The Misogynistic Henry Higgins
The Misogynistic Henry Higgins
The key to understanding George Bernard Shaw’s Pygmalion lies in understanding the power struggle between the “haves” and “have-nots” – specifically the active and intentional disenfranchisement of women at the turn of the 20th century. At the core of Pygmalion there is a focus on the societal inequities of the day, with Shaw presenting society’s treatment of women as property without rights and with little understanding of their surroundings or place in society. Throughout the 19th century, and into the early 20th century, when Shaw penned Pygmalion, British laws and society actively restrained women, both politically and economically.
Unlike the United States, women in England were allowed to vote prior to 1832 as long as they met the property qualifications, although this only allowed unmarried or widowed women the ability to vote as all property rights transferred to the husband at the time of marriage. Women’s ability to vote was revoked when the 1832 Reform Act passed, as it specifically used the word ‘man’ to qualify ‘persons.’ This subtle change in language allowed women to be legally disenfranchised for the first time in British history.
Although many people have interpreted Pygmalion as a play discussing class issues, a closer reading presents the core struggle revolving around the lack of gender equality at the turn of the 20th century. Henry Higgins represents the societal mentality that women are objects, and nothing more. Higgins sees Eliza Doolittle as little more than a puppet to dress properly and teach to speak as he determines. To Higgins, Eliza is simply an object to mold to his will. Throughout the play, Higgins refers to Eliza as less than human, speaking about her when she is in the room as if she was not there, and as if she has no emotions. Higgins believes Eliza is incompetent and unintelligent and frequently dehumanizes her, calling her an insect and speaking down to her. From the beginning, Eliza is
The key to understanding George Bernard Shaw’s Pygmalion lies in understanding the power struggle between the “haves” and “have-nots” – specifically the active and intentional disenfranchisement of women at the turn of the 20th century. At the core of Pygmalion there is a focus on the societal inequities of the day, with Shaw presenting society’s treatment of women as property without rights and with little understanding of their surroundings or place in society. Throughout the 19th century, and into the early 20th century, when Shaw penned Pygmalion, British laws and society actively restrained women, both politically and economically.
Unlike the United States, women in England were allowed to vote prior to 1832 as long as they met the property qualifications, although this only allowed unmarried or widowed women the ability to vote as all property rights transferred to the husband at the time of marriage. Women’s ability to vote was revoked when the 1832 Reform Act passed, as it specifically used the word ‘man’ to qualify ‘persons.’ This subtle change in language allowed women to be legally disenfranchised for the first time in British history.
Although many people have interpreted Pygmalion as a play discussing class issues, a closer reading presents the core struggle revolving around the lack of gender equality at the turn of the 20th century. Henry Higgins represents the societal mentality that women are objects, and nothing more. Higgins sees Eliza Doolittle as little more than a puppet to dress properly and teach to speak as he determines. To Higgins, Eliza is simply an object to mold to his will. Throughout the play, Higgins refers to Eliza as less than human, speaking about her when she is in the room as if she was not there, and as if she has no emotions. Higgins believes Eliza is incompetent and unintelligent and frequently dehumanizes her, calling her an insect and speaking down to her. From the beginning, Eliza is
Bibliography: Aked, Charles F. "The Woman Movement in England." The North American Review 188.636 (1908): 650-658. Beerbohm, Max. Herbert Beerbohm Tree, Some Memories of Him and His Art Collected by Max Beerbohm. New York: E.P. Dutton, 1920. Print. Burgunder , Bernard F. ""The Instinct of an Artist": Shaw and the Theatre." "The Instinct of an Artist": Shaw and the Theatre. An Exhibition from The Bernard F. Burgunder Collection of George Bernard Shaw. Web. 10 Dec. 2010. <http://rmc.library.cornell.edu/EAD/pdf_guides/RMM04617_pub.pdf>. By. "Books: Mailman Bernard Shaw: Collected Letters, 1911-1925 - TIME." Breaking News, Analysis, Politics, Blogs, News Photos, Video, Tech Reviews - TIME.com. Web.10 Dec. 2010. <http://www.time.com/time/magazine/article/0,9171,959642,00.html>. Shaw, George Bernard. Pygmalion. New York: Simon & Schuster, 2009.