Many individuals are skilled at recognizing changes in their environment, in others, and in themselves. For these people, whatever the "change" is - a new hairstyle, a new item of clothing, or a dialect spoken - it rarely goes unnoticed. Sometimes, however, even these keen and perceptive individuals fail to recognize a more conspicuous and surprising transformation. In George Bernard Shaw's play, Pygmalion, the protagonist, Henry Higgins, a noted master of language, fails to recognize a dramatic and emotional change in one of his "creations", the flower girl at Covent Garden market. The conflict that exists between these characters is that the impregnable facade of social distinction and personal appearance masks the true reality of their nature; this classic man-on-man conflict is the basis of the play. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay An English gentleman of the Victorian period was expected to be polite, patient, helpful, and, above all, compassionate. None of these words describe the highly respected scholar and "gentleman" Henry Higgins. The eccentric, energetic and short-tempered Professor Higgins dominates every situation he enters thanks to the immediacy of his barked commands. The discerning reader understands that none of these traits should be used to identify a nineteenth-century English gentleman. For example, when Higgins terrorizes a flower girl, Eliza Doolittle, on the porch of St Paul's Church in Covent Garden by writing down her every word, Eliza desperately pleads with bystanders not to allow this "copper peep" to arrest her. Higgins bluntly denies any association with the police, saying: "Oh, shut up, shut up. Do I look like a cop?" (7). Higgins' sudden entrance and crude response to Eliza's expressed fears depict his callous disrespect for the feelings of others. Likewise, when Eliza shows up at Higgins' door to accept his challenge to teach her correct English and make her a lady, he insults her. Higgins shows not even a hint of courtesy towards Eliza and openly calls her "dirty" and "delightfully short"; he treats her as if she were a muddy dog ​​that has been let loose in the living room while shouting commands like "Sit" and "Shut up." After Colonel Pickering reminds Higgins of his boast of turning this "flattened cabbage leaf" and bets that Higgins cannot accomplish such a feat, Higgins tramples all opposition. Ignore Eliza's ignorant terror and Mrs. Pearce's matronly disapproval. He harshly demands that Eliza be bathed, dressed in clean clothes, and taught the niceties of social etiquette. Higgins becomes absorbed by her as an experiment as she has been reduced to an object he enjoys studying. Thus, the reader recognizes that the irascible, insensitive and disrespectful Henry Higgins, although highly respected by good manners, possesses only the superficial characteristics of a gentleman. Wealthy, educated Londoners, such as Henry Higgins, often regarded their city's many poor and ignorant citizens as crude, vulgar, and given to corruption and immorality. While Eliza Doolittle certainly belongs to the poor, uneducated class, she possesses none of the characteristics associated with it. Thrown out of the house by her father and stepmother because she was unable to look after herself, Eliza manages to survive by selling flowers on the street corners of London. Eliza's admirable efforts to remain a "good girl" demonstrate that she is a young woman who possesses exceptional qualities of mind and heart anda defined standard of appropriate behavior. So, although Eliza needs much refinement regarding social etiquette and the proper conduct of the aristocratic upper class, she already possesses a solid foundation of integrity and principle, the qualities of a true lady. The reader's respect for Eliza's character deepens after she meets Henry Higgins who is determined to turn her into a "duchess". Because Eliza is clear about her goals in life, she sees Professor Higgins' challenge as an opportunity to better herself through hard work rather than a "handout" or a "free lunch." Eliza's potential to outwardly evolve into a refined woman is astonishing. After the bath, Eliza is attractive. Dressed in decent clothes, Eliza is elegant and eye-catching. Eventually, after 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 newfound cleanliness reflects her inner purity; her fashionable dress parallels her inner beauty; and his newly acquired mannerisms and speech represent his willingness to work for what he wants. As a result, the reader realizes that while this "creature" already possesses the necessary character traits of a real woman, Eliza Doolittle's outward appearance now corresponds to the beauty of her soul. As Eliza's transformation proceeds, a profound human relationship begins to develop, partly unnoticed, but in conflict with the original structure of master and pupil. When Eliza and Higgins initially meet, Higgins bullies and orders the unsuspecting Eliza to change so that the poor flower girl, who was once "condemned to the gutter," can acquire new manners, new speech, and a new sense of if. Combined with her former independence, self-sufficiency, and virtue, Eliza's new talents and new vision of her position in the world form a being beautiful in every way. Despite having so much beauty in her everyday presence, Higgins ignores her and continues to focus on Eliza as an object, experiment, or challenge. Higgins refuses to recognize Eliza's individuality and her status as an equal, so much so that he calls her a "thing" that he fashioned out of crushed cabbage leaves. Higgins is perfectly content with Eliza remaining in his house as a servant, someone who fetches and brings his slippers, runs errands, and remembers scheduled appointments. Although Eliza does not mind these duties, she resents being a "thing" of convenience. Therefore, 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 claims that "the experiment" is perhaps his greatest achievement; ironically, however, Higgins' greatest failure is not realizing that Eliza is a young woman with a kind heart, gentle nature, and willing spirit who wonders "what will become of me? What will become of me?" (72). Even Pickering, the ever courteous and polite gentleman, fails to acknowledge Eliza's role in the success of the "bet." When Higgins states, "Thank God it's over!" (70), he fails to realize the meaning his statement has for Eliza. Continuing his selfish soliloquy, Higgins consoles himself by saying that he will never attempt such a feat again; “the whole thing [the experiment of making Eliza a lady] was mere purgatory” (71). With these words, Higgins shatters Eliza's hopes for a future of her own. He believes that as an "experiment" it will come.