萧伯纳经典戏剧Pygmalion《卖花女》(课堂PPT)

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萧伯纳ppt

His works
《鳏夫的房产》 Mrs. Warren‘s Profession 《华伦夫人的职业》《凯萨与克丽奥佩拉》
Man and Superman (1903) Widowers' Houses (1892)
Major Barbara (1905)
《巴巴拉少校》
Pygmalion (1912)
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贞德在审判中被监禁在圣女贞德塔
• .
Pygmalion [piɡ'meiljən ](1912)
《卖花女》
窈窕淑女 (My Fair Lady) 1964年改编成电影《窈窕
淑女》，当年获奥斯卡最佳影片、最佳导演、最佳改编音乐等八座小金人。）
Mrs. Warren’s Profession
Shaw—Dramatist of Ideas:
III.His purpose of writing these plays of “ideas” is to draw people’s attention to the social problems. Shaw—“Drama is no mere setting up of the camera to nature; it is the presentation of problem.” Shaw called his first plays “unpleasant”, because “their dramatic power is used to force the spectator to face unpleasant fact.” As a dramatic critic and a student of Ibsen, he knew how to achieve theatrical effect …. but he was careful (unlike Ibsen) not to scandalize them beyond their willingness to listen.

萧伯纳经典戏剧ygmalion卖花女课件

萧伯纳经典戏剧ygmalion卖花女
皮克林上校
Colonel Pickering, a
linguist who has traveled to London from India to see Higgins. An elderly, amiable soldier, Pickering is as confirmed a bachelor as Higgins, but he is a gentleman who treats Eliza with respect and helps to moderate Higgins’ mistreatment of her.
萧伯纳经典戏剧ygmalion卖花女
伊莉莎.杜利托
Eliza Doolittle, the flower girl. Dirty and
ignorant, Eliza comes to Higgins and pathetically begs him to teach her to speak well enough to run a respectable flower shop.
萧伯纳经典戏剧ygmalion卖花女
阿尔弗雷德.杜利托
Alfred Doolittle, a dustman, Eliza’s
father. Doolittle is distinguished by a good voice, an original mind, and a complete absence of conscience. He plans to blackmail Higgins, mistakenly thinking that Higgins has taken Eliza as his mistress. Higgins and Pickering are so delighted by the scoundrel’s straightforwardness that they give him five pounds. Doolittle is made middle class by Higgin's letter to Ezra D. Wannafeller, an American philanthropist, Higgins calls Doolittle “the most original moralist” in England. Wannafeller leaves Doolittle an income of 3 thousand pounds a year.

萧伯纳作品赏析Pygmalionppt课件

theater. a freethinker, defender of women’s
rights, and advocate of equality of income.
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Born in Dublin in 1856 to a middle-class Protestant family.
He married Charlotte Payne-Townshend in 1898, but it is known that he never touched her once.
With wondrous art, he creates a beautiful statue in ivory, Galatea, representing feminine ideal.
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13
When Pygmalion returns home, he kisses his statue and is delighted to find that she is warm and soft to touch.
“The maiden felt the kisses, blushed and lifting her timid eyes up to the light, saw the sky and her lover at

6
Literary Career and Achievements
the second greatest English playwright behind only Shakespeare
“a day never passes without a performance of some Shaw play being given somewhere in the world.”

萧伯纳中英介绍精品PPT课件

LOGO
He opposes to Oscar Wilde’s “Art for art’s sake”, advocating literary works should reflect the
social reality.
Shaw and Luxun（鲁迅), and Songqingling宋庆龄
Saint Joan is the only
tragedy of his works
The decade of 20th century before WWI is a period of high productivity for Shaw
LOGO
Pygmalion
—— My Fair Lady
June,15th,2015
By No
(1856 ～ 1950)
4
• One day ,Shaw took part in a
grand party, in which he met a
very fat businessman. While • 有一次宴会前的演讲中,当
Shaw was very thin at that time. 轮到长得很瘦的萧伯纳发
爱尔兰剧作家,文学评论家,社会主义的宣传者,1925年因作品具有 “理想主义”和“人道主义”获诺贝尔文学奖。
His family belonged to the Irish protestant gentry. His father was an unsuccessful businessman; his mother was a musician of talent. Apart from the musical education he received from his mother, he was practically self-educated.

《萧伯纳和小姑娘》PPT课件

“别忘了回去告诉你妈妈，就说今天同你
.... 玩的是世界闻名的萧伯纳！” “先生，您就是萧伯纳？” “怎么，难道我不像吗？” “可是，您怎么会说自己了不起呢？请回去也告诉您的妈妈，就说今天同您玩的是一个普普通通的小姑娘！”
临别的时候，萧伯纳把头一扬，幽默地对小姑娘说：“别忘了回去告诉你妈妈，就说今天同你玩的是世界闻名的萧伯纳！”
PPT素材：/sucai/ PPT图表：/tubiao/ PPT教程： /powerpoint/ 范文下载：/fanwen/ 教案下载：/jiaoan/ PPT课件：/kejian/ 数学课件：/kejian/shu xue/ 美术课件：/kejian/me ishu/ 物理课件：/kejian/wul i/ 生物课件：/kejian/she ngwu/ 历史课件：/kejian/lish i/
萧伯纳和小女孩
萧伯纳
PPT模板：/moban/ PPT背景：/beijing/ PPT下载：/xiazai/ 资料下载：/ziliao/ 试卷下载：/shiti/ PPT论坛：语文课件：/kejian/yuw en/ 英语课件：/kejian/ying yu/ 科学课件：/kejian/kexu e/ 化学课件：/kejian/huaxue/ 地理课件：/kejian/dili/
萧伯纳愣住了，他觉得刚才自己太自以为是了，一时不知说什么才好。
后他来想，：萧伯纳常对人说：“一个人无论。取得多大的成就，都不能骄傲，要永远谦虚。这就是那位小姑娘给我的启迪。”
萧伯纳愣住了，他觉得刚才自己太自以为是了，一时不知说什么才好。
后来，萧伯纳常对人说：“一个人无论取得多大的成就，都不能骄傲，要永远谦虚。这就是那位小姑娘给我的启迪。”

萧伯纳PPT

5
ห้องสมุดไป่ตู้
The Nobel Prize
Saint Joan
Saint Joan is a play by George Bernard Shaw, based on the life Shaw and trial of Joan of Arc. to Shaw studied the is the only person have been 1924 transcripts and decided that the concerned people acted awarded both a Nobel Prize in Literature in good (1925) faith according to theirAward beliefs. He wrote and an Academy (1938), for in his prefacehis to contributions the play: to literature and for his work on the film Pygmalion. There are no villains in the piece. Crime, like disease, is not interesting: it is something to be done away with by generalShaw consent, anddown that is [there is] about turned allall other awards and it. It is what men do at including their best, with good intentions, and what honors, the offer of a knighthood. normal men and women find that they must and will do in spite of their intentions, that really concern us.

pygmanlion卖花女

Pygmalion
My Fair Lady
Different ending
At the end of the play,Eliza and Higgins did not become lovers. But in the film version of "Pygmalion" , finally Eliza went back to Higgins, and Higgins said : "Eliza, where the devil are my slippers? "Then the musical" my fair lady "have followed the ending.
Pygmalion (play)
George Bernard Shaw
X小组成员：文学院孙梦孙偎偎沈烨婷刘璐
Introduction
• Pygmalion ---Greek myth The title of the play is taken from Greek mythol ogy.Pygmalion,King of Cyprus,was a famous scul ptor.He made a beautiful ivory statue of a wom an,which he named Galatea,and fell in love with i t.At his prayer Aphrodite,the goddess of bea uty and love,gave it life.And Galatea,now a wo man in flesh and blood,became Pygmalion ’s wife.

