b) Find the following words and word combinations. Give their Russian equivalents

1. 
   to be preoccupied with sth (p.9, 14)
   
2. 
   to get chilled to the bone
   
3. 
   to be exposed to sth/ to expose (p.10)
   
4. 
   to leave much to be desired
   
5. 
   reluctantly
   
6. 
   to deceive sb
   
7. 
   amiable (p.11)
   
8. 
   to run (rush)for (into) shelter (p.9,11)
   
9. 
   to be sympathetic to sb (p.12)
   
10. 
    to deprecate sth
    
11. 
    to take sb for sb (sth) else (p.12,13)
    
12. 
    to take sth down
    
13. 
    to lay a charge against sb for sth
    
14. 
    to be insulted by sb (p.13)
    
15. 
    to be fit for sb or sth
    
16. 
    to stay in the draught (p.14)
    

17. 
    to give oneself away (p.15)
    
18. 
    to pass sb off as sb (p.16)
    
19. 
    to leave sb with sth on his hands (p.17)
    
20. 
    a tenant (p. …)
    

1. 
   Explain, paraphrase or comment on the following:
   

1. 
   [Freddy] I shall simply get soaked for nothing. (p.10)
   
2. 
   [Author]…, but comes into collision with a flower girl, who…
   
3. 
   [Author]…a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed.
   
4. 
   [Author]…, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.
   
5. 
   [The bystander]…a bloke here behind taking down every blessed word youre saying. (p.11)
   
6. 
   [The bystander] It’s all right: hes a gentleman: look at his boots. (p.12)
   
7. 
   [Author] …nursing her sense of injury.(p.13)
   
8. 
   [Author] Her daughter repudiates her with an angry shrug and retires haughtily. (p.14)
   
9. 
   [Author]…he touches his hat with mock respect and strolls off. (p.15)
   
10. 
    [The note taker] I can place any man within six miles.
    
11. 
    [The gentleman] But is there a living in that?
    
12. 
    [Pickering]…lets have a jaw over some supper. (p.16)
    

1. 
   [The bystander] Nice thing a girl cant shelter from the rain without being insulted,… (p.13)
   
2. 
   [The note taker] Happy is the man who can make a living by his hobby! (p.15)
   
3. 
   [The note taker] Men begin in Kentish Town with £80 a year, and end in Park Lane with a hundred thousand. They want to drop Kentish Town; but they give themselves away every time they open their mouths.
   
4. 
   [The note taker] A woman who utters such depressing and disgusting sounds has no right to be anywhere - no right to live.
   
5. 
   [The note taker] You see this creature with her kerbstone English: the English that will keep her in the gutter to the end of her days. (p.16)
   

1. 
   Where does the action of the play take place?
   
2. 
   What does the flower girl look like?
   
3. 
   What does the flower girl ask the mother to do? Who joins the mother and the flower girl?
   
4. 
   After the flower girl sells a flower to the military gentleman, what does she start to be anxious about?
   
5. 
   Who does the bystander take the note taker for? What does the note taker do that puzzles and amuses the crowd of onlookers? Where does the note taker say the flower girl was born?
   
6. 
   What is the military gentleman’s background, according to the note taker? How do the bystanders react when the note taker is correct in his guess about the gentleman’s origin?
   
7. 
   What is revealed to be the note taker’s profession? How accurately does the note taker claim he can “place” a man in London?
   
8. 
   What boast about the flower girl does the note taker make to the gentleman? Who do the note taker and the gentleman turn out to be?
   
9. 
   What happens when Freddy arrives with a cab at long last?
   

1. 
   What actions and statements by the flower girl reveal that she has integrity and is also streetwise or shrewd? How would you define other features of her character?
   
2. 
   What is the note taker’s attitude toward people in general and women in particular—especially the flower girl?
   
3. 
   A bystander defends Higgins with “It's all right: hes a gentleman: look at his boots”. What does this observation signify about social class?
   
4. 
   Do Pickering and Higgins treat the flower girl differently? What reasons can there be for that?
   
5. 
   Why is Higgins so much interested in Eliza's pronunciation?
   
6. 
   In the opening scene, why do you think Shaw attaches labels rather than specific names to his characters? What can you say about their social background?
   
7. 
   Higgins identifies Eliza’s neighborhood and upbringing simply by listening to her accent. Do you agree or disagree that language is always related to class division? In which way?
   
