Facharbeit zu Shaw's "Pygmalien" und Russel´s "Edu

Preface

Theme: The dramatic function of Mrs. Pearce in "Pygmalion".
Invent an analogous figure in Act 2, Scene 5 of "Educating Rita".

Pygmalion

1.1 The author - about G.B. Shaw*
George Bernard Shaw was born in Dublin on 26^thof July 1856 and died in November, 11^th, 1950 in Ayot St. Lawrence, Hertfordshire. As a son of a successless, drinking grain merchant he grew up near the state of neglect in a protestant house. Through his mother he discovered his interests in music and literature. After educating himself he began to work as a music critic. At the age of twenty he decided to become a novelist. His critical view onto the Victorian England and his intention to draw attention to the evils caused by poverty made him a famous critic. He gained his
success as a novelist by provocating the audience and through his wit and brilliant dialogs concerning the human intellect. Further important pieces and essays of Shaw for instance are:
Androcoles and the lion; Arms and the Man; Man and Superman; Saint Joan; Mrs. Warren’s Profession; The
quintessence of Ibsenism.

1.2 The play - about Pygmalion*
The theatreplay Pygmalion, written in 1912 by George B. Shaw is based on a Greek legend about a kypric king called Pygmalion, who fell in love with a female statue he had created. This statue, Galatea by name, was revived to life by the goddess Aphrodite.
Shaw’s Pygmalion takes shape in Professor Higgins, a genius of phonetics and dialects. His only passion is the English speech. He is convinced of the nobility of the English language and in his opinion the social standard of a human being depends on his or her accent. Higgins' Galatea is the flowergirl Eliza Doolittle, who attracted Higgins' attention because of her gutter - jargon. He met her at a bus - station where he becomes acquainted with Colonel Pickering, who is interested in phonetics too. In his whole behavior Pickering is a perfect gentleman and treats Eliza like a lady all the time. According to his own interests in phonetics he makes a bet with Higgins. Higgins opinion is, that he can make Eliza speak and behave like a lady out of the higher society within 6 month. The illusion of the comftable environment of Higgins’ bachelor - household brakes down as Eliza recognizes, that she is only a "guinea pig" for Higgins. After some difficulties rising out of Elizas’ and Higgins’ conflict, they have success, but this success is not the merit of the drill the Professor practiced to make a lady out of the flowergirl; the good manners of Pickering and the fair but down - to - earth - bringing treatment of Mrs. Pearce are the reasons, that Eliza kept her self - respect in her way of becoming a well - educated woman.

^*:based on - Bertelsmann Universallexikon 1989
- Kindlers Literaturlexikon; Hrsg. Walter Jens 1990
- Lektürehilfen Pygmalion/Educating Rita; Detlef
and Margret Ziegesar
- Pygmalion; G.B. Shaw


2.Analysis - Mrs. Pearce

2.1 Characterization
Mrs. Pearce is Professor Higgins’ housekeeper. She seems to be an ordinary woman out of the middle - class. Her standard is not as high as Higgins’ is, but even higher than the Elizas’. She is rather educated and believes in good manners; she always attaches importance to a good behavior. ("You mustn’t speak to the gentleman like that"; see Pyg. P.24) The striking charactertrades of Mrs. Pearce are resoluteness, rationality, calmness and practicality, but she is respectable and sensible too. The fact of being the only woman in this "bachelor - household" can’t harm her.
It is her profession is to arrange; not only the household. She has to arrange the life of employer in case of his livelihood with other people and she supports and influences his decisions with her common sense, but not succeeding all the time. "She treats her employer like a small boy who needs looking after." (Lektürehilfen; p.51)
Although she is an employee, she knows how to defend against Higgins’ snide remarks: she never deigns to a discussion; she is trying to keep her head all the time. In the situation for instance, in which Higgins tells, after Mrs. Pearce has quoted, that there is no room for Eliza, that he will put Eliza into the dustbin. Even it is meant ironical and sarcastic, Mrs. Pearce answers, that Higgins must reasonable and that he can’t walk over everybody. Then, as he refuses against being reproached with indiscretion and tactlessness, she and Pickering are laughing about his exaggerated reaction and are exposing his own contradictions. (comp. Pygmalion; p. 27)
A hint to her common sense is her appealing to Higgins’
objectiv view on the situation, that he can’t pick Eliza up like a pebble on the beach for using her for his goals. (see Pyg.; p.27f.) Mrs. Pearce wants to make him recognize his own selfishness. She tries to prevent Higgins’ idea, but it fails, because Higgins neglects her arguments.
Mrs. Pearce has also an influence on Eliza. From the beginning "she shows sympathy for Liza, although she calls her a foolish ignorant girl, a silly girl and a child" (Lektürenhilfe; p.51); she tries to spear her from what will happen. But without success: her influence has borders, because she is only an employee.
As she recognizes, that she can’t prevent the following, she decides to support Eliza by keeping her down to earth. Later Higgins says: "You can adopt her, Mrs. Pearce[...]". She doesn’t refuse and begins to sorrow about Eliza’s future. (see Pyg.; p.29)
And, because Eliza is not able to defend against Higgins, so Mrs. Pearce protects her. For instance on page 28: "Nonsense Sir. You mustn’t talk to her like that."

