Shaw is highlighting the positive qualities of human nature, which exist regardless of one’s social status. The transformation of a flower girl into a fierce woman who feistily laments her loss of independence and demands what she wants is a compelling example of this. This transformation is in stark contrast to the hypocrisy and questionable morality of Eliza’s Pygmalion and other characters who are part of that class. Shaw is exposing the redundant nature of the institutionalized system of class and advocating its dissolution.
The play’s roots are found in Professor Higgins’ ‘folly’. This is a disturbing description, because it implies to the audience that Higgins is treating this girl as a mere ‘folly.’ She is being treated casually, without much thought. He says that he will make a duchess out of the draggle-tailed guttersnipe. This proclamation is a testament to Higgins’ pride in his ability to speak and his desire for it. Higgins’ character is characterized by a self-centered and self directed language. Eliza was a pebble in the sea to him. He considered himself superior and dehumanized her. Eliza is shown to be a naive and superficial character, but the audience learns later that the judgement was wrong. Shaw presents Higgins to the audience as if he were a comical character, who is excited by Higgins’ ‘folly.’ He wants the job to be completed ‘now! The repeated exclamation marks emphasize Higgins’ fervent desire to play with his new toy as soon as possible. This reinforces the perception that Higgins is a childish character who has no regard for the consequences of his actions. This desire, symbolized in the directions by a hurricane,’ is destructive and wreaks havoc on anyone unfortunate enough to cross its path. In this case, Eliza. She then repeats the sentiments and calls Higgins, a’motorbus’: all bounce, no concern for anyone.
Clara’s appearance in Mrs Higgins’s flat in a second scene reinforces this sense of ignorance among the upper classes. Higgins interrupts Eliza with a blunt ‘Ahem,’ and this marks an abrupt contrast in the tempo. Eliza now seems to be ‘at peace’ and the ‘Ahem,’ from Higgins is used as a clue as to her true identity. Clara is just as socially inept as Eliza. But she doesn’t realize it. Clara fails to realize that Eliza is referring to men who are drinking themselves in a ‘cheerful, loving way’. She justifies this by saying, “it’s okay, mamma. It’s quite right.” This reinforces her arrogance and makes it seem like she is a smug person. She ignores Eliza’s past poverty (the “fourpence”) and is too focused on Clara’s “elegant speech” to realize the inconsistency. Eliza’s remarks are so out of sync with the scene, including the regal ottoman and the Elizabethan chair, symbols of luxury. Shaw shows through Clara that the upper classes are obsessed with appearances and status, to the point that they can’t see beyond their fear of appearing ‘old-fashioned.’
When Mrs Pearce is introduced to this ‘folly,’ her only concern is morality. The punctuation of her words ‘Yes’ and ‘But-‘ creates an unresolved voice, strained with disdain at Higgins treatment of Eliza. She clearly sees it as immoral. Higgins uses a dramatic, almost poetic style to win Eliza’s heart. He is proud of his linguistic prowess, which he believes is something she hasn’t experienced before. To this, Mrs Pearce’s blunt interjection “nonsense” is the antithesis to such ardent speech. She deals with morality, reality and Higgins’s behavior. Eliza runs for ‘protection” to Mrs Pearce Pickering and her consorts in morality. She calls them’resolute.’ Higgins is far less memorable without Pickering and Pearce.
Eliza bemoans her’slavery’ after her transformation. This word, “for”, introduces an air of regret, even though she is surrounded by luxury and ‘fine clothing’. Eliza does not care about Clara’s ‘treasures intellectual’ or her sense of luxury. Eliza instead takes a personal, internalized view of the situation. Eliza only desires her ‘independence,’ the simple, ‘flower basket life’. It helps the audience to see Eliza as someone who is devoted to human values and morals. In the past, her clothes matched her status. She was not living a disjointed life as she does now. Eliza was described as a ‘rising star’ during the dispute with Higgins. Her character has a sense of confidence and power, which matches with the fervent protests she makes about Higgins’ treatment of her. This describes a change in her character. Before, Eliza would cower to Higgins when he hurled a storm at her. Her first meeting with him, she sat down in her chair. Eliza’s transformation reveals how she was defined and confined by her class before. Her transformation has given her more power, but she is still as moral as the ‘good girl” who innocently asked Higgins for assistance. Eliza is the one who teaches us that morality does not belong to the upper classes. Shaw’s character portrays a diverse range of morals that exist irrespective of social class. Eliza is an example of this, as she acts as a moral compass, while Higgins is the unreliable (though charming) character who shows a deplorable disregard for people he considers to be beneath him. Shaw’s Pygmalion demonstrates that class is incompatible with morality.
