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A First Impression of snaw.

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A First Impression of snaw. Pygmalion," a romance in five acts, has recently been played again in a London theatre. G.B.S. called it a romance, because, said he, "it is a story of a poor girl who meets a gen- tleman at a church door, and is transformed by him, like Cinderella, into a beautiful lady. That is what I call romance. It is also, what everybody else calls romance; so we are all agreed for once." The following impression of this romance may interest some PIONEER read- ers who have an interest in the works of Shaw: The first act opens in the portico of a London Church at Oovent Garden at 11.15 p.m. Out- side, the irain is pouring down and the light- ning flashes. Several loafers, and others a lady and her daughter among them—are taking shelter. The lady's son returns from a fruit- less hunt for a cab, and is reproached for his failure, and sent off to try again. As he turns to leave the shelter, he collides with a flower girl who is entering. This is Eliza Dolittle, a child of the kerbstone, dressed in showy finery, rather dirty and unkempt in appearance, and possessing a strident Cockney accent, With her "Do buy a flower, lidy! help a poor girl, lidy!" she solicits the custom of the stranded ladies. One of the shelterers, a man in a mac- kintosh. hitherto unnoticed, is here seen to be busy writing in a notebook, and is at first suspected to be a policeman's informer collecting evidence to make a charge against Eliza for accosting the gentleman. The scene consequent- ly becomes animated, and Eliza vehemently protests her innocence of evil intentions. "I'm a good girl; that's what I am. The mysteri- ous writer turns, and taking little notice of the matter of the conversation, tells each of the successive speakers their birthplace with amaz- ing accuracy. The Cockneys are inclined to resent this power, and denounce him as an inquisitive busybody. 'What's the odds to him where we come from?" Another gentleman becomes interested, and inquires into the secret of this power. The writer, whose name is Henry Higgins, explains that he is Professor of Phonetics. And has made the collection of ac- cents his chief hobby, with the result that. by listening to any person's speech, he can tell the place of their birth within a few miles, and often within two streets. The two men make themselves known to each other, and find that they have been on the search for each other. Colonel Pickering has come from India to meet Higgins, the learned Professor of Phonetics, and Higgins has long wanted to meet Pickering, who is an authority on' the Sanscrit language. Boasting of his power, Higgins says that, with- in six months, by changing Eliza's speech, he could pass her off for a duchess, or fit her for a place in a flowershop, which would require better English. The Colonel accepts the Profes- sor's invitation to his house, and as they leave the eccentric Higgins tosses Eliza a sovereign, in answer to his pressing invitations to buy. The "knut" returns with a taxi, but his mo- ther and sister, tired of waiting, and the rain having stopped, have gone home by motor-bus. Eliza, on the strength of her windfall, takes the taxi off his hands, and rides off in triumph. The next Act opens in Higgins' Phonetic La- boratory in Wimpole Street on the following day. The Professor, by gramophone, is giving his friend some examples of accent he has col- lected. The housekeeper announces that a girl at the door wishes to see Mr. Higgins; from her description, they recognise the flower girl of the night before, and they decide to have her up Eliza explains that she is willing to pay 1/6 an hour for lessons if the Professor will fit her to take a place in a flower shop. Higgins figures this out, and finds that, in proportion to her income, this fee is greater than 60 guineas from a millionaire pupil. In spite of the remonstrances of the housekeeper. the two friends make a bet that, if in six months Eliza passes for a duchess, Pickering must pay the cost of the transformation. The housekeeper is ordered to get Eliza clean—"Monkey brand, if it won't come off otherwise"—burn her old clothes, and procure new. Just after Eliza has left for the bathroom, Mr. Alfred Dolittle. the dustman, is announced. Mr. Doolittle is a "character"; he is not out for blackmail, but wishes to touch the gentlemen for R6 the price of a week-end spree—to satisfy his feelings as a father." He claims to be one of the undeservin' poor," and refuses £ 10 for fear of such a sum making him careful and spoiling his enjoyment. The moral consequences of Eliza's action do not worry Mr. Doolittle, for his partner and he have never received the blessing of Church or Law upon their union. Pickering inquires. "Haven't you any morals, man?" No, I ain't, gavner," replies the dust- man, can't afford 'em! Neither could you if you was as poor as me!" And he goes on to explain that he has to make himself agree- able to his missis since he has no legal claim upon her. Eliza comes in again before her parent leaves. She has tasked a new worrld-a world with baths, hot water, scented soap, and fluffy tow- els. and she can understand why rich folk are clean, because it is now a pleasure to wash. One thing in the bath room did not suit her. The modesty (?) of this flower-girl caused her to cover the looking-glass with a towel for fear of seeing herself. What a satire upon the ignorance which abounds, and is not confined to one class only. The third act is set in Mrs. Higgins' Chelsea