2.2 Dramatic function of Mrs. Pearce
The person of Mrs. Pearce does not exist for the sake of herself. Through the character of the housekeeper Shaw invents a elemental figure, who presents a look under the surface of the other characters, specially Higgins. She points out the mistakes and the contradictions in Higgins’ behavior. On page 36 for example, she asks him not to swear before the girl. He refuses against this reproach, but in the same breath he asks: "What the devil do you mean?". It is not only one of many examples according his bad manners. By recognizing this paradox and complacent reaction, the audience gets an examination of the obscuring self - confidence and arrogance of Professor Higgins, who makes himself very ridiculous.
Through Mrs. Pearce Shaw gives a voice to the audience on stage. That, what the spectators may think about Higgins is expressed by her behavior.
But her function is not only a connection between Mr. Higgins and the audience.
Mrs. Pearce mediates between Higgins and Eliza, she intervenes in the conflict and arranges the "living - together". Later in the play Eliza is able to defend herself against Higgins sarcasm. From this point there is no need for Mrs. Pearce any longer.


3. Educating Rita

3.1 The author - about W. Russell*

William Martin Russell was born as a son of a worker, who later buyed a fish - and - ship shop, in 1947 near Liverpool. He had an antipathy towards education and left school at the age of 15 with the idea of becoming a writer. First he began to work at a hairdressers. Then, after he discovered his faibl for bourgeosis theatre, he started learning how to become a teacher with the aim to write for the working class. After have worked some years as a teacher at St. Katharine’s College of Education he decided to become a full - time writer.

3.2 The play - about Educating Rita^*
Rita, a hairdresser out of the middle - class goes to the Open University to become a better - educated woman. Frank, her teacher, is an alcoholic, who tries to escape from the reality he won’t or can’t accept, by drowning his sorrows in alcohol. Rita is enthusiastic from the beginning; she wants to everything. Out of this commercial and superficial relationship grows a kind of friedship, because Rita begings to tell him everything about her privat life. After having visited the summerschool, Rita comes back as a totally changed person. Slowly rises a conflict between Frank and Rita. The main reason for this conflict is the self - confidence Rita reached; she wears a mask, which behind her orginality has lost, further she tries to influence him. They begin to depart from each other, because there is no longer dependence. In the end Frank takes a two - year taking sabbatical in Australia. Rita realizes, that she has gone wrong and thanks him for what he has teached her.
She lies down her mask and with a view on reality she has many choices in this open - end.

^*:based on
- Kindlers Literaturlexikon; Hrsg. Walter Jens 1990
- Lektürehilfen Pygmalion/Educating Rita; Detlef
and Margret Ziegesar
- Educating Rita; W. Russell


4. Creative Works

4.1 Mr. Wright - invention of a new character
Introduction:
The plot of Educating Rita depends on two acting persons. Other characters, Denny and Trish for example, are involved only in an indirect way into the action; they only have a passive influence on the main - characters. None intervenes in the later rising conflict, like Mrs. Pearce in the parallel play Pygmalion does. Her function as a "buffer" between the main - character and her way of keeping them down to earth in a neutral and reasonable way by pointing out their mistakes are reflecting in the new - invented character of Mr. Wright, the caretaker of the University.

Mr. Wright

Mr. Wright is the old caretaker of the University. The most people say ironically, that he is one of the fixtures. He has seen many teacher and countless students coming and going.
His education is not very high, but on a solid standard; in his long career he learnt very much, because he does not the world pass by. He has ever an open ear for everyone and watches his environment with open eyes. Even if he is out of the working class he enjoys a reputation as a rational, sensible and respected man.
He knows about Franks problems and tries to confront him with it.

4.2 Mr. Wright in Educating Rita; Act 2/Scene 5
The light come up on Frank sitting in a chair by the window desk with a mug in his hand and a bottle of whiskey on the desk in front of him listening to the radio. There is a knock at the door

Frank: Come in.
Mr. Wright enters the room with a toolbox in his
hand
Frank: What the hell (turning around) - oh, it’s
you Mr.Wright. (turning off the radio) What’s the matter?
Mr. Wright (placing the toolbox besides the
Door) Good morning Sir, I came for repairing the door. It’s squeaking and jamming, isn’t it? - Hey, is anything wrong with you, Frank?
Frank: (flaring up, hammering his mug onto the table) What shall be wrong with me?
Perhaps there is something wrong with you.
(whispering) ... sorry.
Mr. Wright (beginning with repairing the door)
Alright Mr. Byrant, calm down. Be assured,
your problems I’ll keep under my hat. You
have to cope with that, and nobody else.
If you want to talk about ...
Frank: (talking to himself standing in front of the window ) I don’t have any problems ...

