Pygmalion (Large Print Edition)

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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 Englishmen. The reformer England needs...
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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 Englishmen. 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. When it arrived, it contained nothing but a savagely derisive attack on a professor of language and literature whose chair Sweet regarded as proper to a phonetic expert only. The article, being libelous, had to be returned as impossible; and I had to renounce my dream of dragging its author into the limelight. When I met him afterwards, for the first time for many years, I found to my astonishment that he, who had been a quite tolerably presentable young man, had actually managed by sheer scorn to alter his personal appearance until he had become a sort of walking repudiation of Oxford and all its traditions. It must have been largely in his own despite that he was squeezed into something called a Readership of phonetics there. The future of phonetics rests probably with his pupils, who all swore by him; but nothing could bring the man himself into any sort of compliance with the university, to which he nevertheless clung by divine right in an intensely Oxonian way. I daresay his papers, if he has left any, include some satires that may be published without too destructive results fifty years hence. He was, I believe, not in the least an ill-natured man: very much the opposite, I should say; but he would not suffer fools gladly.
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Product Details

  • ISBN-13: 9781490992020
  • Publisher: CreateSpace Independent Publishing Platform
  • Publication date: 7/13/2013
  • Pages: 198
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.42 (d)

Meet the Author

George Bernard Shaw (1856-1950) was one of the most prolific writers of the modern theater. He won the 1925 Nobel Prize for Literature.

Dan H. Laurence edited many of Shaw's works and is the series editor for the works of Shaw in Penguin Classics.

Nicholas Grene is professor of English literature at Trinity College in Dublin.
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Read an Excerpt



Galatea Talks Back

The original story of Pygmalion is drawn from Greek mythology. A sculptor who mistrusted the virtue of women, Pygmalion kept to himself, devoting himself to his art. One day he created a statue of a woman. She was so beautiful, and the sculptor so lonely, that he fell in love with his creation and prayed to the goddess Aphrodite to give him a wife who resembled the statue. Instead, the goddess brought the statue itself to life. The ancient writer Apollodorus, telling his earlier version of the myth, called this statue-turned-woman Galatea.

George Bernard Shaw's Pygmalion is a modern-day retelling of this myth that transforms Galatea from a silent statue to a vibrantly independent woman who talks back to the very teacher who criticizes her speech. Shaw's Galatea, Eliza Doolittle, is a spirited working girl who, in learning to speak like a duchess, displays a fierce intelligence and independence. But Shaw had another reason for writing Pygmalion, one that brought him much closer to its mythic origins: his unconsummated passion for the actress Mrs. Patrick (Stella) Campbell. He had seen Campbell play Ophelia in Shakespeare's Hamlet fifteen years earlier, and had vowed, like Henry Higgins, to teach that "rapscallionly flower girl" something. It was with the vision of Stella Campbell before him — the infinitely moldable yet independent actress — that he created Eliza Doolittle. On an afternoon in June 1912, he read Pygmalion aloud to Mrs. Campbell, and by his own account fell in love with her. In a characteristically unsentimental touch, he confessedthat this mad love lasted for "very nearly 36 hours," but when the play opened in London in 1914, Stella Campbell played Eliza despite being thirty years older than the character.

Shaw's feelings for his two main characters were complicated. Henry Higgins is not unlike Shaw himself — brilliant, articulate, and more passionate about his work than anything else. Like Shaw, he is unusually close to his mother and largely uninterested in romance. He can be charming when he wants something, but when he doesn't get what he wants, he can be petulant, arrogant, and bullying. Though it's clear by the end of the play that Higgins is attached to Eliza, he absolutely refuses to make any declaration of love to her. Like Pygmalion, Higgins congratulates himself on "creating" a woman, but unlike the lovelorn sculptor, he refuses to treat her any better than he treats anyone else.

By the time Shaw wrote Pygmalion in 1912, he had already produced his incisive comedies Mrs. Warren's Profession and Major Barbara. Though they punctured pretension and exposed hypocrisy with typical Shavian wicked wit, high intellectual passion, and boundless energy, their initial reception by English critics was cool. Having observed that it was only after his plays became successes in Europe that the English came to appreciate them, Shaw produced Pygmalion in Vienna and Berlin in 1913 before trying it out in London. After its production there in 1914, it became one of Shaw's most popular and frequently produced plays. The 1938 film version gave the play a wider audience and won an Academy Award for its script (cowritten by Shaw). Today Shaw's play is probably best known as the basis for the musical My Fair Lady, a huge success on Broadway and, later, as a Hollywood film starring Audrey Hepburn as Eliza. Had Shaw lived to see it, it is doubtful he would have approved of the musical and its sentimental romantic ending. To return to the original is slightly shocking. Despite the enormous changes in women's status and the conventions of romantic love, it remains stubbornly complex, teasing and troubling to us, even in the midst of our laughter.

