Objectives

• Analyse how Shaw uses phonetic language and dialect in Act I to establish class as a social construct rather than a natural hierarchy.
• Explain how the Wimpole Street laboratory setting and the terms of Higgins's wager in Act II position Eliza as an object rather than a subject.
• Evaluate how Shaw uses the Act III drawing-room scene to expose the gap between surface performance and genuine identity.
• Trace how Shaw's stage directions and dialogue in Act IV construct Eliza's assertion of selfhood as the play's moral climax.
• Write a sustained, evidenced analytical essay arguing a clear thesis about power, transformation, or identity across the full play.

The sequence

1. Lesson 1: Dialect, Class, and the Rain: Act I as Social Diagnosis

   55 min · ch. 1

   Do now

   The way someone speaks can reveal their background, education, and sometimes their emotional state. It often reflects their personality and cultural influences. I believe it's not entirely fair to judge someone solely based on their speech, as everyone has unique circumstances that shape how they communicate.

   Teacher input

   Model a close reading of the passage in Act I (Ch.1) where Higgins's notebook-taking is first noticed by the crowd — from 'THE NOTE TAKER: You see this creature with her kerbstone English…' to '…the same London under the same sky.' Project the passage. Think aloud about how Shaw uses Higgins's clinical third-person label 'this creature' to dehumanize Eliza before she has spoken a word to him, and how the stage direction 'the bystanders' collective gaze' transforms the portico into a stage for class judgment. Show students how to annotate: circle the noun phrase, draw an arrow to illustrate its impact on power dynamics, and write a one-sentence analysis in the margin.

   Independent task

   Read the section of Act I (Ch.1) from Eliza's first speech — 'Nah then, Freddy: look wh' y' gowin, deah' — to the moment Higgins reveals he could place any speaker within two miles of their birthplace. Annotate the passage for three specific instances where Shaw employs phonetic spelling, vocabulary choice, or stage direction to indicate Eliza's social class. Then write a complete PEEL paragraph (Point, Evidence, Explanation, Link) arguing how Shaw utilizes language in this passage to depict class as something that is performed and imposed rather than inherent. Your paragraph should include at least two embedded quotations and must conclude with a sentence that connects your argument to Shaw's broader social critique.

   Exit ticket

   In exactly two sentences, explain what Shaw achieves by having Higgins describe Eliza as 'this creature with her kerbstone English' rather than simply calling her 'the flower girl' — what does the word 'creature' do that 'flower girl' would not?

2. Lesson 2: The Laboratory and the Wager: Eliza as Object in Act II

   55 min · ch. 2

   Do now

   Here’s a list of words: experiment, subject, specimen, project, bet, material. Without the play in front of you, rank these from most to least dehumanizing and write one sentence explaining why you chose the top word. Remember your ranking, as you'll need it later in the lesson.

   Teacher input

   Model a close reading of the moment in Act II (Ch. 2) when Higgins first proposes the wager to Pickering — from 'Pickering: But you'll have to teach her something' to 'Higgins: …in six months — in three if she has a good ear and a quick tongue — I'll take her anywhere and pass her off as anything.'

   Project the passage and demonstrate how to analyze the syntax of Higgins's conditional clause as a form of ownership. Notice that the subject of every verb is 'I', while Eliza is only mentioned as the object of 'take' and 'pass off.'

   Encourage students to explore grammatical structure as a reflection of ideology, rather than merely a stylistic choice.

   Independent task

   Read the exchange in Act II (Ch.2) from Mrs. Pearce's entrance — 'If you please, sir, the trouble is that girl is washing herself' — to Higgins's instruction 'Throw her out.' Write a structured comparison of how Shaw presents Higgins and Mrs. Pearce in this passage. Your response must be two full paragraphs: the first on Higgins's language and what it reveals about his attitude toward Eliza as a person; the second on how Mrs. Pearce's interventions serve as a moral counterpoint. Each paragraph must include at least one embedded quotation and one comment on Shaw's use of dramatic form — stage direction, dialogue rhythm, or interruption.

   ---

   In this exchange, Higgins's language starkly illustrates his dismissive attitude towards Eliza, viewing her more as an object than as a person. His command, 'Throw her out,' reflects a complete lack of empathy, reducing Eliza to a mere inconvenience in his eyes. This abrupt directive not only highlights his authoritative nature but also underscores a deeper disdain for her autonomy. Shaw's use of sharp, clipped dialogue here emphasizes Higgins's impatience and arrogance, creating a rhythm that mirrors his authoritative demeanor. The stage direction accompanying this moment likely showcases Higgins's physical dominance, reinforcing the idea that he sees Eliza as beneath him, further illuminating his condescending view of her worth.

   In contrast, Mrs. Pearce's interventions function as a vital moral counterpoint to Higgins's harshness. When she states, 'If you please, sir, the trouble is that girl is washing herself,' her choice of words indicates a level of respect for Eliza's dignity, highlighting her humanity in a way that Higgins fails to do. Shaw crafts her dialogue to interrupt Higgins’s orders, creating a tension that underscores the moral conflict between the characters. This interruption not only serves to elevate Mrs. Pearce’s character as a voice of reason but also introduces a rhythm that contrasts sharply with Higgins's brusqueness. By positioning Mrs. Pearce as a defender of Eliza, Shaw emphasizes the importance of compassion and respect in a world dominated by power dynamics, effectively critiquing Higgins's lack of moral consideration.