《卖花女》剧本全本 1st

Pygmalion 之老阳三干创作Act 1Covent Garden at 11.15 p.m. Torrents of heavy summer rain. Cab whistles blowing frantically in all directions. Pedestrians running for shelter into the market and under the of St. Paul's Church, where there are already several people. They are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which heis writing busily. The church clock strikes the first quarter.A young man of twenty, in evening dress, opens his umbrella and dashes off onto the street to stop a passing taxi, but comes into collision with a flower girl, who is hurrying in for shelter, knocking her basket out of her hands. A blinding flash of lightning, followed instantly by a rattling peal of thunder, orchestrates the incident.] THE FLOWER GIRL:Nah then, look wh' y' gowin, deah.The YOUNG MAN:Sorry [he rushes off].THE FLOWER GIRL:[picking up her scattered flowers and replacing themin the basket] There's menners f' yer! Te-oo banches o voylets trod into the mad. [She sits down onthe of the column, sorting her flowers, on theright of an old lady. She is not at all anattractive person. She is perhaps eighteen, perhapstwenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to thedust and soot of London and has seldom if ever beenbrushed. Her hair needs washing rather badly: itsmousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty.Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist].[An elderly gentleman of the amiable military type rushes into shelter, and closes a dripping umbrella. He is in the same plight as Freddy, very wet about the ankles. He is in evening dress, with a light overcoat. He takes the place left vacant by the daughter's retirement.]THE GENTLEMAN:Phew!The OLD LADY:[to the gentleman]Oh, sir, is there any sign ofits stopping?THE GENTLEMAN:I'm afraid not. It started worse than ever about two minutes ago. [He goes to the plinth beside theflower girl; puts up his foot on it; and stoops toturn down his trouser ends].THE OLD LADY:Oh, dear! [She retires sadly].THE FLOWER GIRL:[taking advantage of the military gentleman'sproximity to establish friendly relations withhim].If it's worse it's a sign it's nearly over.So cheer up, Captain; and buy a flower off a poorgirl.THE GENTLEMAN:I'm sorry, I haven't any change.THE FLOWER GIRL:I can give you change, Captain,THE GENTLEMAN:For a sovereign? I've nothing less.THE FLOWER GIRL:Garn! Oh do buy a flower off me, Captain. I canchange half-a-crown. Take this for tuppence.THE GENTLEMAN:Now don't be troublesome: there's a goodgirl. [Trying his pockets]I really haven't anychange—Stop: here's three hapence, if that's anyuse to you [he retreats to the other pillar].THE FLOWER GIRL:[disappointed, but thinking three halfpence betterthan nothing]Thank you, sir.THE BYSTANDER A [a vigilant, eccentric middle-aged man in a long raining jacket]:[to the girl]You be careful: give him a flower for it. There's a man here behind taking down every word you're saying. [All turn to the man who is takingnotes].THE FLOWER GIRL:[springing up terrified]I ain't done nothing wrong by speaking to the gentleman. I've a right to sell flowers if I keep off the kerb. [Hysterically]I'm a respectable girl: so help me, I never spoke to him except to ask him to buy a flower off me. [General hubbub, mostly sympathetic to the flower girl, but deprecating her excessive sensibility. Cries of Don't start hollerin. Who's hurting you?Nobody's going to touch you. What's the good of fussing? Steady on. Easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly.Less patient ones bid her shut her head, or ask her roughly what is wrong with her. A remoter group, not knowing what the matter is, crowd in and increase the noise with question and answer: What's the row?What she do? Where is he? A tec taking her down.What! him? Yes: him over there: Took money off the gentleman, etc. The flower girl, distraught andmobbed, breaks through them to the gentleman, cryingmildly]Oh, sir, don't let him charge me. You dunnowhat it means to me. They'll take away my characterand drive me on the streets for speaking togentlemen. They—THE NOTE TAKER:[coming forward on her right, the rest crowdingafter him]There, there, there, there! Who'shurting you, you silly girl? What do you take me for? THE FLOWER GIRL:[still hysterical]I take my Bible oath I neversaid a word—THE NOTE TAKER:[overbearing but good-humored]Oh, shut up, shut up.Do I look like a policeman?THE FLOWER GIRL:[far from reassured]Then what did you take down mywords for? How do I know whether you took me downright? You just show me what you've wrote aboutme. [The note taker opens his book and holds itsteadily under her nose, though the pressure of themob trying to read it over his shoulders would upseta weaker man].What's that? That ain't properwriting. I can't read that.THE NOTE TAKER:I can. [Reads, reproducing her pronunciationexactly]“Cheer ap, Keptin; n' haw ya flahr orf apore gel.”THE FLOWER GIRL:[much distressed]It's because I called him Captain.I meant no harm.[To the gentleman]Oh, sir, don'tlet him lay a charge agen me for a word like that.You—THE GENTLEMAN:Charge! I make no charge. [To the notetaker]Really, sir, if you are a detective, youneed not begin protecting me until I ask you.Anybody could see that the girl meant no harm.THE BYSTANDERS GENERALLY:[demonstrating against police espionage]Coursethey could. What business is it of yours? You mindyour own affairs. Girl never said a word to him.What harm if she did? Nice thing a girl can'tshelter from the rain without being insulted, etc.,etc., etc. [She is conducted by the moresympathetic demonstrators back to her plinth, whereshe resumes her seat and struggles with her emotion]. THE BYSTANDER B:He ain't a tec. He's a blooming busybody: that'swhat he is. I tell you, look at his boots.THE NOTE TAKER:[turning on him ]And how are all your people down at Selsey?THE BYSTANDER B:[suspiciously]Who told you my people come fromSelsey?THE NOTE TAKER:Never you mind. They did. [To the girl]How do you come to be up so far east? You were born in LissonGrove.THE FLOWER GIRL:[appalled]Oh, what harm is there in my leavingLisson Grove? It wasn't fit for a pig to live in;and I had to pay four-and-six a week. [Intears]Oh, boo—hoo—oo—THE NOTE TAKER:Live where you like; but stop that noise.THE GENTLEMAN:[to the girl]Come, come! he can't touch you: youhave a right to live where you please.THE FLOWER GIRL:[subsiding into a brooding melancholy over herbasket, and talking very low-spiritedly toherself]I'm a good girl, I am.THE BYSTANDER B:[not attending to her]Do you know where thisgentleman comes from?THE NOTE TAKER:Cheltenham, Harrow, Cambridge, and India.[Titterings. Popular interest in the note taker's performance increases.]THE GENTLEMAN:Quite right. [Great laughter. Reaction in the notetaker's favor. Exclamations of He knows all aboutit. Told him proper. Hear him tell the where hecome from? etc.].May I ask, sir, do you do thisfor your living at a music hall?THE NOTE TAKER:I've thought of that. Perhaps I shall some day. [The rain has stopped; and the persons on the outside of the crowd begin to drop off.]THE FLOWER GIRL:[resenting the reaction]He's no gentleman, he ain't, to interfere with a poor girl.