a Hellenic mythography of the 2nd-century. Deshpande 's play Ti Fulrani Queen of Flowers is also based on Shaw's Pygmalion. In each case, at least in the beginning, Cinderella and Eliza are considered possessions and exchanged through a male dominated market. Doolittle remains unconcerned for Eliza's safety and uses his paternal status as a means of extorting financial compensation regardless of Eliza's precarious state. . Pygmalion can thus be seen as showing how oppressive unrealistic ideals of femininity can be: to attain these ideals, Eliza has to be coached, disciplined, and taught.
Males In Pygmalion
In typical fairy tale fashion, Perrault concluded Cinderella with a moral which Reed translates: A woman's beauty is quite a treasure We never cease to admire Yet graciousness exceeds all measure. Related Characters: (speaker, Page Number and Citation: 90 She had become attached to you both. While Perrault satisfies the audience's aspirations, he does not describe Cinderella's life after marriage. Contents, in Ovid edit, depiction of Ovid's narrative by, jean Raoux. Eliza is greatly transformed over the course of the play, but it would take even greater transformations of society itself in the 20th century for women like Eliza to have real independence. Vesonder considers Higgins's fulfillment of the heroic role in his article 'Eliza's Choice: Transformation Myth and the Ending of Pygmalion.' According to Vesonder, Shaw's story, simply stated, portrays an expert linguist who accepts a challenge to re-create a poor, uneducated young woman by teaching her. In order to understand Shaw's modification of the Cinderella fairy tale, the reader must first examine the structure of fairy tales. Crane evaluates Eliza's matrimonial predicament in her article 'Shaw and Women's Lib.' As Crane states: 'Shaw makes it quite clear that Eliza will not marry Higgins; if she does marry Freddy, however, she will not be the traditional wife dependent on and submissive to her. When she meets Fredrick she appreciates the fact that he is devoted to her.
Metropolis sees Galatea represented by Maria, whose appearance is transposed onto a sentient robot by her admirer Freder. For Cinderella, striking out on her own is not an option. 3 Pygmalion is the Greek version of the Phoenician royal name Pumayyaton, and figures in the legend of Paphos in Cyprus. Shaw infuses the character of Eliza with feminist ideals and presents a realistic interpretation of what happened after Cinderella's transformation when she no longer wished to submit to Prince Charming. I don't think you quite realize what anything in the nature of brain work means to a girl like that.