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After a false start in XIX-century fashion as a novelist, Bernard Shaw made a reputation as a journalist-critic of books, pictures, music and drama. Meanwhile he had plunged into the Socialist revival of the 1880s and come out as one of the leaders who made the Fabian Society famous, figuring prominently not only as a pamphleteer and platform orator, but as a serious economist and philosopher, publishing major essays on Ibsen and Wagner. This volume shows him all the phases of his varied career, and can be read for aesthetic entertainment, for up-to-date liberal education, for philosophic and biological doctrine, even for pure fun.

Pygmalion is a play by George Bernard Shaw, named after a Greek mythological character. It was first presented on stage to the public in 1912. Professor of phonetics Henry Higgins makes a bet that he can train a bedraggled Cockney flower girl, Eliza Doolittle, to pass for a duchess at an ambassador's garden party by teaching her to assume a veneer of gentility, the most important element of which, he believes, is impeccable speech. The play is a sharp lampoon of the rigid British class system of the day and a commentary on women's independence. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. The general idea of that myth was a popular subject for Victorian era English playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story called Pygmalion and Galatea first presented in 1871. Shaw also would have been familiar with the burlesque version, Galatea, or Pygmalion Reversed. Shaw's play has been adapted numerous times, most notably as the musical My Fair Lady and the film of that name.

Pygmalion is a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913.In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. The general idea of that myth was a popular subject for Victorian era English playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story called Pygmalion and Galatea that was first presented in 1871. Shaw would also have been familiar with the burlesque version, Galatea, or Pygmalion Reversed. Shaw's play has been adapted numerous times, most notably as the musical My Fair Lady and its film version.Shaw mentioned that the character of Professor Henry Higgins was inspired by several British professors of phonetics: Alexander Melville Bell, Alexander J. Ellis, Tito Pagliardini, but above all, the cantankerous Henry Sweet.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - As will be seen later on, Pygmalion needs, not a preface, but a sequel, which I have supplied in its due place. The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what it sounds like. It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him. German and Spanish are accessible to foreigners: English is not accessible even to English-men. The reformer England needs today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play. There have been heroes of that kind crying in the wilderness for many years past. When I became interested in the subject towards the end of the eighteen-seventies, Melville Bell was dead; but Alexander J. Ellis was still a living patriarch, with an impressive head always covered by a velvet skull cap, for which he would apologize to public meetings in a very courtly manner. He and Tito Pagliardini, another phonetic veteran, were men whom it was impossible to dislike. Henry Sweet, then a young man, lacked their sweetness of character: he was about as conciliatory to conventional mortals as Ibsen or Samuel Butler. His great ability as a phonetician (he was, I think, the best of them all at his job) would have entitled him to high official recognition, and perhaps enabled him to popularize his subject, but for his Satanic contempt for all academic dignitaries and persons in general who thought more of Greek than of phonetics. Once, in the days when the Imperial Institute rose in South Kensington, and Joseph Chamberlain was booming the Empire, I induced the editor of a leading monthly review to commission an article from Sweet on the imperial importance of his subject.

In George Bernard Shaw's play Pygmalion a phonetician believes the power of speech is such that he can introduce a Cockney flower girl to polite society after careful language and etiquette training, and no one will discern her true roots. The professor and the flower girl grown close, but after her successful debut she rejects the professor and his overbearing ways for a poor gentleman.