[still preoccupied with her wounded feelings]He's no right to take away my character. My character is the same to me as any lady's. THE NOTE TAKER:I don't know whether you've noticed it; but the rainstopped about two minutes ago.THE BYSTANDER B:So it has. Why didn't you say so before? and uslosing our time listening to your silliness. [Hewalks off. With some grumbles, other bystanders also walk off the stage separately].THE FLOWER GIRL:Poor girl! Hard enough for her to live without being worrited and chivied.THE GENTLEMAN:[returning to his former place on the note taker'sleft]How do you do it, if I may ask?THE NOTE TAKER:Simply phonetics. The science of speech. That's myprofession; also my hobby. Happy is the man who canmake a living by his hobby! I can place any manwithin six miles. I can place him within two milesin London. Sometimes within two streets.THE FLOWER GIRL:Ought to be ashamed of himself, unmanly coward!THE GENTLEMAN:But is there a living in that?THE NOTE TAKER:Oh yes. Quite a fat one. This is an age of upstarts.Men begin in Kentish Town with 80 pounds a year, andend in Park Lane with a hundred thousand. They wantto drop Kentish Town; but they give themselves awayevery time they open their mouths. Now I can teachthem—THE FLOWER GIRL:Let him mind his own business and leave a poorgirl—THE NOTE TAKER:[explosively]Woman: cease this horrible boohooinginstantly; or else seek the shelter of some otherplace.THE FLOWER GIRL:[with feeble defiance]I've a right to be here if Ilike, same as you.THE NOTE TAKER:A woman who utters such depressing and disgustingsounds has no right to be anywhere—no right to live.Remember that you are a human being with a soul andthe divine gift of articulate speech: that yournative language is the language of Shakespear andMilton and The Bible; and don't sit there like apigeon.THE FLOWER GIRL:[quite overwhelmed, and looking up at him in mingled wonder and deprecation without daring to raise herhead]Ah—ah— ah—ow—ow—oo!THE NOTE TAKER:[whipping out his book]Heavens! what a sound! [He writes; then holds out the book and reads,reproducing her vowels exactly]Ah—ah—ah—ow—ow—ow—oo!THE FLOWER GIRL:[tickled by the performance, and laughing in spiteof herself]Garn!THE NOTE TAKER:You see this creature with her gutter English: theEnglish that will keep her in the gutter to the endof her days. Well, sir, in three months I could pass that girl off as a duchess at an ambassador's garden party. I could even get her a place as lady's maidor shop assistant, which requires better English.[The flower girl listens attentively and was shocked by his remarks. She repeats with noticeablecuriosity, “duchess”? “lady’s maid”? “shopassistant”? ]THE GENTLEMAN:I am myself a student of Indian dialects; and—THE NOTE TAKER:[eagerly]Are you? Do you know Colonel Pickering,the author of Spoken Indian Dialects?THE GENTLEMAN:I am Colonel Pickering. Who are you?THE NOTE TAKER:Henry Higgins, author of Higgins's UniversalAlphabet.PICKERING:[with enthusiasm]I came from India to meet you. HIGGINS:I was going to India to meet you.PICKERING:Where do you live?HIGGINS:27A Wimpole Street. Come and see me tomorrow. PICKERING:I'm at the Carlton Hotel. Come with me now andlet's have a talk over some supper.HIGGINS:Right you are.THE FLOWER GIRL:[to Pickering, as he passes her]Buy a flower, kind gentleman.PICKERING:I really haven't any change. I'm sorry [he goesaway].HIGGINS:[shocked at girl's ]Liar. You said you couldchange half-a-crown.THE FLOWER GIRL:[rising in desperation]You ought to be stuffedwith nails, you ought.[Flinging the basket at hisfeet]Take the whole blooming basket for sixpence. [The church clock strikes the second quarter.]HIGGINS:[hearing in it the voice of God, him forhis to the poor girl] A reminder. [He raiseshis hat solemnly; then throws a handful of moneyinto the basket and follows Pickering].THE FLOWER GIRL:[picking up a half-crown]Ah—ow—ooh! [Picking upa couple of florins]Aaah—ow—ooh! [Picking upseveral coins]Aaaaaah—ow—ooh![Picking upa ]Aaaaaaaaaaaah—ow—ooh!!![With ecstasy, theFlower Girl runs off the stage. End of Act 1 ]Act 2[Next day at 11 a.m. Higgins's laboratory in Wimpole Street. The middle of the room is clear. Besides the easy chair, the piano bench, and two chairs at the phonograph table, there is one stray chair. It stands near the fiWordStr. Pickering is seated at the table, putting down some cards and a tuning-fork which he has been using. Higgins is standing up near him, closing two or three file drawers that are hanging out. He appears in the morning light as a robust, vital, appetizing sort of man of forty or thereabouts, dressed in a professional-looking black frock-coat with a white linen collar and black silk tie. He is of the energetic, scientific type, heartily, even violently interested in everything that can be studied as a scientific subject, and careless about himself and other people, including their feelings. He is, in fact, but for his years and size, rather like a very impetuous baby “taking notice” eagerly and loudly, and requiring almost as much watching to keep him out of unintended mischief. His manner varies from genial bullying when he is in a good humor to stormy petulance when anything goes wrong; but he is so entirely frank and void of malice that he remains likeable even in his least reasonable moments.] HIGGINS:[as he shuts the last drawer]Well, I think that'sthe whole show.PICKERING:It's really amazing. I haven't taken half of it in,you know.HIGGINS:Would you like to go over any of it again? PICKERING:[rising and coming to the fiWordStr, where he plants himself with his back to the fire]No, thank you;not now. I'm quite done up for this morning.HIGGINS:[Mrs. Pearce looks in: she is Higgins'shousekeeper]What's the matter?MRS. PEARCE:[hesitating, evidently perplexed] A young womanwants to see you, sir.HIGGINS:A young woman! What does she want?MRS. PEARCE:Well, sir, she says you'll be glad to see her whenyou know what she's come about. She's quite a common girl, sir. Very common indeed. I should have senther away, only I thought perhaps you wanted her totalk into your machines. I hope I've not done wrong;but really you see such queer people sometimes—you'll excuse me, I'm sure, sir—HIGGINS:Oh, that's all right, Mrs. Pearce. Has she aninteresting accent?MRS. PEARCE:Oh, something dreadful, sir, really. I don't knowhow you can take an interest in it.HIGGINS:[to Pickering]Let's have her up. Show her up, Mrs.Pearce [he rushes across to his working table andpicks out a cylinder to use on the].MRS. PEARCE:[only half resigned to it]Very well, sir. It's for you to say. [She goes downstairs].HIGGINS:This is rather a bit of luck. I'll show you how Imake records. We'll set her talking; and I'll takeit down --MRS. PEARCE:[returning]This is the young woman, sir.[The flower girl enters in state. She has a hat with three ostrich feathers, orange, sky-blue, and red. Shehas a nearly clean apron, and the shoddy coat has been tidied a little. The of this figure, with its innocent vanity and consequential air, touches Pickering, who has already straightened himself in the presence of Mrs. Pearce. But as to Higgins, the only distinction he makes between men and women is that when he is neither bullying nor exclaiming to the heavens against some featherweight cross, he coaxes women as a child coaxes its nurse when it wants to get anything out of her.] HIGGINS:[brusquely, recognizing her with unconcealeddisappointment, and at once, babylike, making anintolerable grievance of it]Why, this is the girlI jotted down last night. She's no use: I've got allthe records I want of the Lisson Grove lingo; andI'm not going to waste another cylinder on it.[Tothe girl]Be off with you: I don't want you.THE FLOWER GIRL:Don't you be so saucy. You ain't heard what I comefor yet. [To Mrs. Pearce, who is waiting at thedoor for further instruction]Did you tell him Icome in a taxi?MRS. PEARCE:Nonsense, girl! what do you think a gentleman likeMr. Higgins cares what you came in?THE FLOWER GIRL:Oh, we are proud! He ain't above giving lessons, not him: I heard him say so. Well, I ain't come here toask for any compliment; and if my money's not goodenough I can go elsewhere.HIGGINS:Good enough for what?THE FLOWER GIRL:Good enough for ye—oo. Now you know, don't you? I'm come to have lessons, I am. And to pay for em too:make no mistake.HIGGINS:[stupent]WELL!!! [Recovering his breath with agasp]What do you expect me to say to you?THE FLOWER GIRL:Well, if you was a gentleman, you might ask me tosit down, I think. Don't I tell you I'm bringing you business?HIGGINS:Pickering: shall we ask this baggage to sit down orshall we throw her out of the window?THE FLOWER GIRL:[running away in terror to the piano, where sheturns at bay]Ah—ah—ah—ow—ow—ow—oo! [Wounded and whimpering]I won't be called a baggage whenI've offered to pay like any lady.[Motionless, the two men stare at her from the other side of the room, amazed.]PICKERING:[gently]What is it you want, my girl?THE FLOWER GIRL:I want to be a lady in a flower shop stead ofselling at the corner of Tottenham Court Road. Butthey won't take me unless I can talk more genteel.He said he could teach me. Well, here I am ready topay him—not asking any favor—and he treats me asif I was dirt.MRS. PEARCE:How can you be such a foolish ignorant girl as tothink you could afford to pay Mr. Higgins?THE FLOWER GIRL:Why shouldn't I? I know what lessons cost as well as you do; and I'm ready to pay.HIGGINS:What's your name?THE FLOWER GIRL:Liza Doolittle.HIGGINS:[declaiming gravely]Eliza, Elizabeth, Betsy andBess,They went to the woods to get a birds nes': PICKERING:They found a nest with four eggs in it:HIGGINS:They took one apiece, and left three in it.