Pygmalion's Evolution in Victorian England and 20th-Century America

Introduction

Embarking on this exploration of textual mirrors, revealing the cultural and temporal values they encapsulate, we delve into George Bernard Shaw's Pygmalion and its cinematic reimagining, She's All That by Robert Iscove. These adaptations of the Pygmalion myth offer two distinct lenses through which Victorian England and 20th-century American society are reflected. By delving into the nuances of dramatic and cinematic techniques, this analysis aims to unravel the intricate layers of societal values woven into these narratives, providing a comprehensive view of the dynamic evolution and persistence of cultural norms over time.

Pygmalion and Victorian England

The Pygmalion myth, derived from Ovid's Metamorphoses, serves as a rich tapestry for George Bernard Shaw's creative exploration. Shaw, a master of dramatic techniques, employs language, form, and setting to not only adapt the myth but to reshape it as a commentary on the values and cultural beliefs of Victorian England. This isn't a mere replication; it's a conscious effort to expose the inadequacies of romance and myth within the specific context of his society.

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Shaw's intentional deviation from euphoric conclusions and his introduction of mundane details of life, such as napkins and neckties, ground the narrative in a reality that is decidedly less romantic. This deliberate departure from fairytale ideals signifies Victorian England's skepticism and prompts Shaw to question the societal values inherent in the original myth, offering audiences a critical reflection on their own cultural ideals.

She's All That and 20th Century American Society

In stark contrast, Robert Iscove's She's All That takes a lighter, slapstick approach to the Pygmalion myth, aiming to mirror the values of modern-day American society.

By transplanting the narrative to an American high school during the early 21st century and focusing on teenage relationships, Iscove captures a zeitgeist where love and marriage metamorphose into high school 'flings' and casual dating. This strategic shift creates a lighter version of the myth, where relationships are inherently less serious. Iscove's decision to place the narrative within the confines of an American high school serves as a poignant reflection of the changes in societal values influenced by technological advancements, media saturation, and the feminist movement in the 20th century. The reinterpretation becomes a cultural time capsule, capturing the essence of an era grappling with shifting ideals and societal expectations.

Socioeconomic Division in Both Texts

Another recurring theme in both Pygmalion and She's All That is the exploration of socioeconomic division. Shaw, aligning with his belief in the connection between English spelling, pronunciation, and social classes, employs language as a powerful tool to depict societal divisions. Eliza, a humble flower seller, is immediately cast into a predefined social class based on her dialect, reinforcing the deeply entrenched social hierarchy. The power dynamics and prejudices associated with dialects become a mirror reflecting Victorian England's rigid class structure. On the flip side, Iscove takes a more visual route, employing contrasting images of costume and setting in She's All That to portray social class division in a jocular and humorous manner, characteristic of an American high school environment. Here, social status among teenagers is dictated more by fashion choices than educational achievements or adherence to traditional values. Iscove's approach, while humorous, serves as a reflection of the superficial nature of social hierarchies in contemporary American society, providing audiences with a satirical commentary on their own cultural nuances.

Evolution of Social Class Values

A striking comparison of the social class values depicted in the two texts unveils a seismic shift over time. In the early 1900s, markers such as language proficiency, education, family background, and wealth determined one's standing on the social ladder, as evidenced in Pygmalion. However, by the early 21st century, She's All That suggests a significant departure from these traditional markers. Society now places a premium on appearance, character, and social connections, marking a clear shift away from the rigid class distinctions of the past. Iscove's portrayal of Laney's transformation highlights the contemporary emphasis on personal attributes and social networks over the traditional markers of class. This stark contrast serves as a poignant commentary on the dynamic nature of societal values and their inevitable evolution over the course of decades.

Exploration of the Ideal Woman

Both Pygmalion and She's All That delve into the multifaceted concept of the ideal woman, offering distinct perspectives shaped by the ideologies prevalent in their respective eras. Shaw's Pygmalion sees Henry Higgins embarking on the transformation of Eliza Doolittle, intending to mold her into his vision of a proper aristocratic lady. Eliza's journey becomes a symbol of self-realization and societal progression, challenging the prescribed boundaries for a girl of her means. The constant refrain of "I am a good girl, I am!" becomes a poignant reminder of the societal constraints she grapples with and seeks to transcend.

On the flip side, Iscove's She's All That takes a contemporary spin, transforming Laney, the central character, into the ideal woman for the late 20th century. However, this transformation is achieved through a swift makeover, underlining the narrative's suggestion that societal ideals no longer necessarily revolve around etiquette and intelligence. Appearance, social connections, and boldness take precedence, serving as a commentary on the evolving expectations surrounding femininity and desirability during this era. The juxtaposition of these two perspectives accentuates the evolving nature of societal expectations regarding the ideal woman, prompting audiences to reflect on their own cultural shifts.

Conclusion

Conclusively, the exploration of Pygmalion and its modern iteration, She's All That, provides a nuanced understanding of the values ingrained in Victorian England and 20th-century American society. This in-depth analysis not only serves as an excavation of societal norms but also as a mirror reflecting the evolving ethos of distinct eras. Through meticulous language choices, setting details, and character portrayals, Shaw and Iscove offer profound insights into the intricacies of social class, the evolving concept of the ideal woman, and the enduring relevance of the Pygmalion myth across shifting cultural landscapes. The extended examination not only enriches our understanding of these texts but invites us to contemplate the profound cultural shifts that shape our perceptions and expectations over time.