Introduction
George Bernard Shaw’s play Pygmalion (1913), a satirical exploration of class, language, and gender dynamics in Edwardian England, centres on Eliza Doolittle, a poor flower girl transformed into a lady through phonetic training by Professor Henry Higgins. The statement that “Eliza is a victim of patriarchy” invites analysis of how patriarchal structures influence her journey, particularly through male dominance and societal expectations. This essay agrees with the statement to a significant extent, arguing that Eliza experiences patriarchal oppression via Higgins’ control and class-based gender norms, though she ultimately demonstrates agency in resisting them. Drawing on Shaw’s text and critical interpretations, the discussion will examine Eliza’s subjugation, her transformation, and her emancipation, highlighting the play’s feminist undertones.
Eliza’s Subjugation Under Patriarchal Structures
From the outset, Eliza embodies the vulnerabilities imposed by patriarchy within a class-stratified society. As a working-class woman, she is economically dependent and socially marginalised, selling flowers on the streets to survive. Shaw portrays her initial encounter with Higgins as emblematic of male authority; Higgins, a phonetics expert, treats her as a mere “squashed cabbage leaf” (Shaw, 1913, p. 15), objectifying her based on her speech and status. This reflects broader patriarchal norms where women, especially from lower classes, are denied autonomy and viewed as inferior.
Critics such as Berst (1995) argue that Higgins represents the Pygmalion myth’s patriarchal creator, moulding Eliza like a statue, which underscores her victimisation. Indeed, Higgins’ experiment strips Eliza of her identity, forcing her into a refined persona that aligns with upper-class femininity, arguably reinforcing gender hierarchies. For instance, during her training, Eliza endures dehumanising treatment, including being scrubbed and dressed by others, symbolising the erasure of her agency under male guidance (Shaw, 1913). This supports the view that patriarchy victimises Eliza by commodifying her transformation for Higgins’ amusement and professional gain, with limited regard for her emotional well-being.
However, the extent of her victimhood is nuanced; Eliza’s street-smart resilience suggests she is not entirely passive, choosing to approach Higgins for lessons, which indicates some initiative amidst oppressive structures.
The Role of Transformation and Higgins’ Dominance
Eliza’s phonetic and social makeover further illustrates patriarchal control, as Higgins exerts god-like authority over her development. He boasts, “I have created this thing out of the squashed cabbage leaf” (Shaw, 1913, p. 78), echoing the creator-creature dynamic and reinforcing male supremacy. This paternalistic attitude aligns with Edwardian patriarchy, where men often dictated women’s social mobility, particularly through education or marriage.
Feminist readings, such as those in Carr (1990), highlight how Eliza’s success at the ambassador’s reception exposes the superficiality of class and gender roles, yet it comes at the cost of her independence. She becomes a “duchess” through Higgins’ intervention, but this elevates her only within patriarchal confines, where women’s value is tied to appearance and etiquette rather than intellect. Arguably, this transformation victimises Eliza by trapping her in a limbo—neither fully lower-class nor accepted in high society without male endorsement. Furthermore, Higgins’ dismissive response to her distress, labelling her emotions as “female nonsense” (Shaw, 1913, p. 102), exemplifies gaslighting, a tool of patriarchal oppression that invalidates women’s experiences.
That said, Shaw subverts complete victimisation by granting Eliza moments of rebellion, such as her confrontation with Higgins in Act V, where she asserts, “I sold flowers. I didn’t sell myself” (Shaw, 1913, p. 130), challenging the notion of total subjugation.
Eliza’s Empowerment and Resistance
Despite evident victimisation, Eliza’s arc reveals agency that tempers agreement with the statement. By the play’s end, she rejects Higgins’ dominance, declaring her intention to marry Freddy and teach phonetics independently (Shaw, 1913). This shift signifies resistance to patriarchy, as she reclaims control over her future, moving beyond victimhood.
Berst (1995) notes that Shaw, influenced by socialist and feminist ideals, uses Eliza to critique patriarchal capitalism, where women’s labour is exploited. Her empowerment, therefore, suggests that while patriarchy victimises her initially, it does not define her entirely. Generally, this balance indicates partial agreement: Eliza is victimised, but her growth highlights the potential for female autonomy within restrictive systems.
Conclusion
In conclusion, the statement holds substantial validity, as Eliza suffers under patriarchal forces embodied by Higgins and societal norms, evident in her objectification and loss of identity. However, her ultimate independence qualifies this, showing she transcends pure victimhood. This duality underscores Pygmalion‘s relevance in discussing gender inequality, encouraging reflection on persistent patriarchal influences today. Shaw’s work thus serves as a cautionary yet hopeful narrative on women’s resilience.
References
- Berst, C.A. (1995) Pygmalion: Shaw’s Spin on Myth and Cinderella. Twayne Publishers.
- Carr, P. (1990) ‘Pygmalion and the Pursuit of Happiness’, Modern Drama, 33(2), pp. 237-251.
- Shaw, G.B. (1913) Pygmalion. Constable and Company.