After a little while Rita enters the room, greeting Mr. Wright with a smile
Mr. Wright: Hello Rita.
Frank: (dazed; to Mr. Wright) Rita? (turning
around; to Rita) What the hell are you doing
here? I’m seeing you till next week.
Rita: Are you sober? Are you?
Frank: If you mean am I still this side of
reasonable comprehension, then yes.
Mr. Wright: If I may interrupt. Rita - if you ask
me, come back later again, this would be better for you both.
Frank: Damn it. Come on, tell me. What is it
about?
Rita: Frank, I ... I’ve read your poems, these
(She produces his poems) are brilliant, witty and full of style.
Frank: Ah ... tell me again, and again ... It’s
a bright spot, but you are wrong ...
Rita: They are, Frank. It isn’t only me who
thinks so. Me ‘an Trish sat up last and read
them.
Frank: I give a damn on Trishs opinion and ya’ ...
Mr. Wright: (resolutely) You have to hear her out.
Rita: Thank you, Mr. Wright. (looking for the
thread) Ah ... yes!
Why did you stop writing? Why did you stop
when you can produce work like this. We
stayed up most of the night, just talking
about it. At first we just saw it as
contemporary poetry in it’s own right, you
you know, as somethin’ particular to this
century but look, Frank it more - more ...
resonant, you can see in it a direct line
through to nineteenth - century traditions
of - of like wit an’ classical allusion.
Frank: (sits down on the edge of the desk)
Er - that’s marvellous, Rita. How fortunate I
didn’t let you see it earlier. Just think if I’d let you see it when you first came here.
Rita: I know ... I wouldn’t have understood it,
Frank.
Frank: (jumping up; eccentric) You would have
thrown it across the room and dismissed it
as a heap of shit.
Rita: (defending) Perhaps, but I couldn’t have
understood it, the allusions and ...
Frank: And that’s the point. You lost your
spontaneity ...
Rita: Stop Frank, you’ ve done a fine job.
Frank: You know, Rita, I think that like you
I shall change my name;
Rita: (searching for help she looks to Mr. Wright,
who follows the conflict all the time) ...
Frank, what ... ?
Frank: Now it my turn to be heard out.
I should insist upon being known as Mary,
Mary Shelly - do you understand that allusion?
Rita: What? (Mr. Wright walks over to them)
Frank: She wrote a little gothic number called
"Frankenstein", you know. And do you know
what he did? No? This man, Frankenstein,
created an later out of control - coming
creature.
Mr. Wright: (serious) Frank, that’s no fair
way to talk. You mustn’t talk to her like
that.
Rita: But Frank, what do you mean by that?
Frank: I mean, that you rely now on borrowed
opinions instead of your honest thought
you had in the beginning.
This Rita, (tears his poems out of her
hands and rips them up) nothing more than
worthless, talentless shit. It’s pretentious,
characterless and without style.
Rita: It’s not.
Frank: Oh, I don’t expect you to believe me.
You recognise the hallmark of literature
now, don’t you? (he throws away the pieces in
a final gesture)
Why don’t you just go away? I don’t think I
can bear that any longer.
Rita: I tell you what you can’t bear, Mr. Self -
Pitying Piss Artist ...
Mr. Wright: Rita, you should be reasonable.
Rita: (to Mr. Wright) Can’t you see, that he can’t
bear, that I’m educated now.
(to Frank) What’s up, Frank, don’t y’ like
me now that the little girl is grown up, now
that y’ can no longer bounce me on daddy’s
knee and watch me stare back in wide - eyed
wonder at everything he has to say.
Mr. Wright: Rita, come down to earth. If you are
so educated, as you say, you should know,
that this isn’t the way to discuss with
common sense.
Frank: (starting to pack his bag) I haven’t to
bear this any longer.

Rita: (begging for been understood) Frank, I ... I
have got a room full of books. I know what
clothes to wear, what wine to buy ... I can
do without you.
Frank: (looking up) Is that all you wanted. Have
you come all this way for so very, very
little?
Rita: Oh it’s little to you, isn’t it?
It’s little to you who squanders every
opportunity and mocks and takes it for
granted.
Frank: Found a culture, Rita? Found a better song
to sing? No - you’ve found a different song,
that’s all - and on your lips it’s shrill and
hollow and tuneless.
Mr. Wright: (urgent) Frank, please ...
Frank: (hesitating) Oh ... Rita, Rita ...
Rita: (laughing) Rita? Nobody calls me Rita but
you. I dropped that pretentious crap as soon
as I saw it for what it was ... nobody calls
me Rita.
Frank: What is it now then? Virginia? Or Jane?
Rita: I haven’t to bear this! I haven’t to talk to
you like this!(turns around and exits)
Mr. Wright: Frank, look what you’ve done.
Now you can see what happens.
Frank: (takes the whiskeybottle and smashes it
on the floor) God, what have I done?
Yes, I ... I see. I’m a self - pitying piss - artist and what has become out of Rita ... what the hell I’ve done?!

Black - out

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