8. 
   Is it really so much important to speak proper language? What do you feel towards a person who does not speak distinctly?
   
   
   

1. 
   В течение всего дня погода оставляла желать лучшего, и, возвращаясь домой вечером, Энтони продрог до костей.
   
2. 
   Я не могу не относиться к Джейн с сочувствием, ведь после гибели ее мужа у неё на руках остались двое детей.
   
3. 
   В газетах писали, что 53-летний американец Майкл Шеффер выдал себя за 67-летнего гитариста британской группы Пинк Флойд Дэвида Гилмора чтобы пройти бесплатно курс лечения в больнице. Однако в следующее посещение его разоблачили и предъявили обвинение в мошенничестве.
   
4. 
   «Да за кого вы меня принимаете? Я действительно оскорблен вашими намеками и смею вас заверить, что никогда не посмел бы вас обмануть! Я всю жизнь протестовал против лжи и снобизма!» - возмущался Оскар.
   
5. 
   Неожиданно начался ливень, и все жильцы, присутствующие на собрании во дворе их дома, бросились в укрытие.
   
6. 
   Дети были так поглощены игрой, что даже не заметили, как наступила ночь.
   
7. 
   Выйдя на пенсию, Роза решила начать собирать марки, и альбом, который ей подарили на юбилей, идеально подходил для этого.
   
8. 
   Генри не переставал удивляться, как же некоторые люди любят критиковать других!
   
9. 
   Услышав последние новости, Сандра старалась казаться безразличной, но ее счастливые глаза сразу ее выдали.
   
10. 
    На очередной пресс-конференции Тревор неохотно отвечал на вопросы журналистов, хотя, будучи опытным политиком, он уже давно должен был привыкнуть к такого рода мероприятиям.
    

1. 
   Piranesi and mezzotint – from Piranesi, Giovanni Battista (1720-1778), an Italian graphic artist, famous for his engravings and etchings. Piranesi's collection of engravings greatly influenced 19th-century romanticism and also played a role in the development of 20th-century surrealism. Mezzotint (mezzo = half and tinta = tone), a reverse engraving process used on a copper or steel plate to produce illustrations in relief with effects of light and shadow.
   
2. 
   Monkey Brand – manufactured soap and black toothpowder. Here are two engravings from the October 23, 1886 issue of Scientific American. These pictures show how personal cleanliness could civilise even a monkey.
   

Visible Speech was also the first notation system for the sounds of speech independent of a particular language or dialect and was widely used to teaching students how to speak with a "standard" accent.

HIGGINS [as he shuts the last drawer] Well, I think thats the whole show.

HIGGINS. Would you like to go over any of it again?

PICKERING [rising and coming to the fireplace, where he plants himself with his back to the fire] No, thank you; not now. I'm quite done up for this morning.

HIGGINS [following him, and standing beside him on his left] Tired of listening to sounds?

PICKERING. Yes. It's a fearful strain. I rather fancied myself because I can pronounce twenty-four distinct vowel sounds; but your hundred and thirty beat me. I cant hear a bit of difference between most of them.

HIGGINS [chuckling, and going over to the piano to eat sweets] Oh, that comes with practice. You hear no difference at first; but you keep on listening, and presently you find theyre all as different as A from B. [Mrs. Pearce looks in: she is Higgins's housekeeper] Whats the matter?

MRS. PEARCE [hesitating, evidently perplexed] A young woman asks to see you, sir.

HIGGINS. A young woman! What does she want?

MRS. PEARCE. Well, sir, she says youll be glad to see her when you know what shes come about. Shes quite a common girl, sir. Very common indeed. I should have sent her away, only I thought perhaps you wanted her to talk into your machines. I hope Ive not done wrong; but really you see such queer people sometimes–youll excuse me, I'm sure, sir –

HIGGINS. Oh, thats all right, Mrs. Pearce. Has she an interesting accent?

MRS. PEARCE. Oh, something dreadful, sir, really. I dont know how you can take an interest in it.

HIGGINS [to Pickering] Lets have her up. Shew her up, Mrs. Pearce [he rushes across to his working table and picks out a cylinder to use on the phonograph].

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 shew you how I make records. We'll set her talking; and I'll take it down first in Bell's visible Speech; then in broad Romic; and then we'll get her on the phonograph so that you can turn her on as often as you like with the written transcript before you.