[They laugh heartily at their own wit.]LIZA:Oh, don't be silly.MRS. PEARCE:You mustn't speak to the gentleman like that.LIZA:Well, why won't he speak sensible to me?HIGGINS:Come back to business. How much do you propose topay me for the lessons?LIZA:Oh, I know what's right. A lady friend of mine getsFrench lessons for eighteenpence an hour from a real French gentleman. Well, you wouldn't have the faceto ask me the same for teaching me my own languageas you would for French; so I won't give more than a shilling. Take it or leave it.HIGGINS:[walking up and down the room, rattling his keys and his cash in his pockets]You know, Pickering, ifyou consider a shilling, not as a simple shilling,but as a percentage of this girl's income, it worksout as fully equivalent to sixty or seventy froma millionaire.PICKERING:How so?HIGGINS:Figure it out. A millionaire has about 150 pounds aday. She earns about.LIZA:[haughtily]Who told you I only—HIGGINS:[continuing]She offers me two-fifths of her day'sincome for a lesson. Two-fifths of a millionaire'sincome for a day would be somewhere about 60 pounds.It's handsome. By George, it's enormous! it's thebiggest offer I ever had.LIZA:[rising, terrified]Sixty pounds! What are youtalking about? I never offered you sixty pounds.Where would I get—HIGGINS:Hold your tongue.LIZA:[weeping]But I ain't got sixty pounds. Oh—MRS. PEARCE:Don't cry, you silly girl. Sit down. Nobody is goingto touch your money.HIGGINS:Somebody is going to touch you, with a broomstick,if you don't stop snivelling. Sit down.PICKERING:Higgins: I'm interested. What about the ambassador'sgarden party? I'll say you're the greatest teacheralive if you make that good. I'll bet you all theexpenses of the experiment you can't do it. And I'llpay for the lessons.HIGGINS:[carried away]Yes: in six months—in three if shehas a good ear and a quick tongue—I'll take heranywhere and pass her off as anything. We'll starttoday: now! this moment! Take her away and clean her, Mrs. Pearce. Monkey Brand, if it won't come off anyother way. Is there a good fire in the kitchen?MRS. PEARCE:[protesting].Yes; but—HIGGINS:[storming on]Take all her clothes off and burnthem. Ring up Whiteley or somebody for new ones.Wrap her up in brown paper till they come.LIZA:You're no gentleman, you're not, to talk of suchthings. I'm a good girl, I am; and I know what thelike of you are, I do.MRS. PEARCE:But I've no place to put her.HIGGINS:Put her in the dustbin.LIZA:Ah—ah—ah—ow—ow—oo!MRS. PEARCE [dragging Eliza off with Eliza struggling a while]: Good girl! Don’t be frightened. We won’t hurt you for sure. [Mrs. Pearce and Eliza exit!]PICKERING:Oh come, Higgins! be reasonable. Although I am interested in this experiment, all I propose is that we should be kind to this poor girl. We need to help her to prepare and fit herself for her new station in life. We can't take a girl up like that as if we were picking up a pebble on the beach. [He continues with hesitation less he should hurt Higgins’s feelings.] Excuse the straight question, Higgins. Are you a man of good character where women are concerned?HIGGINS:[moodily]Have you ever met a man of good characterwhere women are concerned?PICKERING:Yes: very frequently.HIGGINS:[dogmatically, lifting himself on his hands to thelevel of the piano, and sitting on it with abounce]Well, I haven't. I find that the moment Ilet a woman make friends with me, she becomesjealous, exacting, suspicious, and a damned nuisance.I find that the moment I let myself make friendswith a woman, I become selfish and tyrannical. Women upset everything.[Mrs. Pearce returns.]MRS. PEARCE:If you please, sir, the trouble's beginning already.There's a dustman downstairs, Alfred Doolittle,wants to see you. He says you have his daughter here. PICKERING:[rising]Phew! I say! [He retreats to thehearthrug].HIGGINS:[promptly]Send the rascal up.MRS. PEARCE [embarrassed]:Oh, very well, sir. [She goes out].PICKERING:He may not be a rascal, Higgins.HIGGINS:Nonsense. Of course he's a rascal.PICKERING:Whether he is or not, I'm afraid we shall have sometrouble with him.MRS. PEARCE:[at the door]Doolittle, sir. [She admitsDoolittle and retires].[Alfred Doolittle is an elderly but vigorous dustman, clad in the costume of his profession, including a hat with a back brim covering his neck and shoulders. He has well marked and rather interesting features, and seems equally free from fear and conscience. He has a remarkably expressive voice, the result of a habit of giving vent to his feelings without reserve. His present pose is that of wounded honor and stern resolution.] DOOLITTLE:[at the door, uncertain which of the two gentlemenis his man]Professor Higgins?HIGGINS:Here. Good morning. Sit down.DOOLITTLE:Morning, Governor. [He sits down ]I come about avery serious matter, Governor.HIGGINS:[to Pickering]Brought up in Hounslow. Mother Welsh,I should think.[Doolittle opens his mouth, amazed.Higgins continues]What do you want, Doolittle? DOOLITTLE:[menacingly]I want my daughter: that's what I want.See?HIGGINS:Of course you do. You're her father, aren't you? Youdon't suppose anyone else wants her, do you? I'mglad to see you have some spark of family feelingleft. She's upstairs. Take her away at once. DOOLITTLE:[rising, fearfully taken aback]What!HIGGINS:Take her away. Do you suppose I'm going to keep yourdaughter for you?DOOLITTLE:[remonstrating]Now, now, look here, Governor. Isthis reasonable? Is it fairity to take advantage ofa man like this? The girl belongs to me. You got her.Where do I come in? [He sits down again].HIGGINS:Your daughter had come to my house and ask me toteach her how to speak properly so that she couldget a place in a flower-shop. This gentleman and myhousekeeper have been here all the time. [Bullyinghim]How dare you come here and attempt toblackmail me? You sent her here on purpose. DOOLITTLE:[protesting]No, Governor.HIGGINS:You must have. How else could you possibly know that she is here?DOOLITTLE:[“most musical, most melancholy”]I'll tell you,Governor, if you'll only let me get a word in. I'mwilling to tell you. I'm wanting to tell you. I'mwaiting to tell youIGGINS:Pickering: this chap has a certain natural gift oflecturing.DOOLITTLE:It was like this, Governor. The girl sent a boy back for her luggage when she heard you was willing forher to stop here. I met the boy and knew where shewas.HIGGINS:So you came to rescue her from worse than death, eh? DOOLITTLE:[appreciatively: relieved at being understood]Just so, Governor. That's right.PICKERING:But why did you bring her luggage if you intended to take her away?DOOLITTLE:Have I said a word about taking her away? Have Inow?[rising]No, Governor. Don't say that. I'mnot the man to stand in my girl's light. Here's acareer opening for her, as you might say; and—HIGGINS:Mrs. Pearce: this is Eliza's father. He has come totake her away. Give her to him. [He goes back tothe piano, with an air of washing his hands of thewhole affair].DOOLITTLE:[To Higgins, who takes refuge on the piano bench, a little overwhelmed by the proximity of his visitor;for Doolittle has a professional flavor of dustabout him].No. This is a misunderstanding. Listen here— Regarded in the light of a young woman, she'sa fine handsome girl. All I ask is my rights as afather; and you're the last man alive to expect me to let her go for nothing; for I can see you're one of the straight sort, Governor. Well, what's a five pound note to you? And what's Eliza to me? [He returns to his chair and sits down judicially]. PICKERING:I think you ought to know, Doolittle, that Mr.Higgins's intentions are entirely honorable. DOOLITTLE:Course they are, Governor. If I thought they wasn't, I'd ask fifty.HIGGINS:[revolted]Do you mean to say, you rascal, thatyou would sell your daughter for £50?DOOLITTLE:Don't say that, Governor. Don't look at it that way. What am I, Governors both? I ask you, what am I? I'm one ofthe undeserving poor: that's what I am.HIGGINS:Pickering: if we listen to this man another minute,we shall have no convictions left. [ToDoolittle]Five pounds I think you said. DOOLITTLE:Thank you kindly, Governor.HIGGINS:You're sure you won't take ten?DOOLITTLE:Not now. Another time, Governor.HIGGINS:[handing him a five-pound note]Here you are. DOOLITTLE:Thank you, Governor. Good morning. [He hurries tothe door, anxious to get away with his booty. Whenhe opens it he is confronted with a and clean。

