In seven pages this paper discusses how the transformation of Eliza Doolittle from a girl selling flowers into a princess represents the dictates of culture. Two sources are cited in the bibliography.
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The authors forthright contention was that people -- even those from the same country - could barely understand one another for the multitude of languages and dialects. Frustrated
by the extent to which one Englishman could not converse with another of his own countrymen compelled Shaw to bring to light the substantial inadequacies brought about by language.
Following Eliza Doolittles transformation from flower girl to princess in Pygmalion allows the reader to gain a significantly better understanding of just how ingrained ones cultural dictates truly are.
"The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what
it sounds like. It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him" (Shaw PG). Professor Henry Higgins
has little patience for Eliza Doolittle once he acquires her as the subject of a ruthless bet. He at once thinks he has created more work for himself than
is worth the effort, wondering if there was truly any hope for this Cockney flower girl at all. It is his intention all along to transform Eliza into a
respectable society lady with no remnants of her lower class lifestyle anywhere in sight; indeed, a metamorphosis such as this requires Higgins to not only modify Elizas speech patterns but
also her entire cultural existence. When this ultimately occurs by books end, the good professor finds he has invested more into his pupil than he ever realized. "If
you cant appreciate what youve got, youd better get what you can appreciate" (Asquith PG). II. THE TRANSFORMATION Certainly, it was no easy feat for Henry Higgins to transform