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. She has a nearly clean apron, and the shoddy coat has been tidied a little. The pathos of this deplorable 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 unconcealed disappointment, and at once, babylike, making an intolerable grievance of it] Why, this is the girl I jotted down last night. Shes no use: Ive got all the records I want of the Lisson Grove lingo; and I'm not going to waste another cylinder on it. [To the girl] Be off with you: I dont want you.

THE FLOWER GIRL. Dont you be so saucy. You aint heard what I come for yet. [To Mrs. Pearce, who is waiting at the door for further instruction] Did you tell him I come in a taxi?

MRS. PEARCE. Nonsense, girl! what do you think a gentleman like Mr. Higgins cares what you came in?

THE FLOWER GIRL. Oh, we are proud! He aint above giving lessons, not him: I heard him say so. Well, I aint come here to ask for any compliment; and if my money's not good enough I can go elsewhere.

HIGGINS. Good enough for what?

THE FLOWER GIRL. Good enough for ye-oo. Now you know, dont you? I'm come to have lessons, I am. And to pay for em te-oo: make no mistake.

HIGGINS [stupent] W e l l ! ! ! [Recovering his breath with a gasp] What do you expect me to say to you?

THE FLOWER GIRL. Well, if you was a gentleman, you might ask me to sit down, I think. Dont I tell you I'm bringing you business?

HIGGINS. Pickering: shall we ask this baggage to sit down or shall we throw her out of the window?

THE FLOWER GIRL [running away in terror to the piano, where she turns at bay] Ah-ah-ah-ow-ow-ow-oo! [Wounded and whimpering] I wont be called a baggage when Ive 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 of selling at the corner of Tottenham Court Road. But they wont take me unless I can talk more genteel. He said he could teach me. Well, here I am ready to pay him – not asking any favor – and he treats me zif I was dirt.

MRS. PEARCE. How can you be such a foolish ignorant girl as to think you could afford to pay Mr. Higgins?

THE FLOWER GIRL. Why shouldnt I? I know what lessons cost as well as you do; and I'm ready to pay.

HIGGINS. How much?

THE FLOWER GIRL [coming back to him, triumphant] Now youre talking! I thought youd come off it when you saw a chance of getting back a bit of what you chucked at me last night. [Confidentially] Youd had a drop in, hadnt you?

HIGGINS [peremptorily] Sit down.

THE FLOWER GIRL. Oh, if youre going to make a compliment of it—

HIGGINS [thundering at her] Sit down.

MRS. PEARCE [severely] Sit down, girl. Do as youre told. [She places the stray chair near the hearthrug between Higgins and Pickering, and stands behind it waiting for the girl to sit down].

THE FLOWER GIRL. Ah-ah-ah-ow-ow-oo! [She stands, half rebellious, half bewildered].

PICKERING [very courteous] Wont you sit down?

LIZA [coyly] Dont mind if I do. [She sits down. Pickering returns to the hearthrug].

HIGGINS. Whats your name?

THE FLOWER GIRL. Liza Doolittle.

HIGGINS [declaiming gravely]

Eliza, Elizabeth, Betsy and Bess,

They went to the woods to get a bird’s nes':

PICKERING. They found a nest with four egg in it:

HIGGINS. They took one apiece, and left three in it.

They laugh heartily at their own wit.

LIZA. Oh, dont be silly.

MRS. PEARCE. You mustnt speak to the gentleman like that.

LIZA. Well, why wont he speak sensible to me?

HIGGINS. Come back to business. How much do you propose to pay me for the lessons?

LIZA. Oh, I know whats right. A lady friend of mine gets French lessons for eighteenpence an hour from a real French gentleman. Well, you wouldnt have the face to ask me the same for teaching me my own language as you would for French; so I wont 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, if you consider a shilling, not as a simple shilling, but as a percentage of this girl's income, it works out as fully equivalent to sixty or seventy guineas from a millionaire.

PICKERING. How so?

HIGGINS. Figure it out. A millionaire has about £150 a day. She earns about half-a-crown.

LIZA [haughtily] Who told you I only –

HIGGINS. [continuing] She offers me two-fifths of her day's income for a lesson. Two-fifths of a millionaire's income for a day would be somewhere about £60. It's handsome. By George, it's enormous! it's the biggest offer I ever had.

LIZA [rising, terrified] Sixty pounds! What are you talking about? I never offered you sixty pounds. Where would I get –

HIGGINS. Hold your tongue.