The Life and Work of George Bernard Shaw

George Bernard Shaw was born in Dublin, Ireland, on July 26, 1856. In 1872 his mother left his father and took their two daughters to London to live with her music teacher. Shaw stayed in Dublin and left school at fifteen to work as a junior clerk in an office. At twenty, Shaw joined his mother in London, where he lived in poverty for ten years and educated himself in the reading room of the British Museum. He wrote five unsuccessful novels and began to ghostwrite music criticism. He later calculated that during those years he made a grand total of £10 (about &#3630) from writing.

Finally, during the 1880s, he made a name for himself as a critic of music, art, and the theater. As a drama critic, Shaw attacked the fashionable plays of the time. In The Quintessence of Ibsenism (1891) he championed their shocking alternative: the work of the Norwegian playwright Henrik Ibsen, whose plays critiqued the hypocrisy of middle-class life. Shaw's politics at the time were radical: he became a vegetarian, a socialist, and a supporter of women's rights. He was also an early member of the Fabian Society, a group of middle-class socialists who advocated peaceful change rather than revolution. Shaw became a powerful activist for this cause, in such volumes as Fabian Essays in Socialism (1889).

Influenced by Ibsen, Shaw produced his first play, Widowers' Houses, in 1892. His next play, Mrs. Warren's Profession, was a sharp comedy about a wealthy woman who had made her fortune as a prostitute; the play examined the hypocrisy of powerful men who condemn prostitutes but use their services. Written in 1893, the play was performed until 1902. In the meantime, Shaw began an extraordinary run of plays that wittily and unflinchingly dissected the fundamental assumptions of his time, including Arms and the Man (1894), Candida (1895), Caesar and Cleopatra (1898), Man and Superman (1903), and Major Barbara (1905), among many others. Shaw wrote over fifty plays during his long and prolific life. By the time he wrote Pygmalion, his twenty-eighth, he was the leading British playwright of his time.

Shaw's private life remains a puzzle to his critics and biographers. Devoted to his mother, his relationships with other women were at best ambiguous. He lost his virginity at age 29, when he was seduced by a widow fifteen years his senior, but he remained seemingly uninterested in sex. Though he married Charlotte Payne-Townshend, an Irish heiress, in 1898, their marriage was celibate. Over the years he carried on several intense platonic infatuations including those with the famous actresses Ellen Terry and Stella Campbell.

World War I started a few months after the opening of Pygmalion, and Shaw, a pacifist, devoted much of his energy to antiwar activities. His first major play after the war, Heartbreak House (1920), was highly critical of the generation that had led Britain into war. In 1920, inspired by the sainthood of Joan of Arc, he wrote Saint Joan (1923), which he considered his best play. He continued to write plays and deliver opinionated talks and screeds until his death. In 1928 he published The Intelligent Woman's Guide to Socialism and Capitalism, and in 1949, he published a puppet play, Shakes versus Shav, a humorous competition between himself and William Shakespeare. After the death of his wife in 1943, he moved to his country home at Ayot St. Lawrence, where he died at the age of 94 on November 2, 1950, after a fall in his garden.

Historical and Literary Context of Pygmalion

The Pygamalion Myth and Modern Theater

The Pygmalion story was well known to British audiences in the nineteenth and twentieth centuries. It had been used in William Morris's poem The Earthly Paradise (1868-1870) and the comedy Pygmalion and Galatea (1871) by W. S. Gilbert (of Gilbert and Sullivan). There were also a number of contemporary melodramas about the transformation of working-class girls into ladies, particularly Dion Boucicault's Grimaldi; or the Life of an Actress (first produced in London in 1862), about an old actor named Grimaldi who trains a Covent Garden flower girl to be an actress. These musical and melodramatic versions of the story were typical of late Victorian dramatic fare. Shaw's version of the story, however, was deeply influenced by the new theater of Norwegian playwright Henrik Ibsen, the acknowledged father of modern drama, who rejected melodrama and sentimentality in favor of starkly realistic and often tragic stories of middle-class life. Shaw was a champion of Ibsen's work during its long climb out of censorship and scandal, and claimed that seeing an Ibsen play was the thing that made him realize he was meant to write plays. Thus did Shaw's Galatea become a modern working-class girl and his Pygmalion a snob who refuses to fall in love with the woman he claims to have created.