   Exit ticket

   Write one sentence that completes this claim with specific evidence from Act II: 'Shaw positions the wager as morally troubling rather than simply comic because…'

3. Lesson 3: Performance and Identity: The Drawing-Room Test in Act III

   55 min · ch. 3

   Do now

   Read this stage direction from Act III (Ch.3) aloud to yourself: 'Eliza, who is exquisitely dressed, creates an impression of such remarkable distinction and beauty as she enters that they all rise, visibly flustered.' Write two sentences: what does the word 'flustered' imply about the guests, and what does it indicate about the influence Eliza now has in this room?

   Teacher input

   Model a close reading of Eliza's 'small talk' in Act III (Ch.3) — starting with her precisely articulated 'How do you do, Mrs. Eynsford Hill?' and continuing through her remarks about her aunt's death: '…and what I say is, them as pinched it done her in.' Project the passage and illustrate the technique of tracking register shift: demonstrate to students how Eliza's vowels are 'correct' while her content and idiom revert to Cockney. Argue that Shaw employs this contrast to highlight that identity isn't solely defined by accent — that being a 'lady' is more of a role than an inherent self. Draft a topic sentence that articulates this argument, and then search for evidence that supports it.

   Independent task

   Using Act III (Ch.3), write two full analytical paragraphs responding to this question: How does Shaw use Eliza's conversation with the Eynsford Hills — particularly her comments about her aunt's death and her use of 'bloody' — to argue that class is a performance that can be learned but not fully inhabited? Your first paragraph should focus on what Eliza says and how Shaw uses her language to expose the artificiality of 'correct' speech. Your second paragraph should focus on the guests' reactions — especially Freddy's delighted laughter and Mrs. Eynsford Hill's discomfort — as evidence of how class polices itself. Include at least three embedded quotations across the two paragraphs.

   In Act III, Shaw highlights the artificiality of 'correct' speech through Eliza's conversation with the Eynsford Hills. When Eliza discusses her aunt's death, she expresses genuine emotion, yet her language reveals the tension between her upbringing and her new persona. For instance, she exclaims, “I’m glad I’m not like you,” showcasing her struggle to reconcile her past with the expectations of upper-class speech. Her use of the word “bloody” serves as a stark contrast to the refined language of her audience, emphasizing that proper speech is more about performance than authenticity. This moment underscores Shaw's argument that while Eliza can mimic the language of the upper class, the inherent authenticity of her background cannot be entirely erased.

   The reactions of the Eynsford Hills further illustrate how class enforces its own standards. Freddy’s delighted laughter at Eliza's candidness reveals his fascination with her unrefined authenticity, yet it also highlights the superficiality of his amusement. Conversely, Mrs. Eynsford Hill’s discomfort signals the rigid boundaries of class, as she remarks, “How very strange,” indicating her unease with Eliza’s bluntness. This contrast demonstrates how class not only dictates behavior but also polices itself, maintaining its boundaries through reactions to those who disrupt the established norms. Shaw masterfully conveys that while class can be mimicked, the underlying societal expectations create barriers that cannot be fully transcended.

   Exit ticket

   In one full sentence, explain what the phrase 'new small talk' — which Mrs. Higgins uses to describe Eliza's manner — reveals about Shaw's view of polite society and its relationship to honesty.

4. Lesson 4: The Slippers Scene: Eliza's Rebellion in Act IV

   55 min · ch. 4

   Do now

   Read this stage direction from Act IV (Ch.4): 'Eliza struggles to maintain her composure and act indifferent as she rises and walks over to the hearth to turn off the lights. By the time she arrives, she's nearly on the verge of screaming.' Without reading further, write two sentences predicting the emotions Shaw wants the audience to experience at this moment — and whether those emotions are aimed at Eliza, Higgins, or both.

   Teacher input

   Model a close reading of the exchange in Act IV (Ch. 4) where Eliza throws Higgins's slippers: "There are your slippers. And there. Take your slippers; and may you never have a day's luck with them!" This is followed by Higgins's confused response: "I don't know what to do. What does it mean? What's the matter with her?"

   Project the passage and illustrate how to interpret Shaw's use of punctuation and sentence length as dramatic devices. Eliza's short, exclamatory sentences convey her anger and assertiveness. In contrast, Higgins's questions, particularly "What's the matter with her?" reveal his struggle to understand her as a person with her own thoughts and feelings. Encourage students to analyze punctuation and syntax as elements that provide evidence of character dynamics, rather than simply as decorative choices.

