Many individuals are able to recognize changes in their environment, in others and themselves. For these people, any “change” – a new hairstyle, new clothing, or spoken dialect – rarely goes unnoticed. Sometimes, however, even these keen and perceptive individuals fail to recognize a most visible and striking transformation. In George Bernard Shaw's play Pygmalion, the protagonist, Henry Higgins, a renowned master of language, fails to recognize a dramatic and emotional change in one of his "creations", the flower girl in Covent Garden Market. The conflict between these characters is that the impregnable facade of social distinction and personal appearance masks the true reality of their nature; this classic man versus man conflict is the basis of the play. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay An English gentleman in the Victorian period was expected to be polite, patient, helpful and above all, compassionate. None of these words describe the scholar and highly respected “gentleman,” Henry Higgins. Professor Higgins, eccentric, energetic and short-tempered, dominates any situation in which he participates with the directness of his barked orders. The perceptive reader understands that none of these traits should be used to identify a 19th century English gentleman. For example, when Higgins terrifies a flower girl, Eliza Doolittle, in the portico of St. Paul's Church in Covent Garden by writing her every word, Eliza desperately begs the spectators not to allow this "copper nark" to l 'Stop. Higgins abruptly denies any association with the police, saying: "Oh, shut up, shut up. Do I look like a policeman?" (7). Higgins' abrupt entrance and rude response to Eliza's expressed fears illustrate his callous lack of respect for the feelings of others. Likewise, when Eliza appears at Higgins' door to accept his challenge to teach her good English and make a lady out of her, he insults her. Higgins does not show even a hint of courtesy towards Eliza and openly calls her "dirty" and "deliciously base"; he treats her like she's a muddy dog ​​let loose in the living room as he shouts commands such as "Sit" and "Shut your tongue". After Colonel Pickering reminds Higgins of his boast of transforming this "crushed cabbage leaf" and bets that Higgins could not accomplish such a feat, Higgins tramples all opposition. He ignores Eliza's ignorant terror and Mrs. Pearce's matronly disapproval. He harshly demands that Eliza be washed, dressed in clean clothes, and teaches her the finer points of social etiquette. Higgins absorbs himself in it as an experience since it has been reduced to an object that he enjoys studying. Thus, the reader recognizes that Henry Higgins, angry, insensitive and disrespectful, although well respected by good manners, possesses only the superficial characteristics of a gentleman. Wealthy, educated Londoners, like Henry Higgins, often viewed their city's many poor, uneducated citizens as crude, vulgar, and engaged in corruption and immorality. Although Eliza Doolittle is certainly part of the poor and uneducated class, she does not possess any of the characteristics associated with it. Having been kicked out of her home by her father and stepmother because she was unable to take care of herself, Eliza manages to stay alive by selling flowers on different street corners in London. Eliza's admirable efforts to remain a "good girl" prove that she is a youngwoman who possesses exceptional qualities of mind and heart and a precise standard of appropriate behavior. So, although Eliza needs a lot of refinement regarding social etiquette and proper conduct of the aristocratic upper class, she already has a solid foundation of integrity and principle, the internal sense of the qualities of a true lady. The reader's respect for Eliza's character deepens after she meets Henry Higgins who is determined to transform her into a "duchess". Because Eliza is clear in her mind regarding her goals in life, she sees Professor Higgins' challenge as an opportunity to improve herself through hard work rather than as a "gift" or "free lunch". Eliza's potential to evolve outwardly into a distinguished woman is astounding. After a bath, Eliza looks attractive. Dressed in decent clothes, Eliza looks elegant and eye-catching. Eventually, after much hard work with Higgins, Eliza's quick ear for sounds allows her to speak "the language of Shakespeare and Milton" better than most scholars. In each of these situations, Eliza's physical change reflects one of her positive character traits. Eliza's new cleanliness reflects her inner purity; her fashionable outfit reflects her inner beauty; and her newly acquired mannerisms and speech represent her willingness to work for what she wants. Therefore, the reader realizes that if this "creature" already possesses the necessary character traits of a true lady, the outward appearance of Eliza Doolittle now corresponds to the beauty of her soul. During Eliza's transformation, a deep human relationship begins to develop, partly unnoticed, but in conflict with the original arrangement between teacher and student. When Eliza and Higgins first meet, Higgins bullies and orders the unsuspecting Eliza to change so that the poor flower girl, who was once "condemned to the gutter", will manage to acquire new manners, a new speech and a new self-esteem. Combined with her former independence, self-reliance, and virtue, Eliza's new talents and new outlook on her position in the world form a being beautiful in every way. Despite having such beauty in her daily presence, Higgins ignores it and continues to focus on Eliza as an object, an experience, or a challenge. Higgins refuses to recognize Eliza's individuality and equal status to the point that he calls her a "thing" that he molded from crushed cabbage leaves. Higgins is perfectly content with Eliza staying in his house as a servant, someone to fetch and carry his slippers, run errands, and remember his scheduled appointments. Although Eliza doesn't mind these tasks, she resents being a "thing" of convenience. Thus, the climax of the conflict occurs after Higgins and Eliza, joined by Colonel Pickering, return to Wimpole Street from the royal reception ball and the men completely ignore Eliza. Higgins says the “experience” is perhaps his greatest achievement; Ironically, however, Higgins' greatest failure is failing to realize that Eliza is a young woman with a kind heart, gentle nature, and strong-willed spirit who asks herself "what should I become?" (72). Even Pickering, the ever-courteous and polite gentleman, does not recognize Eliza's role in the success of the "bet." When Higgins declares, “Thank God it’s over!” » (70), he does not realize the meaning that his statement has for Eliza. Continuing his egotistical monologue, Higgins comforts himself by saying that he will never attempt such an enterprise again; "this whole experience [the experiment in making Eliza into a lady] has been mere purgatory".