LIZA [weeping] But I aint got sixty pounds. Oh –

MRS. PEARCE. Dont cry, you silly girl. Sit down. Nobody is going to touch your money.

HIGGINS. Somebody is going to touch you, with a broomstick, if you dont stop snivelling. Sit down.

LIZA [obeying slowly] Ah-ah-ah-ow-oo-o! One would think you was my father.

HIGGINS. If I decide to teach you, I'll be worse than two fathers to you. Here [he offers her his silk handkerchief]!

LIZA. Whats this for?

HIGGINS. To wipe your eyes. To wipe any part of your face that feels moist. Remember: thats your handkerchief; and thats your sleeve. Dont mistake the one for the other if you wish to become a lady in a shop.

MRS. PEARCE. It's no use talking to her like that, Mr. Higgins: she doesnt understand you. Besides, youre quite wrong: she doesnt do it that way at all [she takes the handkerchief].

LIZA [snatching it] Here! You give me that handkerchief. He give it to me, not to you.

PICKERING [laughing] He did. I think it must be regarded as her property, Mrs. Pearce.

MRS. PEARCE [resigning herself] Serve you right, Mr. Higgins.

PICKERING. Higgins: I'm interested. What about the ambassador's garden party? I'll say youre the greatest teacher alive if you make that good. I'll bet you all the expenses of the experiment you cant do it. And I'll pay for the lessons.

LIZA. Oh, you are real good. Thank you, Captain.

HIGGINS [tempted, looking at her] It's almost irresistible. Shes so deliciously low – so horribly dirty –

LIZA [protesting extremely] Ah-ah-ah-ah-ow-ow-oo-oo!!! I aint dirty: I washed my face and hands afore I come, I did.

PICKERING. Youre certainly not going to turn her head with flattery, Higgins.

MRS. PEARCE [uneasy] Oh, dont say that, sir: theres more ways than one of turning a girl's head; and nobody can do it better than Mr. Higgins, though he may not always mean it. I do hope, sir, you wont encourage him to do anything foolish.

HIGGINS [becoming excited as the idea grows on him] What is life but a series of inspired follies? The difficulty is to find them to do. Never lose a chance: it doesnt come every day. I shall make a duchess of this draggle-tailed guttersnipe.

LIZA [strongly deprecating this view of her] Ah-ah-ah-ow-ow-oo!

HIGGINS [carried away] Yes: 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. We'll start today: now! this moment! Take her away and clean her, Mrs. Pearce. Monkey Brand, if it wont come off any other way. Is there a good fire in the kitchen?

MRS. PEARCE [protesting]. Yes; but –

HIGGINS [storming on] Take all her clothes off and burn them. Ring up Whiteley or somebody for new ones. Wrap her up in brown paper til they come.

LIZA. Youre no gentleman, youre not, to talk of such things. I'm a good girl, I am; and I know what the like of you are, I do.

HIGGINS. We want none of your Lisson Grove prudery here, young woman. Youve got to learn to behave like a duchess. Take her away, Mrs. Pearce. If she gives you any trouble wallop her.

LIZA [springing up and running between Pickering and Mrs. Pearce for protection] No! I'll call the police, I will.

MRS. PEARCE. But Ive no place to put her.

HIGGINS. Put her in the dustbin.

LIZA. Ah-ah-ah-ow-ow-oo!

PICKERING. Oh come, Higgins! be reasonable.

MRS. PEARCE [resolutely] You must be reasonable, Mr. Higgins: really you must. You cant walk over everybody like this.

HIGGINS [with professional exquisiteness of modulation] I walk over everybody! My dear Mrs. Pearce, my dear Pickering, I never had the slightest intention of walking over anyone. All I propose is that we should be kind to this poor girl. We must help her to prepare and fit herself for her new station in life. If I did not express myself clearly it was because I did not wish to hurt her delicacy, or yours.

MRS. PEARCE [to Pickering] Well, did you ever hear anything like that, sir?

PICKERING [laughing heartily] Never, Mrs. Pearce: never.

HIGGINS [patiently] Whats the matter?

MRS. PEARCE. Well, the matter is, sir, that you cant take a girl up like that as if you were picking up a pebble on the beach.

HIGGINS. Why not?

MRS. PEARCE. Why not! But you dont know anything about her. What about her parents? She may be married.

LIZA. Garn!