萧伯纳-PPT文档资料

George Bernard Shaw萧伯纳
• 萧伯纳（George Bernard Shaw，1856—1950）爱尔兰剧作家，1925年因为作品具有理想主义和人道主义而获诺贝尔文学奖，是英国现代杰出的现实主义戏剧作家，是世界著名的擅长幽默与讽刺的语言大师。
• 萧伯纳的一生，是和社会主义运动发生密切关系的一生，他认真研读过《资本论》，公开声言他“是一个普通的无产者”，“一个社会主义者”。他主张艺术应当反映迫切的社会问题，反对“为艺术而艺术”。其思想深受德国哲学家叔本华及尼采的影响，而且又曾读过马克思的著作，不过他却主张用渐进的方法改变资本
度假地第一次偷情萧伯纳老少恋首度曝光
• 据英国《泰晤士报》报道，关于爱尔兰裔著名剧作家萧伯纳有一个流传很广的笑话，说是美国现代舞创始人邓肯曾向萧伯纳写信求爱，希望与萧伯纳生下一子，好让他同时拥有邓肯的美貌和萧伯纳的智慧，没想到萧伯纳回信称：“如果孩子的容貌如我，大脑像你怎么办？” • 这当然是一个无据可查的笑谈，然而不为人知的是，现实生活中的萧伯纳的确有一个身为女演员的“美国情人”，这名20多岁的年轻美女还差点为他生下一子。 • 这段“忘年之恋”是萧伯纳生平保守最严格的秘密，直到他去世54年后的今天，他“美国情人”的儿子、现年 85岁的美国前记者彼得· 汤普金斯才终于决定向世人首次披露萧伯纳生平的这一“绝对隐私”。
我活多久，这种事情迟早总会发生的。”
• 萧伯纳的文学始于小说创作，但突出的成就是戏剧，他一共创作了52部剧本
• 主要作品
• • • • • • ●《卡希尔· 拜伦的职业》（Cashel Byron's Profession）电影《窈窕淑女》(奥黛丽· 赫本主演) ●《鳏夫的房产》（Widowers' Houses） ●《圣女贞德》（Saint Joan） ●历史剧《卖花女》（Pygmalion）（1964年改编成电影《窈窕淑女》，当年获奥斯卡最佳影片、最佳导演、最佳改编音乐等八座小金人。） ●《魔鬼的门徒》（The Devil's Disciple） ●《人与超人》（Man and Superman） ●《伤心之家》（Heartbreak House） ●《华伦夫人的职业》（Mrs Warren's Profession） ●《巴巴拉少校》（Major Barbara） ●《苹果车》（The Apple Cart） ●《医生的两难选择》（The Doctor's Dilemma） ●《长生》或《千岁人》（Back to Methuselah） ●《凯撒和克娄巴特拉》（Caesar and Cleopatra）

萧伯纳作品赏析Pygmalion PPT

Literary Career and Achievements
the second greatest English playwright behind only Shakespeare
“a day never passes without a performance of some Shaw play being given somewhere in the world.”
With wondrous art, he creates a beautiful statue in ivory, Galatea, representing feminine ideal.
When Pygmalion returns home, he kisses his statue and is delighted to find that she is warm and soft to touch.
He flirted with beautiful women but never had further committed relations.
He was member of Fabian Society, a middleclass socialist group that aimed at the transformation of English government and society.
萧伯纳作品赏析Pygmalion
Do you know the famous actress? Can you name some films which she acted in?
窈窕淑女 (My Fair Lady)
1964年
Questions:
1. Have you seen the film My Fair Lady ?

Pygmalion,戏剧课

Characters
Alfred Doolittle
• Alfred Doolittle is Eliza's father, an elderly but vigorous dustman who has had at least six wives and who "seems equally free from fear and conscience." When he learns that his daughter has entered the home of Henry Higgins, he immediately pursues to see if he can get some money out of the circumstance. • Through Higgins' joking recommendation, Doolittle becomes a richly endowed lecturer to a moral reform society, transforming him from lowly dustman to a picture of middle class morality--he becomes miserable. Throughout, Alfred is a scoundrel who is willing to sell his daughter to make a few pounds, but he is one of the few unaffected characters in the play, unmasked by appearance or language.
Characters
Professor Henry Higgins

皮格马利翁卖花女

皮格马利翁卖花女一、引言《皮格马利翁卖花女》（Pygmalion）是英国剧作家乔治·伯纳德·肖aw向比利时作家夏尔·龚罗尔(Shaw)的戏剧《Pygmalion》致敬的一部作品。