High Society

In Shaw's contemporary early twentieth-century London setting, rigid class distinctions were still observed: although rich young men might be educated for the professions, many still believed themselves superior to those who earned their living in business or "trade." Even in families such as the Eynsford-Hills in Pygmalion, whose inherited wealth had dwindled away, no one thought it necessary to train their children for gainful employment. Instead, they clung to privileges and activities they couldn't really afford, such as attending concerts, the theater, and any "at home" afternoons or formal dinners to which they could get invited. Rich women like Mrs. Higgins dressed in elaborate, expensive clothing and favored an overabundance of household decoration. There was little freedom and ease in social relations, and the upper classes showed little or no interest in considering the economics of life or in facing unpleasant facts. It was against this snobbery and willful ignorance that Shaw directed his satire. He set out to prove that high society, with its arbitrary standards of conduct, could be fooled into thinking Eliza a duchess merely because of her speech and appearance.

Language and Language Reform

Pygmalion is, in no small part, informed by the debates of Shaw's day regarding the uses and misuses of the English language. Eliza makes her living selling flowers on the street, largely, say Higgins and Shaw both, because of her Cockney accent. (A Cockney was originally someone from the East End of London, but over time the term has come to refer to any working-class resident of London.) Eliza is barred by her vulgar speech from securing a job in a flower shop, which would be a step up for her. In the Britain of 1912 her outburst in Act III — "Not bloody likely!" — was shockingly strong language, and certainly not acceptable in a fashionable Chelsea drawing room. For the first British audiences of the play, it was a jaw-dropper, one Shaw had to fight for with many arguments about dramatic impact and realism.

Shaw also used Pygmalion to pursue his lifelong interest in phonetics and the reform of spelling. Convinced that the alphabet of twenty-six letters did not accurately represent all the sounds of the language, he devised a New Alphabet, in which each letter stood for only one sound. He never succeeded in persuading anyone to adopt his plan, but he continued to air his opinions on language reform regularly throughout his long career.

The Working Class

Pygmalion reflects Shaw's interest as an activist in the welfare of the poor. By 1912, some of the worst exploitative practices of the Industrial Revolution were coming to a close and conditions for the working class had greatly improved, but they still had few advantages. Eliza's slum lodgings, for example, have no heat or hot water. When we first meet her she has never had a complete bath, and has never worn anything to bed other than her underwear. Like many girls of her class and circumstance, she was sent out to earn her own living as soon as she completed her meager nine years of compulsory schooling.

Indeed, although the play remains as witty and entertaining as ever, many of the conditions it describes have changed. World War I had a cataclysmic effect on British culture and the British class system. Partly as a result of the sacrifice of millions of working-class men and women during the war, changes in British life improved the opportunities of the poor. After years of struggle (supported by Shaw, among many others), British women over thirty won the right to vote in 1918, the last year of the war. Ten years later the vote was extended to women over twenty-one. And the new Labour Party (which Shaw helped found in 1900) gave the working class a powerful political voice. Class distinctions remain important in Britain, but these days, a twenty-first-century woman of Eliza's drive and intelligence has fewer obstacles to her success, no matter what her background is. She might still accept the help of a Henry Higgins, and be grateful to him for it, but would a modern Eliza put up with his bullying and condescension and petulance? Not bloody likely.

Supplementary materials copyright © 2005 by Simon & Schuster, Inc.

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Table of Contents

Bernard Shaw: A Chronology


The Author

The Genesis and Composition of Pygmalion

Opening Night, 11 April 1914

The Ending(s) of Pygmalion

Which Pygmalion?

Sources and Influences

An 'Intensely and Deliberately Didactic' Play

Shaw's Nora


The 'Undeserving Poor' - and Rich

The Stage History of Pygmalion

Note on the Text

A Note on Places and Money in Pygmalion

Further Reading

Pygmalion 1

Preface 2

The Persons of the Play 7

The Scenes of the Play 7

Note for Technicians 8

The Text 9

Sequel 129

Appendix I Discarded Scenes 141

Appendix II The Censor's Report on Pygmalion 144

Appendix III The Endings of Pygmalion 146

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Customer Reviews

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( 50 )
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See All Sort by: Showing 1 – 20 of 50 Customer Reviews
  • Anonymous

    Posted March 1, 2007

    Being rich is not everything, but being happy is.

