Pygmalion deals with some fascinating themes, not the least of which is female emancipation. In the last song after Higgins was rebuked and discounted by Eliza he expresses that he loves and misses Eliza and doesn t know what he will do without her. He knows this is not a living girl, that she will never reciprocate his love, but dotes on her anyway. After Eliza’s departure, Mrs. Higgins features out that the girl is a long way from being competent to be offered in public. Shaw brings forth the function of the environment. Charles Dickens’ writing has strong connections to Marxism however after this went out of fashion, ‘Dickens’s amorphous social critique came to seem more universally true because it was not programmatic but based on feelings of generosity and brotherhood combined with specific criticisms of practices common in England during his lifetime.’ One critic in particular suggests that Dickens was not aware of the radicalisation of his writing and the influences he was having on society, writing ‘The difference between Marx and Dickens was that Marx knew he was a revolutionist whilst Dickens had not the faintest suspicion of that part of his calling’.

This is through his lack of care but desire for joy and self-satisfaction.

He does however, have an unusual affinity for language, or as Higgins puts it, ‘a certain natural gift of rhetoric’.

Knowing that Higgins has no intentions of kindness she turns to Pickering at one point and says ‘he might want them for the next girl you pick up to experiment on’.

For the first time one late night Higgins affirms Eliza and converses with her civilly and tells her she will succeed. Male Society has harshly influenced her life in such a way that she feels like death is the only part left. Here is my hand. These were what the design demands were for the scene. During 1913 London was a time of Industrial Revolution. Shaw used detailed stage directions to retain a degree of control over the performance. Higgins himself admires independence but, in turning Eliza into a model lady, he creates a creature unable to stand on her own. In My Fair Lady, the pace is quickened dramatically—no pun intended. Shaw's preoccupation with language in this play may also have had something to do with the fact that the most frequent criticism of his earlier plays was that his … Magwitch is given the chance to explain a lot to Pip before his death and becomes a manipulator who has been given the chance to speak.

In ‘Pygmalion’ he finds a mouthpiece in the highly original character of Alfred Doolittle, a chimney sweep, who admits he is one of the “undeserving poor” and openly glories it.

This includes the idea of pitying the poor, but blaming them for their poverty and despite high intolerance for crime, many were involved in criminal activities, such as prostitution and domestic abuse.

The societal aspects of their writing made Dickens and Shaw two of the most influential figures of revolutionary and socio-political writing. This will always be true because not all literature will be appealing to the public or satisfy its needs and wants for perfect endings and tranquility. So these items I definitely needed. The tentative uses of “as if” and “almost” again mirror his self-deception. These scenes to any onlooker would appear the acts of a lunatic. The two points mentioned above are the main changes in the conversion from the play to the musical adaptation. The Greek Myth of Pygmalion, about a sculptor and the woman he creates and falls in love with, has been appropriated into various texts of different times and made relevant to a wide range of audiences. He begins to possess the characteristics of a very snobby, wealthy, elitist. At this point, Pygmalion comes full circle. It is clear to see Pip has realised he has been manipulated through the use of the word ‘ungracious’ which highlights how he is now acutely conscious of his failing.

Dickens uses language to great effect, leaving the audience in no doubt as to his conviction.

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