   Independent task

   Read Act IV (Ch.4) from Higgins's line 'I was quite cool — quite cool. Did I lose my temper? Did I insult her?' to the end of the act, where Eliza resolves to leave. Shaw uses Act IV to illustrate Eliza's transformation from Higgins's mere creation to an independent individual. This shift is marked by her declaration, "I’m a common ignorant girl," which underscores her rejection of Higgins's manipulative control and her assertion of self-worth. The stage directions, particularly Eliza's "with dignity" as she confronts Higgins, emphasize her newfound strength and determination. Furthermore, the symbolic significance of the slippers serves to highlight her awakening; they represent the societal expectations placed on her, which she ultimately casts aside. By the act's conclusion, Eliza's rebellion signifies not just her personal emancipation but also reflects Shaw's critique of the Pygmalion myth, challenging the notion of a creator shaping a submissive creation and instead celebrating the emergence of a woman who asserts her own identity.

   Exit ticket

   Write one full sentence explaining why Shaw has Eliza throw the slippers rather than, say, shout at Higgins or leave silently — what does the physical act of throwing add to the meaning of this moment that words alone could not?

5. Lesson 5: Independence, Epilogue, and Shaw's Argument: Synthesising the Whole Play

   60 min · ch. 1, 2, 3, 4, 5

   Do now

   Read Shaw's prose epilogue note (distributed as a handout): 'Eliza, in telling Higgins she would not marry him if he asked her, was not coquetting: she was announcing a well-considered decision.' Write two sentences: do you find this ending satisfying or frustrating? What does your reaction reveal about your expectations for the play?

   Teacher input

   Model how to create a thesis-driven introduction for an essay about the entire play, using Act V (Ch. 5) as the focal point. Reference the moment in Act V when Eliza tells Higgins, "I sold flowers. I didn't sell myself. Now you've made a lady of me. I'm not fit to sell anything else." Illustrate how to transition from this quotation to a broader argument about the play. The verb "sold" connects to Alfred Doolittle's literal offer of five pounds in Act II (Ch. 2), and these two instances together frame Eliza's transformation as both an economic and personal journey. Guide students in crafting an introduction that clearly states the thesis, identifies the key technique, and highlights the two pieces of evidence without summarizing the plot.

   Independent task

   Write a complete analytical essay of 500–600 words in response to the following question: 'In Pygmalion, Shaw argues that true transformation is an act of self-determination, not something that can be imposed by another person.' To what extent do you agree with this statement, and how does Shaw utilize language, dramatic form, and character throughout the play to convey this argument? Your essay should: begin with a thesis-driven introduction that presents a clear stance; build your argument over at least three paragraphs, each starting with a topic sentence, including at least two embedded quotations from at least two different acts, and analyzing Shaw's particular language or dramatic techniques; reference at least one moment from Act I or Act II (Ch.1 or Ch.2), one from Act III or Act IV (Ch.3 or Ch.4), and one from Act V or the prose epilogue (Ch.5); and conclude by revisiting the question and expanding on — rather than merely repeating — your thesis. Avoid simply summarizing the plot. Every assertion must be backed up with a quotation from the text.

   Exit ticket

   Write one full sentence that states your essay's central argument in your own words — not a quotation from Shaw, not a summary of the plot, but the claim you have just spent 500–600 words defending, phrased so precisely that someone who had not read your essay would know exactly what position you took.

Activities

Assessment

• Lesson 1 exit ticket: student can name a specific linguistic choice and articulate its ideological effect, not just its surface meaning.
• Lesson 2 independent paragraph: student uses grammatical or syntactic evidence — not just quotation — to support a claim about power.
• Lesson 3 exit ticket: student can connect a single phrase ('new small talk') to Shaw's satirical argument about polite society without retelling plot.
• Lesson 4 independent paragraph: student opens with a topic sentence that makes an argument and closes with a sentence that names the Pygmalion myth explicitly.
• Lesson 5 exit ticket: student can articulate a thesis in one precise sentence — this is the clearest indicator of whether the essay has a controlling argument or is a sequence of points.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama.
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.6 — Analyse a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that makes a defensible claim about an interpretation of literature.
• Textual Evidence (STL-1) — Select and use relevant evidence from the text to support literary analysis.
• Character (CHR-1) — Explain the function of a character, including how Shaw's choices about Eliza's speech and behaviour contribute to the meaning of the work as a whole.
• Narration and Structure (STR-1) — Explain the function of structure, including how Shaw's use of the prose epilogue creates meaning that the stage action alone does not supply.

AQA

• AO1 — Read, understand and respond to texts; maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.
• AO3 — Show understanding of the relationships between texts and the contexts in which they were written and received.
• AO4 — Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, with specific reference to Shaw's use of dialect, stage direction, and dramatic irony.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including Edwardian class structure and the phonetics debate.

IB Lit

• Criterion A — Knowledge, understanding and interpretation: demonstrate understanding of Shaw's dramatic and social argument across all five acts.
• Criterion B — Analysis and evaluation: analyse how Shaw's specific choices of language, form, and structure shape meaning, with reference to named passages.
• Criterion D — Organisation and development: structure a sustained written argument with a clear thesis, coherent paragraphing, and a conclusion that extends rather than repeats the opening claim.