    In George Bernard Shaw¿s Pygmalion, the storyline centers around three main characters: Eliza Doolittle, Professor Henry Higgins, and Colonel Pickering. Eliza Doolittle is a flower girl who gives herself to the tutelage of Professor Higgins and Colonel Pickering to learn proper grammar and phonetics. Eliza can be characterized as a very sensitive and emotional person she seeks to be treated like a duchess by men. Her personality clashes with the personality of Professor Higgins in an extreme way. Professor Higgins is an arrogant, work-obsessed expert in phonetics who views Eliza simply as an experiment. He is a bachelor who has never found a place for women in his life due to his obsession with language. Colonel Pickering is a gentleman from India who is also an expert in language. He is more genteel than Higgins and treats Eliza with respect while maintaining a professional interest in her similar to that of Higgins. These three comprise the main action of the novel as Eliza learns speech of the upper class from them. She manages to pass herself off as a Hungarian princess at a formal party. This achievement gives credence to the efforts of Higgins and Pickering. After experiencing life in the upper class, Eliza settles for a lower class life with a suitor who loves her for what she is. After petty disputes, Eliza and Higgins remain friends in the time after. Other memorable characters include Mrs. Higgins who maintains an authoritative figure over her grown son and Mr. Doolittle who rises from a dustman to become a well-respected speaker in the community. I think that this is a good book because it shows that happiness can be achieved without wealth and fame. I highly recommend it due to its emphasis on grammatical and phonetic correctness, a dying art in this time period.

    4 out of 4 people found this review helpful.

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  • Anonymous

    Posted January 6, 2014

    I found Pygmalion to be a charming novel full of wit and feeling

    I found Pygmalion to be a charming novel full of wit and feeling. Eliza Doolittle becomes empowered through self-respect, not the love of a man. Though Professor Henry Higgins altered her mannerisms and speech, it was ultimately Eliza’s inner strength that made her a lady. Her realization that before the glamorous dresses and elaborate diction, she was the girl she wished to be inevitably gave her a new sense of independence and self-respect. “Pygmalion” is not merely a play about turning an impoverished flower girl into a duchess, but one about turning a defensive and insecure girl into a confident, strong, and independent woman, through means unforeseen until the very end. It was not the glamorous transformation, but the inner sense of self-worth that changed Eliza for the better. For once the heroine does not fall for the hero, and instead makes her own independent and love-filled ending. All in all, I found George Bernard Shaw's play to be enjoyable and meaningful.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 25, 2011


    When I was in second grade, one of my grandmother's friends gave this book to me as a birthday present. I read it that year and have been reading it ever since. I am obsessed. I have 5 versions of the play, an illustrated classic, the movie, and the soundtrack. ( My Fair Lady ) In am in fifth grade and Eliza Doolittle is one of my favorite characters of all time. The story has effected me in more ways that I can count. So loverly. There is one version that I have of the MUSICAL. have no idea how my mother found it, but it is the entire thing with the songs and the lyrics. It is one of my most prized posessions. My favorite songin the musical is... I Could Have Danced All Night. It is so beautiful. The enchanting Julie Andrews and Rex Harrison captured the role of Eliza and Professor Higgins beautifully. Then later, the fabulous Audrey Hepburn took the role of Eliza in the film version of brilliant Bernard's play. It's no wonder why Julie Andrews and Audrey Hepburn were chosen for the role of Mrs. Doolittle they are so talented and where absolutely perfect for the role.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 25, 2014


    Just long enough for my taste in plays. Easy read. Last segment is windy, but necessary to conclude right.

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  • Anonymous

    Posted February 28, 2014

    Exactly what ordered and delivered on time.

    Crisp copy that had everything you needed for the piece of work. It was an assignment, so not my personal favorite read, but the seller got it to me on time and in great condition. Thank you!

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  • Anonymous

    Posted October 5, 2013



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  • Anonymous

    Posted February 11, 2013


    This book is boring.

    0 out of 1 people found this review helpful.

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  • Posted February 20, 2011


    Is there a lot in this play! Great characters, nuances, commentary on the English and their class system... some funny comments and a lot more.

