Pygmalion Victorian Society

‘PYGMALION' PORTRAYAL OF VICTORIAN SOCIETY / CLASS /
CONTEMPORARY SOCIETY
¹ The Victorian identity is shaped through discourses that instill specific characteristics to form class
identity. Scholars vary in their perspectives on Victorian social classes. This analysis explores Bernard
Shaw’s Pygmalion in relation to Matthew Arnold’s Culture and Anarchy, revealing how Arnoldian
paradigms influence Victorian social classes by constraining and defining their identities. Arnold’s
cultural concept is further examined through a Marxist lens.
In Shaw’s narrative, Eliza Doolittle embodies the Victorian working class, contrasting with Higgins,
who personifies the upper class. While Arnold doesn't envision equal education for the working class,
Shaw presents a contrasting view, empowering Eliza to surpass upper-class ideals. This study
questions whether Shaw and Arnold, as social critics, act as Organic Intellectuals reinforcing upper-
class ideology or if they represent objective ideas detached from such ideology.
The exploration of Matthew Arnold's theories in "Culture and Anarchy" (1869) finds relevance when
examined alongside authentic Victorian literary works that represent both the aristocracy and the
working class. In this context, George Bernard Shaw's "Pygmalion" (1913) serves as a primary source
for understanding Victorian social context and questioning the validity of Arnoldian class-identity
distinctions. The analysis aims to discern whether Arnoldian categorization is authentic or a form of
social indoctrination shaped by power relations and hegemonic discourses.
² Additionally, the essay seeks to scrutinize Shaw's role as an objective voice in portraying these social
classes. Unraveling Shaw's mindset concerning Victorian English classes becomes crucial, and his
works serve as a lens through which assumptions about his social preferences can be established.
In "Pygmalion," a figurative master/slave relationship unfolds between the upper-class represented by
Higgins and the working-class embodied by Eliza. Scholars, such as Sasani (2015), characterize this
dynamic as a "complex relationship between the colonizer and the colonized." However, there's a
notable oversight in some scholarly views regarding Eliza's accent and speech normalization. Sasani
attributes Higgins belittling Eliza to her "weird accent," overlooking that it is likely a Cockney accent.
Moreover, Eliza's working-class accent isn't the sole reason for Higgins's disdain; rather, it unveils her
class identity, positioning her as socially inferior in Victorian society.
Shaw's Pygmalion is a renowned dramatic work that skillfully juxtaposes social class discourses,
rooted in a standard romantic plot. The play, centered around Eliza's transformation from a flower girl
to an aristocrat, delves into class distinctions without addressing financial aspects. Higgins, the
aristocrat phonetician, embodies characteristics of Victorian aristocrats.
³ A crucial discourse in Pygmalion is the role of language. It serves beyond communication, acting as
a marker of social status and a source of power. The play portrays upper-class dialect and accent as
hegemonic, representing the Standard English of the period. Higgins, at the outset, evaluates Eliza's
speech, highlighting how linguistic competence is intertwined with social power dynamics. Eliza,
initially misinterpreting Higgins as a policeman, experiences the impact of these linguistic
distinctions.
“You see this creature with her kerbstone English : the English that will keep her in the gutter to the
end of her days. Well, sir, in three months I could pass that girl off as a duchess at an Ambassador’s
garden party. I could even get her a place as lady’s maid or shop assistant which requires better
English.” (Act – I)
Higgins's dehumanizing reference to Eliza as a "creature" solely based on her accent and dialect is just
one instance of his apparent politeness. To critique Higgins as an objective observer of Victorian
social classes, multiple examples are necessary to scrutinize his authenticity.
As the first act concludes, Eliza, despite feeling disrespected, recognizes the superiority attached to
upper-class accent and dialect. She seeks out Higgins to learn proper English, understanding the
power relations associated with language. In her quest to acquire proper English, Eliza becomes an
active agent for the dominant power, illustrating the role of language as a power bloc.
⁴ he second act continues to highlight Higgins's objectionable behavior towards Eliza, further
contributing to the exploration of power dynamics and linguistic hierarchy in Victorian society. The
Victorian era in England is marked by a burgeoning focus on class discourses, with class distinction
becoming a significant societal concern. Literary works of the period frequently incorporate
references to this issue, highlighting the pervasive influence of social hierarchy.
“The manners and habits that disqualify a fine lady from earning her own living without giving her a
fine lady's income!” (Act – III)
Eliza's transformation from a 'flower girl' to a 'lady' holds symbolic weight, representing the impact of
determining discourses that define and frame the Victorian lady. This transformation primarily
involves changes in accent, dressing, and manners. While these characteristics are indeed significant
in British Victorian society, it is essential to recognize that Eliza's entire transformation goes beyond
these outward changes.
The hostility within Mrs. Pearce's discourse towards Eliza, representing working-class society, unveils
a complex dynamic where Mrs. Pearce, despite being a working-class character, aligns more with
upper-class interests. This positioning transforms Mrs. Pearce into a hegemonized subject, willingly
subjugated by the upper-class society. Notably, Mrs. Pearce's ability to speak proper English, unlike
Eliza, raises questions about the relationship between acquiring proper English and ultimate
subordination.
⁵ It can be argued that the availability of proper English for working-class characters becomes an
object of desire and a means of consent to the dominant power. Only those working-class individuals
who submit to the dominant power are granted access to learning proper English. Mrs. Pearce serves
as a tool of the dominant power, actively participating in the upper-class discourse and reinforcing its
influence. As Fiske notes, "power exists in its practice," and Mrs. Pearce, as a hegemonized subject,
efficiently engages in the practice of power within the conversation of Higgins and Pickering,
solidifying her status among the bourgeoisie.
In the fifth act, Eliza's transformation is striking as she converses with Pickering. Her accent,
grammar, and the content of her speech demonstrate a significant evolution. Eliza emerges as an
intellectual who is keenly aware of social relations, surpassing her previous imprudent and dramatic
character. Notably, she even outshines Higgins, portraying her as a representative of Victorian upper-
class society.
It can be reasonably argued that, unlike Arnold, Shaw envisions an educational and cultural path
equally accessible to everyone. However, a notable challenge arises in Shaw's representations of the
Victorian working-class society, where characters are often depicted with dramatically low cultural
refinement. While Shaw allows for the transformation of working-class individuals through education
and culture, the portrayals remain skewed, making it challenging to witness a working-class character
as well-cultured as those from other social classes.

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‘PYGMALION' PORTRAYAL OF VICTORIAN SOCIETY / CLASS /

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