flat, and occurs some months after. The erratic son Henry—the Professor of Act l-calls upon her, and announces that he has invited Miss Doolittle to visit his mother. It is a trial per- formance, and conversation must be confined to the weather and health. Col. Pickering, the mother, son and daughter of the church portico are the other visitors. Higgins detests the in- sipid chatter of the drawing-room, and the au- thor shows clearly the silliness of the stilted mannerisms which obtain in Society Miss Doolittle is announced; the, change is already great. She aspirates her h's with great care. and greatly amuses the company by telling about the death of an aunt whom she strongly suspects of having been done in." When she is leaving, Freddie (the "knut") opens the door and politely inquiries if she is going to walk across the park. She replies, with the quickness of a Welsh haulier, "Walking! not likely. The act closes with the startled folk wopdenng if this "sanguinary adjective" will take its place alongside similar terms, such aa retter 11 or "hlighter" in the vocabulary of society, and as they take their leave the young lady confides to Higgins that It is time we got away from this Victorian prudery," and Higgins agrees, and terms it damned non- sense." Mrs. Higgins questions the two men on the future of Miss Doolittle when their experi- ment is over, but they refuse to consider the problem. With Act .Four some months have again pass- ed. It is late at night, and the two friends are very tired. The experiment has fully suo- ceeded and Eliza, the wretched flower-girl, has successfully bridged all the differences between the kerb and the carriage. She is seated in the room unnoticed by the sleepy men. Higgins, thinking of his sier months' work, says, Thank God I. It is all over." The beautiful woman, once a despised drudge, is enraged to find herself but a pawn in an interesting game, and when the men leave, flings herself upon the ffoor, in a storm of insulted passion. Higgins returns for his slippers, and is surprised to find her thus. She flings the slippers at him in her rage, and rejects his attempts to calm her. Why didn't you leave me a flower-girl? What am I to do now?" He speaks of the possi- bility of a successful marriage, which will en- able her to retain her recent standard of living. "Ah I" she says, "I could sell flowers once, but now I can only sell myself." He rages at her ingratitude and, man-like, advises her to sleep it off; but she declares her intention to leave Wimpole Street, and hands him his jewellery, and he flings the ring toward s, the, grate, and goes to bed, whilst she recovers the trinket from the tire-place as the curtain falls. The Fifth Act opens on the morrow in Mrs. Higgins' flat. She is writing, and Eliza is up- stairs True to her declaration she left Wim- pole Street in the night. The two men come in in an excited state they have searched in vain, and have even asked help of the police. Mrs. Higgins draws from them their inconsiderate treatment of the girl. Mr. Doolittle is an- nounced below, and the men conclude that she has fled to her father. But Doolittle. dustman no longer, has no news of Eliza, and has fol- lowed on from Wimpole Street to tackle Hig- gins as being the cause of his ruin. It comes out that Higgins had made a slight reference to Doolittle, in a letter to an American Improve- ment Society, as an example of a dustman hol- ding modern and original views on morality. This chance mention had led to a millionaire leaving Doolittle C3,000, and now here he is ruined by money. He bewails his lot, and at- tacks middle-class morality with Shavian skill. The solicitor, doctor, a host of new-found rela- tions and the very dustman now touch him for money, instead of him having the pleasure of touching them. He is öven now clothed in wedding-attire, and on his way to St. George's Hanover Square, for Mrs. Doolittle is now become respectable, and desires permaneii- cy of contract. Having never 'been through the ceremony before, the purpose of his visit is to enlist Pickering as best man. Poor Mr. Doo- little He would abandon his wealth, but com- ing old age and the fear of the workhouse intimidate even him. Mrs. Higgins sends for Eliza, and the two men ask her to come back to Wimpole Street, but she will not con- sent. Higgins and she are left alone, and the dialogue which follows between them exposes the bondage and servitude contained in the conventional marriage. When Mrs. Higgins is ready, she goes with Eliza to the wedding ceremony, and we are left without the usual happy ending. The text of the play could alone furnish all the clever sallies it contains. Many folk dis- miss Shaw as an idle jester, but as J. F. Borra- bin has written in Plebs, It is sueh a 'witty' idea, to suggest that the only difference, bet- ween Eliza Doolittle, who sells flowers at the corner of Tottenham Court Road, and a real live duchess Is merely one of verbal accent f So you enjoy the joke; and don't pause to reflect that it is a, statement of fact— a statement which makes your multifarious social barriers and distinctions look particularly foolish." He lampons our most cherished conventions and recalls us to the fact that our customs and laws were created by us to serve our needs; they are not everlasting or absolute. By ridiculing our customs he challenges us to justify them or make others more suitable and better fitted to our age. He shakes up the store in the granary that the wind may blow the ehaff away. Pioneers need Shaws. M. S.

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