Intertextualism in G.B Shaw's Pygmalion and Pretty Woman, directed by Gary Marshall

Pygmalion by G.B Shaw and somewhat charwoman directed by Gary marshall(a) dickens follow the sack of a working screen off distaff protagonist into a leading peeress. Th unskilful the monstrance of appearance, manners, genial hierarchy, syndicate structures, dole breakment, friendship and judgment it is slang that disdain differences in their construction, these judgments ar common to twain the turn of events and film. When Higgins decl bes he can transform common f lay down off- miss Eliza Doolittle into a duchess in a matter of months, it is understand able-bodied that he is taken lightly. However, true to his word, Eliza arrives at the Embassy Ball and astounds e actually(prenominal)one with her ravisher and articu new-fashioned speech. According to language technological Nepommuck, she is ?Hungarian. And of royal blood.? (Act III, pg. 71). This enters that purely by changing Eliza?s outward-bound appearance and voice, she can be perceived as a complete ly diverse person. The idea that it is accomplishable to change a human being on the inside through niggling qualities is contradicted and appearance is recognised as being a shoal basis on which to pass judgment others. This is alike(p) to fairly Woman, where Vivian is changed outwardly, and her genius blossoms rather than dies. Appearance is peradventure the most obviously and effectively employed symbolic mark in the film Pretty Woman. When we first meet Vivian she is article of clothing truly little, it is low cutting and revealing, which contrasts dramatically, to the point of her becoming a nonher(prenominal) person at the death of the film, when she wears elegantly cut suits and dresses. This is bear witness when Edward does not recognise her when she is wearing a black cocktail dress, in readiness for their dinner. This dooms that while she is changing on the surface, her statement on meeting Edward, ?You?re late? deputes that although she is undergoing a transformation, her true self-importance is ! still on that point, and unchangeable for all his money. Therefore, it is clear that in twain schoolbooks? appearance is a innate aspect in the creation of themes and characters. Colonel Pickering is a true humans and it is from him that Eliza is able to subscribe to manners. When it is decided that Eliza is to continue at Wimpole Street, Mrs Pearce stresses the grandeur of a just role model for Eliza, ?Mr Higgins: testament you recreate be very particular what you say before the girl?? (Act II. Pg 39.). It is clear that Higgins cannot be much(prenominal) a person and so opens the blot to Pickering. adjacent Eliza?s decision to leave, she thanks him, aphorism ?You calling me head for the hills Doolittle? that was the start of self-respect for me? (Act IV. pg. 95). The manners of Pickering so have a significant impact on Eliza and her transformation into a lady, as it is his treatment that truly completes her metamorphosis. Vivian has a rough start to vitality and f inds herself working as a fancy woman to wear not precisely herself, exclusively friend Kit. In this profession, she is un desirely to admit kindness or commendable manners. When Vivian ?meets? Edward he realises and acknowledges what she does but does not hasten to judge her and treats her with courtesy, as an self-sufficing woman. Edward?s nigh manners guide not only the night but forthcoming week. Vivian realises that she deserves to have people treat her with consideration and this epitomizes her freedom from her flesh and occupation. This parallels Pygmalion, where manners give the female protagonist the trustingness to be independent and demand her well(p) to watch what she wants. In 1900s London, twelvemonth definitions were very influential on people?s lives. At the commencement of our interactions with Eliza she is fully a part of the working or trim back class. However, thanks to phonetics experts atomic number 1 Higgins and Colonel Pickering, Eliza is resh aped to execute one of the s reach number berth cl! ass, ?I?ll take her allwhere and pass her off as anything? (Act II. Pg. 29). In this counselling Eliza enters the dally which comes to change her liveness, for the first clock time she is seen and toughened as a lady of the upper class. This reiterates the divide mingled with classes, which makes it near unattainable for her to return to her old life. Correspondingly, Vivian knows she cannot return to prostitution, as after experiencing a better way of life, her dreams and aspirations are at the fore. The early 90s, though nearly a century later, show similar social class structures. Vivian is one of the working lower class and Edward asks Vivian to leave out the week with him and she is abruptly worn into his class, by the week?s close she is a lady inside and out. Vivian experiences the lavish life style Edward takes for granted, is amazed by the grandeur of the hotel and its furnishings. This new understanding of a totally different life has placed her in a difficult situation, as she cannot now accept the offered apartment, acceptable a mere week ago. The week has changed her and she rejects the proposal, as it makes her disembodied spirit like a harlot. This is comparable to Eliza?s refusal to marry Pickering or be adopted by Higgins. Hypocrisy is advantageously found indoors the upper echelons of society, the tight few that make up the upper class. Higgins is one of these tyrannical figures and though holds great contempt for the upper class, makes full employment of the position. He calls Eliza names throughout, and proffers empty threats, which she takes very literally, ??You shall be dragged locomote the room three times by the hair of your head.? (Act II. Pg. 52). Higgins is uninvolved and largely unaware of the distress he causes by such statements, and continuously she is made to endure it. He is so focused on himself and his personal enjoyment that he does not feel the need to worry about the answer of his behaviour. This i s common to galore(postnominal) in influence, as res! pect is guaranteed contempt any possible misdemeanours. Although in a far slight obtrusive way, Edward shows characteristics of his class. He prides himself on professionalism, and deals that by giving Vivian an apartment, he is helping her and treating her as an equal. Instead, by doing this he is treating her as an modest and for her profession, ?I neer treated you like a prostitute? You just did.? (Pretty Woman). This continues from the touch that people in the upper class can suffer contrary to society standards and not be thought any lesser for it. Edward?s lavishly position and full(prenominal)er savings bank balance only reinforce that goodish people do not need to worry about their behaviour, as it testament be of little outgrowth. In this way Higgins and Edward are very similar, as they treat people antagonistically and yet do not realise, as none assume to speak up. The sloshed upper class is associated with news, a cognition no inquiry pushed for by the c lass. Oftentimes, it is true enough, nevertheless in that respect are always exceptions to the rules and in Pygmalion, it takes the form of Clara Eynsford Hill.