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  • Anonymous

    Posted August 8, 2010

    I Also Recommend:

    Amazingly brilliant

    I loved reading and devouring this book. At first, I saw the chance to read Pygmalion as a dull and monotone way of absorbing information during the two month summer. However, the book was easily read with addictive characters, inspiring feats, and unexcpected romance. I hope that people will look past the fact that they were assigned to read the book and enjoy it as much as I had cherished it. I would definitely recomend to readers with the love of English. Otherwise, they might find it dull.

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  • Posted March 17, 2009

    more from this reviewer

    I Also Recommend:

    "Pygmalion is a great classic!!!" - It's message is life-changing!

    Bernard Shaw paints the scenic imagery with genius, and breaks down each character to a science,so that you like you are there in the bookm and know, personally , the characters. The play holds a strong moral, but you must read the book to find out.

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  • Anonymous

    Posted October 22, 2008

    Not accurate to play script.

    This audio version may not be accurate to the play. I use Dover Publications in my class and this audio version was off in several places that I just stopped the audio and read aloud.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 23, 2008

    Not a good edition

    I would not recommend this particular edition of the play. The notes are supposed 'to help the modern reader appreciate Shaw's wit and cynicism,' but they give the reader little more information than could already be gleaned from the context. For example, following 'The only landscape is a Cecil Lawson' is this note: 'Cecil Lawson--(1851-1882) an English landscape painter.' What this actually means in the context of the play, whether the painting is fashionable, what it means in regard to Mrs. Higgins character--none of this is given. There are also several glaring typographical errors in the text. It may seem to be an economical purchase, but you will get your money's worth, and nothing more.

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  • Anonymous

    Posted January 30, 2007

    Interesting play

    I read this book in my 8th grade advanced language class and loved it. It was interesting and detailed. I would recomend it.

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  • Anonymous

    Posted July 28, 2006

    Good read

    I thought Pygmalion was mostly interesting. At the end, when the writing was no longer in play version, it got boring, but before that, it was fun to read. I recommend it to everyone.

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  • Anonymous

    Posted January 16, 2006

    A truly outstanding play

    This play has been the greatest play that I have ever read.(and I've read many) I've always been a fan of Julie Andrews and her version of My Fair Lady so I thought I would give this book a try and it was wonderful! I'm thinking about using this play in my schools next year line up!

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  • Anonymous

    Posted December 4, 2005

    A good read, whether you see it performed or not.

    Here we have Pygmalion, G.B Shaw¿s classical script. This distinctive play can read like a story in the sense that it contains extensive stage directions that let even an idle reader know what the characters are doing and what their emotions are. Each character is brought to life by his separate actions. Because of the actions and the dialogue (an early bit even written phonetically in Cockney slang¿something that I wish would continue, but like Shaw himself said, it would be difficult for some to understand) the characters rise as distinctive and appealing. Liza, though lower class, is portrayed as reasonable and eager to learn. Higgins, her instructor of a higher class on the other hand, comes off as self-centred and somewhat childish. Higgins¿ mother comes off as the scolding type¿she treats him somewhat like a ten-year-old and tells him to do things like stop fidgeting/ Every character, no matter how much airtime he¿s given, has his place. There¿s Freddy, who pays little attention to Liza initially, but is infatuated as she progresses into a proper lady. Even the crowd at the beginning have their place¿some are even given separate identities and different districts of origin (which Higgins can pick out with unsettling ease) Overall, Pygmalion is an excellent piece, whether one wishes to perform it or simply read it as a story. It flows well, and it is appealing.

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  • Anonymous

    Posted June 5, 2005

    Very bad book

    this book is seriously a very bad play. the worst part of it is that its a play which are awfull to read. this book needs to not be read anymore. if this dumb review system would let me i would give it 0 starts

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  • Anonymous

    Posted April 8, 2004

    Fun romp through a time we've forgotten

    This is a classic play at its best. Shaw is truly an amazing writer to breath such life into his characters with such gusto, as they seem to jump off the page before your very eyes. The most interesting things about the play are that the ending isn't entirely 'happy', and the play is best when adapted to screen, as when it jumps from scene to scene, time leaps about as well. Wonderful read; recommended to all that posess something of a brain.

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  • Anonymous

    Posted March 1, 2004



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  • Anonymous

    Posted September 11, 2003

    Pygmalion.. i was forced to read this awful book

    pygmalion in my opinion was extremely boring and, well pointless... the whole plot was just stupid and boring.. i don't reccomned this book to anyone unless u like to be bored

    Was this review helpful? Yes  No   Report this review
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