the hard work that she did. When an artist creates, he puts all his efforts into what he is making. Every detail is taken into account, and the artist forms an attachment to his creation. The same occurred with Higgins; he carefully recorded Eliza and made each lesson suited specifically for her voice. Naturally, Higgins believed Eliza was a product of his work, and he grew fond of her. Perhaps Higgins hoped that Eliza would become as fond of him as he was fond of his mother. Henry considered Mrs. Higgins to be the loveliest woman and respected her the most. He might have been baffled as to why Eliza did not respect him as her creator. Art, however, forms a mind of its own the minute it is finished because it can take on a whole new life without the artist.