Pygmalion is a modern retelling of a classic story by George Bernard Shaw. His protagonists struggle for freedom and justice for women, and his plot points are anti-classist. George Bernard Shaw’s play Pygmalion deconstructs and re-contextualizes the original Greek myth of creating the ideal figure, placing it in the social and political context of 19th century England. Eliza’s transformation represents Pygmalion sculpting Galatea out of ivory, and Shaw’s commentary is already present in this action. Mr. Higgins proposes this project as a gamble, with no clear hope of carrying it forward. When Eliza arrives at his house the following day, he only accepts the job if money is guaranteed. Mr. Higgins’ knowledge of phonetics replaces Pygmalion’s sculpting capacity, and Mr. Higgins ostensibly triggers a transition in Eliza as a result of this knowledge. Eliza’s transformation, on the other hand, is very different from Galatea’s sculpting.
Pygmalion alone is responsible for the development of Galatea. From the ivory block, she emerges completely developed. Eliza’s transition is dynamic and multilayered, in contrast to her simplistic conception. She must not only adjust the way she talks, but also the way she appears and dresses. Of course, Mr. Higgins is too busy to help Eliza with her bathing and dressing, but he does share his understanding of grammar with her. Also, Eliza’s abrupt shift in voice isn’t completely down to Mr. Higgins’ work, as a careful reading can reveal. Eliza is transformed by her own experience and dedication, as well as Mr. Higgins’ knowledge and instruction. Another contrast in the development is that, while Eliza appears and sounds noble, she does not speak as one. Her vocabulary is always a little rough, and the subjects she addresses are a little inappropriate. Her transformation is warped, and she never completely comprehends the beauty represented in Carlos Parada’s story. Eliza’s dismissal of Mr. Higgins leads to society’s current feminist understanding of women. Of course, this plot point differs dramatically from that of this novel, in which Pygmalion and Galatea fall in love and have a child together. Mr. Higgins is dismissed by Eliza because of the various ways he mistreated her in the play. The scenes after the ball, where Eliza passes for a lady of the upper class, have a significant influence on Eliza’s character. Eliza is anxious about the future. She no longer knows where she belongs and wants more, and she is terrified of losing everything she has achieved as a result of her transition. Mr. Higgins dismisses her fears, believing that her issues will be fixed by marriage. Eliza leaves a life with Mr. Higgins in the play’s final scene because of his inability to regard her with kindness or dignity. This is a simple feminist understanding of Carlos Parada’s “happily ever after” story.
Why does Galatea think for Pygmalion and want to be with him? Since it was not the point of the play, this issue is unlikely to have occurred to the ancient Greeks. The modern reader, on the other hand, may wonder who Galatea wishes to be and whether Pygmalion is a good fit for her. In his novel, Shaw attempts to answer these questions. Pygmalion, he concludes, does not genuinely love Galatea; rather, he loves himself, his work, and his abilities, and thus is undeserving of Galatea’s love. How could a man who hated womankind to the point of inventing his own love be able to love even that woman? And then there’s the matter of how any woman might be doomed to the destiny of living with a man who despises women? He can’t love her, and no woman should be treated this way. Eliza’s abandoning of Mr. Higgins concludes the deconstruction, claiming that Galatea’s character is an impossibility; since every woman has power over her fate, she must leave the man who will only destroy her life.
Carlos Parada’s plot is totally reframed in George Bernard Shaw’s Pygmalion. He employs a modern setting of 19th century England to critique the notion of making the ideal woman, putting it under the scrutiny of feminist criticism. He analyzes the various interpretations and consequences of each plot point as he deconstructs it. He deconstructs the narrative and then reassembles it using critical feminist philosophy as a guide. Pygmalion examines a text that only embraces the dominant male view on certain issues in order to answer questions of male-female relationships and the female right to choose.