乔治·伯纳德·肖aw的《皮格马利翁卖花女》于1913年在伦敦首演，其后被改编为音乐剧和电影，并在全球范围内获得了极高的评价和广泛的认可。

本文将介绍《皮格马利翁卖花女》的剧情概要、主要角色以及该剧的重要主题和影响。

二、剧情概要《皮格马利翁卖花女》讲述了一个社会翻身的故事。

剧中的主人公芬恩·丘吉尔·希文（Henry Higgins）是一个语言学家，他希望证明一个人的言谈举止受到社会阶级的影响。

他在伦敦街头遇见了一个卖花女艾尔萨·杜尔菲特（Eliza Dolittle），并决定改变她的言谈举止，将她变成一个高雅的贵妇。

芬恩·希文与艾尔萨·杜尔菲特展开了一系列的训练和改造，包括学习正确的发音、姿势和礼仪等。

随着艾尔萨的变化，她逐渐被人们接受并受到上流社会的赏识。

然而，在这个过程中，希文对艾尔萨的改造也造成了许多问题和冲突。

最终，艾尔萨变得优雅并展示了她的才能，但她对自己的身份和关系感到困惑。

她对希文有着复杂的感情，并开始怀疑自己是否只是一个被改造的道具。

三、主要角色1. 芬恩·丘吉尔·希文（Henry Higgins）芬恩·希文是一位顶尖的语言学家，他有着强烈的目标和自信。

他决定通过改造艾尔萨来证明自己的理论，但却对艾尔萨缺乏关心和尊重。

2. 艾尔萨·杜尔菲特（Eliza Dolittle）艾尔萨是一位卖花女，她是一个充满了热情和韧性的女性。

她通过训练和改造，获得了在社会上取得成功的机会。

然而，她在改造过程中感受到了身份的困惑和自我认同的挣扎。

3. 阿尔费斯·多尔菲特（Alfred Doolittle）阿尔费斯是艾尔萨的父亲，他是一个酒鬼和懒汉。

萧伯纳华伦夫人的职业PPT课件

BACK
（三）萧伯纳的主要作品
● 《鳏夫的房产》（Widowers' Houses） ●《华伦夫人的职业》（Mrs Warren's Profession） ●《圣女贞德》（Saint Joan） ● 历史剧《卖花女》（Pygmalion） ●《魔鬼的门徒》（The Devil's Disciple） ●《人与超人》（Man and Superman） ●《伤心之家》（Heartbreak House） ●《卡希尔·拜伦的职业》（Cashel Byron's Profession ） ●《巴巴拉少校》（Major Barbara） ●《苹果车》（The Apple Cart） ●《医生的两难选择》(The Doctor's Dilemma) ●《长生》或《千岁人》(Back to Methuselah) ●《凯撒和克娄巴特拉》（Caesar and Cleopatra)
（四）萧伯纳名言
forget, the less you know. So why learn? --Bernard Shaw 学得越多，知道得越多。知道得越多，忘得越多。忘得越多，知道得越少。那么何必学呢？ —萧伯纳
接下来：
Mrs. Warren’ Profession 《华伦夫人的职业》
二、Mrs. Warren’ Profession
二、Mrs. Warren’ Profession （一）Background
Information
After Shakespeare, Shaw was one of Ireland great dramatists, he created a series of outstanding dramatic works which are still Farreaching social significance and unique research value. Lots of domestic and international scholars has been extensively studied his work from different angles .

萧伯纳卖花女 ppt课件

Mrs. Higgins: a refined, independent woman .
Alfred Doolittle: contented with his own life, selfish, indifferent.
Freddy :persistent to love, almost no
hierarchical idea.
那三个茶会中你一定要试试这种时髦话。不要胆怯，尽管说。)
Clara: I will, Good-bye such nonsense, at all this early Victorian prudery!(我一定说，再见.这些维多利亚早期的清规戒律都是胡闹)
Higgins：【tempting her】 Such damned nonsense!(真是胡闹)
2020/12/27
17
Marriage and Prostitution: From his unusual
standpoint of being committed to a celibate marriage, Shaw apparently feels free to denounce marriage as an exchange of sexuality for money similar to prostitution (even though this was not happening in his own marriage).
Characters analysis
5
Originate from: An Ancient Greek myth
A sculptor from Cyprus
Hates woman & the idea of getting married

高中英语_萧伯纳戏剧Pygmalion教学课件设计

Irish
George Bernard Shaw
Playwright, critic Joan of Arc
Lady Warren's Occupation
The concept of “Pygmalion”
Greek myth
1964
Shaw’s play
Movie: My Fair Lady
III. Pygmalion - the Play（戏剧简介）
IV. the climax of the play
Is Eliza happy with the result ? How do you know it ?
P1 She is tired: her pallor contrasts strongly with her dark eyes and hair; and her expression is almost tragic. She takes off her cloak; puts her fan and flowers on the piano; and sits down on the bench, brooding and silent.
Eliza was __________. Eliza became __________.
P3 snatching up the slippers, and hurling them at him one after the other with all her force...
Eliza was __________.
Pickering are _g_i_ft_e_d__l_in_g__u_is__ts_.
Higgins bets Pickering that ___

卖花女(1)

His friend bet to him that if Higgins enable Elisa to ambassador’s party which will hold six months later as a ladyship without anybody exposure her true status, then Pickering would pay for all the experiment fees and the schooling fees of Eliza.
Will it rain, do you think?
What is wrong with that, young man? I bet I got it I'm makin' an honest livin'. right.
Sir, don't let 'im charge me.
That ain't proper writin'. I can't read it.
The contrast of Elisa’s dialect（social class dialect）
Cheer up, Capt'n,buy a flow'r off a poor girl.
Before
How do you do?
After
I can change 'alf a crown.
Your Excellency.
Goodbye, Professor Higgins.
shall not be seeing me again.
However, after the Professor Higgins wins the bet, where can Elisa go? ….????

卖花女

ቤተ መጻሕፍቲ ባይዱ

I was born intelligent - education ruined me. --Bernard Shaw 我生下来时很聪明的——教育把我给毁了。 —萧伯纳

Since light travels faster than sound, people appear bright until you hear them speak. -- Bernard Shaw 由于光速比音速快，所以在我们听到人们开口之前，个个都显得很聪明。 —萧伯纳 Money is not everything. There's Mastercard & Visa. --Bernard Shaw 金钱并非一切，还有信用卡呢。 —萧伯纳 The wise never marry and when they marry they become otherwise. --Bernard Shaw 明白人从不结婚，结了婚就不明白了。 —萧伯纳
在此剧中萧伯纳用幽默夸张的语言讲述了卖花姑娘伊莉莎麻雀变凤凰的过程把剥削阶级的丑恶嘴脸暴露在公众面前进一步揭示了上层社会的虚伪与浮华其语言机智幽默生动简洁发人深省萧伯纳的卖花女语言幽默诙谐因此通过本文对该剧语言的分析语言背后蕴含的抽象的道理和深刻的会话含义也因此变得生动具体
萧伯纳（George Bernard Shaw) 爱尔兰剧作家 1856年7月26日－1950年11月2日出生 1856年7月26日爱尔兰都柏林逝世 1950年11月2日英格兰赫特福德郡享年 94岁职业剧作家、评论家、政治活动家
生平
萧伯纳从小就爱好音乐和绘画。中学毕业后，15 岁便当了抄写员，后又任会计，并在报章写剧评和乐评、从事新闻工作。刻苦自学期间，他会浏览伦敦美术馆及国家画廊，又去大英博物馆图书室读书，在那儿读到马克思的《资本论》。

卖花女ppt

Байду номын сангаас
Some examples
1、电影中语言学家根据口音不同便可以判断出人来自哪里。（regional dialect）
2、印度方言不少于147种。（regional dialect）
3、英国人的发音能分三六九等。（social class dialect） 4、法国人、阿拉伯人、挪威人、希伯莱人各自说着自己不同的语言。（regional dialect) 5、文中说杜立特先生是个押头韵的天才，喜欢押“w”字头韵。（Idiolect） 6、伊莉莎和希金斯生活在同一城市，但伊莉莎却操着一口Cockney音， “Ow,eezy？-ooa san, is？？ Wal.fewd dan y”d？-ooty bawmz a mather should, eedettern to spawl a pore gel‘s flahrzn than awy athaht pyin. Will ye- oo py me f’ them？“.而希金斯却是标准的伦敦口音，”Oh, that comes with practice. You hear no difference at first; bou you keep on listening, and presently you find they‘re all as different as A and B.由于卖花女本身出生于丽孙林，后来才来到伦敦谋生，而希金斯则生活工作在伦敦，地域的差异造成伊莉莎与希金斯的口音不同，使用的语言也不同，产生地域变体。（ regional dialect ）
The relationship between society and language 在漫长的人类社会进步与发展过程中，产生了语言，语言也一直伴随着社会在演变和发展，语言在这个过程中不断发展进步,也促进了社会的进步与发展。语言，为社会提供了交流；社会，为语言提供了发展。它们之间互相推动，互相促进，互相影响，互相作用，互相制约，互相变化，这就是语言与社会的大体关系。社会离不开语言主要体现在：语言是人类最重要的交际工具.语言的统一和语言的无阻碍发展，是保证贸易能够适应现代社会化而真正自由广泛发展的最重要的条件之一；是使居民自由地广泛地按各个阶层组合的最重要条件之一；社会的进步推动了语言的发展，社会发展对语言词汇的发展有很大的影响，随着社会生活的日益复杂,词汇也逐渐完备丰富起来了。语言的变化和发展促进社会的进步和发展。