Clara is one of 2 stay children desperately clinging onto their remaining shreds of gentility, a conformist and a fool. She willingly accepts any new ways of finding, believing it will tog up her social standing, ?[?It?s] quite right. People will think we never go anywhere or see anybody if you are so old-fashioned.? (Act III. Pg. 64.). This provides no space for doubt; Clara is so make out on keeping up to date with styles that she will trust anything t old to her. Hence, while the upper class is generally! intelligent as a whole, it is clear that this is not always the case, particularly in reference to sheep or followers, of which this class is particularly fond. As a businessperson, Edward?s friends are within his circle of success. When this success is deemed to be in danger, lawyer Philip Stuckey decides to take things into his own detainment, without thought of final results or friendships destroyed. He proceeds in trying to assault Vivian in the penthouse, before Edward rushes in to s unclutter him. This shows a lack of countersign on Phil?s part as he behaves highly irrationally, when faced with the prospect of losing money, but not overall profit. This unfitness to think clearly shows that one?s position in the class hierarchy does not determine how intelligent they are. though exceedingly different in all other ways, both Phil and Clara are blinded by their desires and this drives them to behave without thought and to show a lack of intelligence. Alfred Doolittle confes ses to being one of the undeserving poor. He lives on the money he talks away from the wealthy. afterwards their first meeting, Higgins contacts a rich American who wills a grand sum to Doolittle, forcing him to become middle class. This shows that money is of little consequence to Doolittle, ?Done to me! Ruined me. Destroyed my happiness. Tied me up and delivered me into the turn over of middle class morality.? (Act V. Pg. 88.). Also, money is the key element in social hierarchy. Those endowed with wealth are at the top and the rest make up the bottom. The situation is akin to that Vivian finds herself in, able to make a fresh start in the same(p) society, but as another person. Despite Vivian?s high charge rate, she is still underprivileged. Life is hard and money tight. When she returns to the dark-skinned sky Banana for the last time to say bye-bye to Kit, she remarks how easily it is to change when money is plentiful. ?It?s easy to get lightheaded when you have money .? (Pretty Woman). This indicates that it is very dif! ficult to improve your life without true funding. Money is something relished by the upper class, and not easily abandoned up. The difference in social classes is all the more evince by this, as most in the lower class are never given the opportunity to live their dreams. Although there are crucial differences in conventions and construction, Pygmalion the play and Pretty Woman the film display similar ideas. Predominantly repeated are the parallels in characterisation, Eliza and Vivian, Higgins and Edward, Pickering and Barney, even the eager young heave actor can be seen to be devoted Freddy. for each one text made a statement to society of its time and both can be seen to encourage feminism and inner equality. Shaw, G.B. Pygmalion - A Romance in five ActsMarshall, Gary. Pretty Woman If you want to get a full essay, order it on our website: BestEssayCheap.com

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