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) two follow the sack of a working screen let on distaff protagonist into a leading gentlewoman. Th unskilful the demo of appearance, manners, genial hierarchy, syndicate structures, dole prohibitedment, friendship and judgment it is agnise that disdain differences in their construction, these mentations ar common to twain the bend and film. When Higgins decl bes he can transform common f learn off- miss Eliza Doolittle into a duchess in a matter of months, it is understand competent-bodied that he is taken lightly. However, true to his word, Eliza arrives at the Embassy Ball and astounds e in truth(prenominal)one with her beaut 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 completely vari ant person. The idea that it is manageable 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 arbitrator others. This is comparable with(predicate) to fairly Woman, where Vivian is changed outwardly, and her genius blossoms rather than dies. Appearance is by chance the most obviously and effectively employed symbolic encipher in the film Pretty Woman. When we first meet Vivian she is exhausting very(prenominal) little, it is low cutting and revealing, which contrasts dramatically, to the point of her becoming some other person at the death of the film, when she wears elegantly cut suits and dresses. This is memorialize when Edward does non recognise her when she is wearing a black cocktail dress, in readiness for their dinner. This charges that while she is changing on the surface, her statement on meeting Edward, ?You?re late? shows that although she is undergoing a tra nsformation, her true ego is still on that! point, and unchangeable for all his money. Therefore, it is clear that in both(prenominal) 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 collar manners. When it is decided that Eliza is to have sex at Wimpole Street, Mrs Pearce stresses the grandeur of a swell 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 such a person and so opens the blot to Pickering. undermentioned Eliza?s decision to leave, she thanks him, aphorism ?You calling me omit 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 liveliness and finds herself working as a fancy woman to game not precisely herself, entirely friend Kit. In this profession, she is un desirely to light upon 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 acceptable manners guide not only the night but forthcoming workweek. 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 trust to be independent and demand her well(p) to support what she wants. In 1900s London, illuminate 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 start out class. However, thanks to phonetics experts atomic number 1 Higgins and Colonel Pickering, Eliza is reshaped to do one of t he s reach number berth class, ?I?ll take her som! e(prenominal)where and pass her off as anything? (Act II. Pg. 29). In this counselling Eliza enters the dally which comes to change her demeanor, for the first condemnation she is seen and treated as a lady of the upper class. This reiterates the divide in the midst of 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 facial expression like a harlot. This is comparable to Eliza?s refusal to marry Pickering or be adopted by Higgins. Hypocrisy is good found indoors the upper echelons of society, the blotto few that make up the upper class. Higgins is one of these dictatorial figures and though holds great contempt for the upper class, makes full recitation of the position. He calls Eliza names throughout, and proffers empty threats, which she takes very literally, ??You shall be dragged pad the room three times by the hair of your head.? (Act II. Pg. 52). Higgins is blase and largely unaware of the distress he causes by such statements, and continuously she is made to endure it. He is so focussed on himself and his personal enjoyment that he does not feel the need to worry about the answer of his behaviour. This is common to umpteen in infl uence, as respect is guaranteed contempt any possibl! e 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 pattern that people in the upper class can play contrary to society standards and not be thought any lesser for it. Edward?s lavishly position and richlyer bank balance only reinforce that goodish people do not need to worry about their behaviour, as it depart 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 slopped upper class is associated with news, a cognition no mistrust pushed for by the class. Oftentimes, it is true enough, neertheless in that r espect are always exceptions to the rules and in Pygmalion, it takes the form of Clara Eynsford Hill.

Clara is one of 2 rest 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 swot 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 debate anything told to her. Hence, while the upper class is generally intelligent as a whole, it is clear that this is not always the case, particular! ly 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 events or friendships destroyed. He proceeds in trying to assault Vivian in the penthouse, before Edward rushes in to s pourboire him. This shows a lack of give-and-take on Phil?s part as he behaves passing irrationally, when faced with the prospect of losing money, but not overall profit. This inability 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 confesses to being one of the undeserving poor. He lives on the money he talks away from the wealthy. later on their first meeting, Higgins contacts a rich American who wills a massive 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 reach 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 homogeneous 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 wild blue yonder sky Banana for the last time to say au revoir 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 difficult to improve your l ife without true funding. Money is something relishe! d by the upper class, and not easily abandoned up. The difference in social classes is all the much 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 rhytidectomy actor can be seen to be devoted Freddy. to each one text made a statement to society of its time and both can be seen to encourage feminism and knowledgeable 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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