萧伯纳卖花女课件.ppt

novels without much success.
His Life
In 1895 Shaw became a drama critic for the Saturday Review. Shaw also wrote music, art and drama criticism for Dramatic Review (188586), His music criticism has been collected in Shaw's
George Bernard Shaw
• Do you agree or disagree,one's manner,such as pronounciation,behavior,social skills,etc,would influence his or her reputation?
《卖花女》 Pygmalion
Pygmalion became fascinated by his sculpture and fell in love with it. He pretended it was an actual woman. He brought it presented and treated it as if it were alive. However, the statue could not respond to his attentions, and Pygmalion became miserable. Finally, he prayed to Aphrodite, the goddess of love, to bring him a woman like his statue. Aphrodite did even better. She brought the statue to life. Pygmalion married this woman, often called Galatea, who gave birth to a daughter.

《卖花女》剧本

PYGMALION [Extract] (by George Bernard Shaw)Main idea of the gut ：Eliza is a flower girl with a tongue ofvery harsh English to the upper society. Professor Higgins is aphilologian with lordliness. His friend Pickering bet to himthat if Higgins enable Eliza to ambassador's party which willhold six months later as a ladyship without anybody exposureher true status, then , Pickering would pay for all theexperiment fees and the schooling fee of Eliza.Scene1Background: at night 11:15. Raining [Sound of Rain] [Cab]Pedestrians are running for shelter.Actor: Mother Freddy Eliza the gentleman A Sarcastic Bystanderthe Note Taker two other bystandersMother[On her son's right]Freddy, go and find a cab. Do you want me to catch pneumonia?FreddyAll right, I'll get one. [Freddy rushes in out of the rain from the Southampton Street side; He opens his umbrella and dashes off, but comes into collision with Eliza, who is hurrying in for shelter, knocking her basket out of herhands. A blinding flash of lightning, followed instantly by a rattling peal of thunder, orchestrates the incident] [Thunder].ElizaLook where you're going, dear! Look where you're going!FreddyI'm so sorry.[He rushes off].Eliza [picking up her scattered flowers and replacing them in the basket] Two bunches o' violets trod in the mud. A full day's wages. [She sits down on the plinth of the column, sorting her flowers, on the lady's right. Talk to the mother]He's your son, is he? If you'd done your duty., you wouldn't let him spoil a poor girl's flowers and run away without paying.Mother (walk towards to the other side)Go about your business, my girl.Eliza[Still sits down on the plinth of the column,]And you wouldn't go off without paying, either. [Here comes a gentleman .He goes to the plinth beside Eliza]Two bunches o' violets trod in the mud.Mother (turn to the gentleman)Sir, is there any sign of it stopping?The gentlemanI'm afraid not. It's worse than before.If it's worse, it's a sign it's nearly over. [Taking advantage of the military gentleman's proximity to establish friendly relations with him].Cheer up, captain! Buy a flower off a poor girl.The GentlemanI'm sorry, I haven't any change.ElizaI can change half a crown. [The Gentleman trying his pockets]Oh, yes. Here's three pence,[He retreats to the other pillar].Take this for tuppence (Speak at the same time)Eliza [disappointed, but thinking three halfpence better than nothing]Thank you, sir.A Sarcastic Bystander [to the girl]You be careful. Better give him a flower for it. There's a bloke here behind that pillar .taking' down every blessed word you're saying'.[All turn to the man who is taking notes].Eliza[Springing up terrified]I have done nothing wrong by speaking to the gentleman. I've a right to sell flowers if I keep off the curb. [Hysterically] I' m a respectable girl, so help me!Bystander A- What's the blooming noise?Bystander B- A tec is taking her down.I'm making an honest living. [Breaking through them to the gentleman, crying wildly] Sir, don't let him charge me. They’ll take away m y character and drive me on the streets, for speaking' to a gentleman...The Note Taker[Coming forward on her right, the rest crowding after him]There, there. Who's hurting you, silly girl? What'd you take me for?Eliza [still hysterical]On my Bible oath, I never spoke a word.The Note Taker [overbearing but good-humored]Oh, shut up! Do I look like a policeman?Eliza [far from reassured]Then what did you take down my words for? Just show me what you have written about me. [The note taker opens his book and holds it steadily under her nose]. What is that? That is not proper writing, I can't read it.The Note TakerI can. [Reads, reproducing her pronunciation exactly] "Cheer ap, Keptin; n' baw ya flahr orf a pore gel."Eliza [much distressed]It's because I called him Captain.! I meant no harm. [To the gentleman] Oh, sir, don’t let him lay a charge on… [Close-up of Eliza.]The GentlemanCharge? I'll make no charge. [To the note taker] Really, sir, if you are a detective, you need not protect me against the young women until I ask you. She meant no harm.The Note TakerAll right! [To the girl] How do you come to be up so far east? You were born in Lisson Grove.Eliza[Appalled] Oh, what harm is there in my leaving Lisson Grove? It was not fit for a pig to live in! [In tears] Oh, boo--ouThe Note Taker(Interrupt her)Live where you like; but stop that noise.The GentlemanCome, come! You have a right to live where you please.Eliza[Subsiding into a brooding melancholy over her basket, and talking very low-spiritedly to herself]I'm a good girl, I am.The Note Taker"Look at her, a prisoner of the gutters". Condemned by every word she utters” By right she should be taken out and hung"Eliza[Quite overwhelmed, and looking up at him in mingled wonder anddeprecation without daring to raise her head]Ah-ah-ah-ow-ow-ow-oo!The Note TakerHeavens! What a sound! You hear this creature with her poor English: the English that will keep her in the gutter to the end of her days. [To the Gentleman]Well, sir, in three months I could pass that girl off as a duchess at an ambassador's garden party. I could even get her a place as lady's maid or shop assistant, which requires better English.ElizaOh you don’t believe it, sir?Pickering(Thinking) Hmm, I'm interested. What about a bet for the ambassador's garden party? [Show the check] I'll pay all the expenses of the experiment if you make that good.ElizaReally ? Oh, you are so kind, Captain!Higgins[Tempted, looking at her] It's almost irresistible. Yes! In six months , f she has a good ear and a quick tongue -- I'll take her anywhere and pass her off as anything. We shall get start--tomorrow! [3’24”]Scene2Monologue: The next day, Mr. Higgins begins to teach Eliza English. HIGGINS :All right, Eliza, say it again.！