Recently I’ve figured that it’s beneficial to read books as double features (that’s what I call them in my pseudo-English) meaning two books of the same topic or topos but from different authors. My double features so far:
Michael Frayn, Copenhagen – Friedrich Dürrenmatt, The Physicists
George Orwell, 1984 – Aldous Huxley, Brave New World
Johann Wolfgang von Goethe, The Sorrows of Young Werther – Ulrich Plenzdorf, Die neuen Leiden des jungen W.
Then I realised I had another potential DF on my shelves: George Bernard Shaw’s Pygmalion and Educating Rita by Willy Russell. Shaw’s Pygmalion became famous as My Fair Lady and so a question sprang to my mind:
I googled it and came across one of the most fascinating little stories I’ve ever heard about. Ovid’s Metamorphoses tells us about a sculptor, Pygmalion, who despises women for their wickedness. He makes the sculpture of a woman so beautiful he falls in love with her. On Venus’ festival he asks of the goddess to give him a woman like the statue but Venus knows what Pygmalion really wants. Coming back home he kisses his sculpture and she turns into a real woman. (Pygmalion keeps testing her realness by repeatedly groping her breasts.) They get married and have a son.
Now isn’t that gender studies gold?! A man creates his own perfect woman and she is exactly what he wants her to be. It reminds me of this wonderful gothic novella, The Sandman (1816), by ETA Hoffmann. In it the male protagonist finds his nagging and self-determined wife to be a real pain in his behind. One day he catches sight of the most beautiful woman and falls for her. She never says a word, she’s patient, she’s gracious, and from time to time the sweetest sigh escapes her mouth. Turns out she’s a robot.
The whole thing works the other way around too, of course. In German there’s a saying according to which you can bake the man of your dreams (or Mr Right is yet to be baked in which case there’re baking sets available to bake oneself a man in a most literal sense).
Back to our Pygmalion. Shaw does what is a very plausible thing to do: in his play from 1913 he asks the question of what happens after the statue turns real. I mean, imagine this. Technically there’s a woman now with the knowledge and experience of a newborn. Shaw calls her Eliza (well, strictly speaking it was Johann Jakob Bodmer who did this in 1749), makes her a London flower girl and lets her ask Professor Higgins (Pygmalion) to teach her how to speak properly so she can work in a flower shop. The playwright makes it a story about gender and class and uses education as a vehicle for her emancipation – an emancipation he grants her in the play, but not in his epilogue. A love story between Higgins and Eliza would be utterly absurd, concludes Shaw: “Galatea [the name later given to Pygmalion’s sculpture] never does quite like Pygmalion: his relation to her is too godlike to be altogether agreeable.”
Willy Russell’s Educating Rita (1980) is familiar to many as a modern version of Pygmalion/My Fair Lady. Once again a male playwright tells us a story about a woman who wants more and once again it is about education and her relationship with her tutor. Frank educates Rita – and loses her.
This is not the place to analyse the plays in depth. You guys are smart enough to do it yourselves and I guarantee you there’s enough food for your thoughts to keep your minds busy in a fun and rewarding way for awhile.
I would, however, like to draw your attention to the fact that Pygmalion has inspired painters and sculptors alike to produce some great artwork. Edward Burne-Jones, a Pre-Raphaelite, painted a series of four pictures (click on the link for more information on them):
Last but not least I would like to tell you about the Pygmalion effect: an experiment showed that students performed better after their teachers had been told that their (actually average) students were particularly gifted.
Pygmalion, Pygmalion, you curious little thing you…
Psst! If you ever felt physically attracted to sculptures, you have Pygmalionism (aka Agalmatophilia).