1. The eternal question is, does the artist lose control of his art the minute it leaves his brush, pen, or mold? Does the audience have a right to interpretation? Can the art take on a life of its own? More importantly, should it?
2. What does Higgins mean when he says, “teaching would be impossible unless pupils were sacred”? Affirm, dispute, or qualify the validity of Higgin’s statement.
3. Shaw explores the artificiality of class distinctions throughout Pygmalion. Trace this theme throughout the play. What classes are represented in the play? On what factors is membership based? Which characters strive to move above their class? Which wish to stay as they are? What are their reasons?
4. The original Pygmalion is a sculptor who creates a beautiful woman out of clay and is rewarded when she turns human. How does Henry Higgins mold Eliza’s character in much the same way? As Eliza’s creator, does Higgins deserve a certain amount of control over her? Where does his creation end and Eliza’s independence begin? What is the nature of the relationship between artists and their art? Discuss.
5. Pygmalion is in many ways a Cinderella story with its transformation of a poor but lovely young girl into a princess. But is Eliza the only character to undergo such a transformation? Consider her father, Alfred Doolittle, as well as Henry Higgins himself. Describe the other transformations. Whose transformation is the most significant? Why?
6. George Bernard Shaw entitles his play Pygmalion: A Romance in Five Acts. Is Pygmalion really a romance? Or is it a comedy? Shaw suggests the play is about language, while many critics interpret it as a satire with a socialist message. Consider the characteristics of romances, comedies, and satires, and cite specific evidence from the play to support your answer. Argue for one of these interpretations.
7. Much is made of “middle class morality” in Pygmalion. To what extent is this phrase an oxymoron? What is Shaw suggesting about the rules and traditions of his class?
8. Consider the character of Henry Higgins. Is he closest in character to Doolittle, Freddy, or the sculptor, Pygmalion? Is Higgins a hero? A socialist with noble aspirations? Or a failure as a human being? Could Higgins be more accurately labeled an “anti-hero?” Research this archetype and discuss.
9. Why are there so many references to “what is to become” of Eliza? Trace these references throughout the play. What broader concern for society might Shaw be expressing?
10. What is the role of Alfred Doolittle in Pygmalion? Is he simply a fool cast for comic relief? Or is he more? Explain. Consider him as a mirror image of Higgins.
11. The ending of the play is ambiguous in that the audience does not know whether Eliza marries Freddy or returns to live with Higgins. Why did Shaw write such an open ending? Cite evidence from Eliza’s closing speeches to indicate which choice you believe she makes.
2. What does Higgins mean when he says, “teaching would be impossible unless pupils were sacred”? Affirm, dispute, or qualify the validity of Higgin’s statement.
3. Shaw explores the artificiality of class distinctions throughout Pygmalion. Trace this theme throughout the play. What classes are represented in the play? On what factors is membership based? Which characters strive to move above their class? Which wish to stay as they are? What are their reasons?
4. The original Pygmalion is a sculptor who creates a beautiful woman out of clay and is rewarded when she turns human. How does Henry Higgins mold Eliza’s character in much the same way? As Eliza’s creator, does Higgins deserve a certain amount of control over her? Where does his creation end and Eliza’s independence begin? What is the nature of the relationship between artists and their art? Discuss.
5. Pygmalion is in many ways a Cinderella story with its transformation of a poor but lovely young girl into a princess. But is Eliza the only character to undergo such a transformation? Consider her father, Alfred Doolittle, as well as Henry Higgins himself. Describe the other transformations. Whose transformation is the most significant? Why?
6. George Bernard Shaw entitles his play Pygmalion: A Romance in Five Acts. Is Pygmalion really a romance? Or is it a comedy? Shaw suggests the play is about language, while many critics interpret it as a satire with a socialist message. Consider the characteristics of romances, comedies, and satires, and cite specific evidence from the play to support your answer. Argue for one of these interpretations.
7. Much is made of “middle class morality” in Pygmalion. To what extent is this phrase an oxymoron? What is Shaw suggesting about the rules and traditions of his class?
8. Consider the character of Henry Higgins. Is he closest in character to Doolittle, Freddy, or the sculptor, Pygmalion? Is Higgins a hero? A socialist with noble aspirations? Or a failure as a human being? Could Higgins be more accurately labeled an “anti-hero?” Research this archetype and discuss.
9. Why are there so many references to “what is to become” of Eliza? Trace these references throughout the play. What broader concern for society might Shaw be expressing?
10. What is the role of Alfred Doolittle in Pygmalion? Is he simply a fool cast for comic relief? Or is he more? Explain. Consider him as a mirror image of Higgins.
11. The ending of the play is ambiguous in that the audience does not know whether Eliza marries Freddy or returns to live with Higgins. Why did Shaw write such an open ending? Cite evidence from Eliza’s closing speeches to indicate which choice you believe she makes.