Eliza: [Reading word by word] "The rine in Spine...stais minely in the pline!" HIGGINS:"The rain in Spain stays mainly in the plain."Eliza:Didn't I saiy that?HIGGINS: No, Eliza, you didn't "saiy" that. You didn't even "say" that. [Impatiently] All right! Let’s try a simple one. Say “a cup of tea”. Eliza: A Cuppatea.HIGGINS: No! "A cup of tea." [To Pickering, back against Eliza] It's awfully good cake. I wonder where Mrs. Pearce gets it.Pickering: First rate. And those strawberry tarts are delicious. [To Eliza]Did you try the pline cake?HIGGINS: [Raises his voice] Try it again.Pickering: -Did you try the-HIGGINS:[Speaking loudly to Pickering] Pickering! Again, Eliza.Eliza: Cuppatea .HIGGINS:Oh, no. [Turn his head to Eliza]Can't you hear the difference? [Turn his body to Eliza] Look, put your tongue forward until it squeezes on the top of your lower teeth. And then say "cup." Then say "of." Then say "cup, cup, cup, cup, of, of, of, of."Eliza: [off and on]"cup, cup, cup, cup, of, of, of, of. …."Pickering:[At the same time] By Jove, Higgins, that was a nice tea. You finish the last strawberry tart. I couldn't eat another thing. [Eliza look at them eagerly ]HIGGINS: -I couldn't touch it.Pickering: -Shame to waste it.HIGGINS:Oh, it won't be wasted. I know somebody who's fond of strawberry tarts. [Eliza is eagerly and happy but Higgins take the cake to a bird]Eliza: Oooooh!HIGGINS: [Smiled triumphantly.] Do you want to eat some, Eliza? [Eliza: ooh,] Come here--Ah—[Eliza open her mouth, Higgins take one marble into her mouth, she is confused Higgins take marbles into her mouth as saying [one, two, three, six marbles]] OK, enough. I want you to read this "The rain in Spain......stays mainly in the plain” Clearly!Eliza:"The rain in Spain......stays….. mainly ….in the plain."[She spit it out and wants to give up] I can't! I'm so tired!Higgins:[Touching his forehead]I know you're tired. I know your nerves are as raw as meat in a butcher's window. But just think what you're trying to accomplish. (he sit down besides Eliza in the right) The majesty and grandeur of the English language....It's the greatest possession we have. And that's what you've set yourself out to conquer,Eliza. And conquer it you will. (Higgins...) Now try it again.Eliza (think about the word Higgins said, and determined to spell it well. She speak slowly)"The rain in Spain......stays mainly in the plain."Higgins: (Higgins was quite surprised that Eliza spelled very correctly.) What was that?Eliza: (to Higgins)"The rain in Spain......stays mainly in the plain."Higgins:"By George, she's got it.! By George, she's got itEliza: "The rain in Spain......stays mainly in the plain." [6’30”] [Music] [Their actions are still to be designed]Scene 3Monologue: 6 months later, at ambassador's garden party.A guard: Sir Guy and Lady Scot-Auckland. 盖伊爵士和斯科特奥克兰夫人The Count and Countess Demerea 迪梅鲁伯爵和伯爵夫人u.The Viscount and Viscountess Hillyard. 希尔雅德子爵和子爵夫人Mr. and Mrs. Richard Lanser. 理查兰舍先生和夫人Miss Eliza Doolittle, Colonel Pickering., and Professor Higgins. 伊莱莎杜利特小姐，皮克林上校和希金斯教授[When Eliza came in, all the people are astonished by her beauty and are discussing ]Mr. Richard Lanser:Good evening, Colonel.Pickering :-Good evening.Mrs. Richard Lanser: What an charming young lady you have with you . Well, who is she?Pickering: Oh, a cousin of mine. And this is Professor Higgins.Lady Scot-Auckland: Such a faraway looks, as if she's always lived in a garden.Higgins: So she has. ...a sort of garden. [Pickering and Higgins are talking to other gentlemen][At the moment, the queen and the prince arrive ]A guard: Her Majesty, the Queen of Transylvania.....and His Royal Highness Prince Gregor.[All people stop talking and dancing][Prince discuss something to queen in secret]Queen of Transylvania: Mr. Pickering,[Pickering walk to the queen ]who is the charming girl?Pickering: She’ my cousin , her majesty. [Suggested Eliza to come] Eliza: Good evening, Miss Doolittle, Madam.the Queen of Transylvania: Miss Doolittle, my son would like to dance withyou.[ the Prince of Transylvania asked to meet her and gave his arm to lead her to the floor]Pickering: [to Higgins] You did it ,you did it! A total success!Higgins:[Smiles triumphantly]What shall I say, Pickering? It was an immense achievement! Hahahaha...![Music][People begin their dancing] [8’]Scene4Monologue: After the party , they went back ，wild with joy.Higgins&Pickering:(On arrival) Hahaha... (Both of them sit down joyfully, ignoring Eliza)Pickering: Absolutely fantastic!Higgins: A lot of foolish men!Pickering: Higgins, you were absolutely great! Now you win the bet! (Take out a piece of check) The check now belongs to you!Higgins: (Mrs. Pearce lit a cigarette for him) The silly people don't know their own silly business. (To Mrs Pearce)Mrs. Pearce, you should have heard the 'oohs' and 'aahs'! Everyone wondering who she was.Pickering: And you should get a medal, or be even made a knight!Higgins:[Quite satisfied with himself] Well, thank God, that's over. Now I cango to bed without dreading tomorrow.Mrs. Pearce: Good night, Mr. Higgins. (She goes away)Pickering: Good night, my old man! (He leaves)Higgins:Good night! [About to leave] Eliza, put out the lights.(He goes upstairs)[Eliza turns off the light in blue, sobbing] [8’50”]Higgins[Appears suddenly] Ah, where the hell is my slippers?Eliza[Irritated, casts the slippers at him] Here are your slippers! Take your slippers and may you never have good luck with them.HigginsWhat's the matter? Is anything wrong?ElizaNo, nothing's wrong with you. I won your bet for you, haven't I? That's enough for you! I don't matter, I suppose?HigginsYou won my bet? Oh Heavens, I won it!Eliza[Fires her questions painfully] I could kill you, you selfish brute! Why didn't you leave me where I was? You thank God it's all over. Now you can throw me back again! Do you? [She threw herself at Higgins]HigginsClaws in, you cat!How dare you show your temper to me? Sit down and be quiet!Eliza(Falls to the sofa and sobs) What's to become of me?HigginsHow do I know what's to become of you?ElizaYou don't care. I know you don't care! You wouldn't care if I was dead. I'm nothing to you. Not as much as your slippers.HigginsMy slippers ? Why have you suddenly begun going on like this? Do you mean that I have treated you badly?ElizaNo.HigginsWell, I'm glad to hear that. Perhaps you're tired after the strain of the day. [He walks to the table and fetches a tray of chocolate] Would you have a chocolate? ElizaNo! [But with politeness] Thank you.HigginsNow listen to me, Eliza. Nothing's wrong. Nobody's hurting you. Go to bed andsleep it off. Have a little cry and say your prayers. You'll feel much more comfortable.ElizaOh, where am I to go? What am I to do? And what's to become of me? HigginsI wouldn't worry about that if I were you, Eliza. I'm sure you won't have any difficulty in settling yourself somewhere . [] You might marry, you know. Most men are the marrying sort, poor devils. You're not bad-looking. I daresay, my mother might find some fellow who would do very well.ElizaI sold flowers, I don’t sell myself!HigginsWhat about the old idea of a flower shop? I'm sure Pickering would help you. He's got lots of money. [Yawning, eager to leave]Well, I must be off to bed. I'm really sleepy.ElizaBefore you go, sir. [Take off her jewelry] Will you take these to your room and keep them safe? I don't want to be accused of stealing.HigginsStealing?ElizaI'm sorry. I'm a common, ignorant girl .and in my station I have to be careful.The ring , you bought for me in Bright, I don't want it now. There can't be any feelings between the likes of you and the likes of me. It’ s time to bid you adieu. [Down falls the curtain][The end]。