Discuss the play Pygmalion as a romance? Elaborate.

1. Introduction to Pygmalion as a Romance

George Bernard Shaw’s Pygmalion, published in 1913, is a play that defies many of the conventions of traditional romantic dramas. Set against the backdrop of early 20th-century England, it tells the story of Henry Higgins, a phonetics professor, and Eliza Doolittle, a flower girl who undergoes a dramatic transformation under his tutelage. Although Pygmalion has often been interpreted as a romantic comedy, Shaw deliberately subverts typical romantic tropes, making the play a complex commentary on class, language, and identity. By discussing the play as a romance, it is necessary to explore both its adherence to and deviation from romantic conventions. Shaw engages with the idea of romance but does so in a non-traditional way, challenging the audience's expectations of relationships and transformations.

2. The Classical Pygmalion Myth and Romance Elements

To understand Pygmalion as a romance, it is essential to refer to its mythological roots. The play's title refers to the ancient Greek myth of Pygmalion, a sculptor who falls in love with a statue he carves. In the myth, Pygmalion becomes so enamored with his creation that he wishes for it to come to life, and the goddess Aphrodite grants his wish. This myth, filled with romantic notions of love, transformation, and idealized beauty, provides the basis for Shaw’s play. However, while the classical myth revolves around a romantic union between the artist and his creation, Shaw’s Pygmalion does not lead to a conventional love story between its two central characters, Higgins and Eliza.

The romance in Shaw’s version lies more in the transformation of Eliza rather than in a romantic entanglement. Just like in the myth, Eliza is “created” or transformed by Henry Higgins, who reshapes her through education and language. The romance, therefore, is not between the two protagonists in a conventional sense, but in the process of self-realization and the metaphorical “coming to life” of Eliza as an independent and assertive individual.

3. The Non-Traditional Romantic Relationship Between Higgins and Eliza

The relationship between Henry Higgins and Eliza Doolittle is the heart of the play, but it is far from a traditional romantic pairing. While there are hints of mutual dependence and affection, Shaw purposefully avoids the conventional trajectory of romantic relationships. Throughout the play, Higgins is depicted as arrogant, insensitive, and emotionally detached. His treatment of Eliza is often dismissive, viewing her as an experiment rather than a human being with feelings and desires. His lack of emotional depth makes him an unlikely romantic hero.

Eliza, on the other hand, evolves from a flower girl to a confident woman who understands her own value. Her transformation is not just a result of Higgins’ teachings but also her own determination and resilience. As she becomes more self-assured, the dynamics between her and Higgins shift. While traditional romance would expect the two characters to fall in love by the end of the play, Shaw denies the audience this resolution. Instead, Eliza asserts her independence, rejecting the notion of becoming a passive recipient of Higgins’ affections. This deliberate subversion of romantic expectations challenges the traditional notion of romance, emphasizing personal growth and independence over romantic union.

4. The Role of Colonel Pickering as a Romantic Foil

Colonel Pickering, a secondary character in the play, serves as a romantic foil to Henry Higgins. Where Higgins is brusque and dismissive, Pickering is kind, considerate, and respectful toward Eliza. Throughout her transformation, it is Pickering’s gentle manner and acknowledgment of Eliza’s dignity that help her realize her own worth. In contrast to Higgins, who sees Eliza as a project, Pickering treats her like a lady from the beginning. This contrast highlights a more traditional form of romance that values respect, kindness, and mutual admiration.

Pickering’s role, however, remains platonic and fatherly rather than romantic. While he represents qualities traditionally associated with romance, Shaw once again subverts expectations by keeping his relationship with Eliza non-romantic. His character underscores the theme of respect and recognition of one’s humanity, values that Eliza comes to demand from everyone, including Higgins. Pickering’s presence in the play adds complexity to the theme of romance, emphasizing that genuine affection and care need not be romantic in nature.

5. Eliza’s Romantic Transformation: Beyond Love

The central transformation of Pygmalion is not Higgins’ or Pickering’s, but Eliza’s. Her evolution from a poor flower girl with a thick Cockney accent to a poised, articulate woman is the play's primary romantic narrative. This transformation, while orchestrated by Higgins, becomes a romance of self-discovery for Eliza. As she learns to speak properly and presents herself as a lady, she also begins to realize her potential, identity, and independence.

Unlike traditional romance plots, Eliza’s transformation is not motivated by love or a desire to win over a suitor. Rather, it is driven by her need for self-respect and agency. By the end of the play, she no longer needs Higgins, and she expresses a desire to leave him and marry Freddy Eynsford-Hill, a young man who has shown her affection. Yet, even this potential romantic relationship is downplayed. Freddy, unlike Higgins, loves Eliza, but he is depicted as weak and ineffectual. The romantic subplot with Freddy remains understated, as Shaw emphasizes Eliza’s independence over her romantic affiliations.

6. The Rejection of a Romantic Ending

One of the most significant ways in which Pygmalion diverges from traditional romance is through its ending. Unlike the classical Pygmalion myth, where the sculptor and his creation unite in love, Shaw’s play denies a romantic resolution between Higgins and Eliza. While there are moments of affection and tension between the two, Eliza ultimately rejects the idea of staying with Higgins, refusing to be subservient to him or to remain under his influence. She declares her intent to make her own way in the world, whether that involves marrying Freddy or not.

Shaw’s refusal to give the audience a traditional romantic ending reflects his critique of romantic conventions. He resists the idea that a woman’s worth is tied to her relationship with a man or that romance must culminate in a union. Instead, Shaw portrays Eliza as a woman who has come into her own, rejecting the conventional narrative of romantic dependency. This subversion of the romantic genre forces the audience to rethink what romance can mean, focusing not on romantic love but on personal growth, freedom, and autonomy.

7. The Social and Intellectual Romance of Pygmalion

Beyond its exploration of personal relationships, Pygmalion can also be viewed as a romance between language, class, and identity. The play explores how speech and manners can shape an individual's social standing and self-perception. For Higgins, language is a tool of power and control, while for Eliza, it becomes a means of liberation. Their interactions are not just about personal transformation but also about navigating the rigid class structures of Edwardian England.

The romantic notion of transformation and self-improvement is central to the play, but it is framed within the larger context of social mobility and class distinctions. The romance in Pygmalion is not just between individuals but between ideas – the idea that identity can be shaped and reshaped through education and social interaction. In this sense, Pygmalion is a romance of the mind as much as of the heart, with language serving as the key to personal and social evolution.

Conclusion

In Pygmalion, George Bernard Shaw plays with the conventions of romance, both embracing and subverting them to explore themes of transformation, identity, and independence. While the play is rooted in the romantic tradition of transformation, it rejects traditional romantic resolutions, particularly the idea of romantic union between Higgins and Eliza. Instead, Shaw presents a romance of personal growth and intellectual awakening, with Eliza's transformation standing at the heart of the narrative. In doing so, Pygmalion offers a fresh, thought-provoking take on the romance genre, emphasizing independence and self-discovery over conventional romantic relationships.