HIGGINS. There! As the girl very properly says, Garn! Married indeed! Dont you know that a woman of that class looks a worn out drudge of fifty a year after shes married.

LIZA. Whood marry me?

HIGGINS [suddenly resorting to the most thrillingly beautiful low tones in his best elocutionary style] By George, Eliza, the streets will be strewn with the bodies of men shooting themselves for your sake before Ive done with you.

MRS. PEARCE. Nonsense, sir. You mustnt talk like that to her.

LIZA [rising and squaring herself determinedly] I'm going away. He's off his chump, he is. I dont want no balmies teaching me.

HIGGINS [wounded in his tenderest point by her insensibility to his elocution] Oh, indeed! I'm mad, am I? Very well, Mrs. Pearce: you neednt order the new clothes for her. Throw her out.

LIZA [whimpering] Nah-ow. You got no right to touch me.

MRS. PEARCE. You see now what comes of being saucy. [Indicating the door] This way, please.

LIZA [almost in tears] I didnt want no clothes. I wouldnt have taken them [she throws away the handkerchief]. I can buy my own clothes.

HIGGINS [deftly retrieving the handkerchief and intercepting her on her reluctant way to the door] Youre an ungrateful wicked girl. This is my return for offering to take you out of the gutter and dress you beautifully and make a lady of you.

MRS. PEARCE. Stop, Mr. Higgins. I wont allow it. It's you that are wicked. Go home to your parents, girl; and tell them to take better care of you.

LIZA. I aint got no parents. They told me I was big enough to earn my own living and turned me out.

MRS. PEARCE. Wheres your mother?

LIZA. I aint got no mother. Her that turned me out was my sixth stepmother. But I done without them. And I'm a good girl, I am.

HIGGINS. Very well, then, what on earth is all this fuss about? The girl doesnt belong to anybody – is no use to anybody but me. [He goes to Mrs. Pearce and begins coaxing]. You can adopt her, Mrs. Pearce: I'm sure a daughter would be a great amusement to you. Now dont make any more fuss. Take her downstairs; and – MRS. PEARCE. But whats to become of her? Is she to be paid anything? Do be sensible, sir.

HIGGINS. Oh, pay her whatever is necessary: put it down in the housekeeping book. [Impatiently] What on earth will she want with money? She'll have her food and her clothes. She'll only drink if you give her money.

LIZA [turning on him] Oh you are a brute. It's a lie: nobody ever saw the sign of liquor on me. [She goes back to her chair and plants herself there defiantly].

PICKERING [in good-humored remonstrance] Does it occur to you, Higgins, that the girl has some feelings?

HIGGINS [looking critically at her] Oh no, I dont think so. Not any feelings that we need bother about. [Cheerily] Have you, Eliza?

LIZA. I got my feelings same as anyone else.

HIGGINS [to Pickering, reflectively] You see the difficulty?

PICKERING. Eh? What difficulty?

HIGGINS. To get her to talk grammar. The mere pronunciation is easy enough.

LIZA. I dont want to talk grammar. I want to talk like a lady.

MRS. PEARCE. Will you please keep to the point, Mr. Higgins. I want to know on what terms the girl is to be here. Is she to have any wages? And what is to become of her when youve finished your teaching? You must look ahead a little.

HIGGINS [impatiently] Whats to become of her if I leave her in the gutter? Tell me that, Mrs. Pearce.

MRS. PEARCE. Thats her own business, not yours, Mr. Higgins.

HIGGINS. Well, when Ive done with her, we can throw her back into the gutter; and then it will be her own business again; so thats all right.

LIZA. Oh, youve no feeling heart in you: you dont care for nothing but yourself [she rises and takes the floor resolutely]. Here! Ive had enough of this. I'm going [making for the door]. You ought to be ashamed of yourself, you ought.

HIGGINS [snatching a chocolate cream from the piano, his eyes suddenly beginning to twinkle with mischief] Have some chocolates, Eliza.

LIZA [halting, tempted] How do I know what might be in them? Ive heard of girls being drugged by the like of you.

Higgins whips out his penknife; cuts a chocolate in two; puts one half into his mouth and bolts it; and offers her the other half.

HIGGINS. Pledge of good faith, Eliza. I eat one half: you eat the other. [Liza opens her mouth to retort: he pops the half chocolate into it]. You shall have boxes of them, barrels of them, every day. You shall live on them. Eh?

LIZA [who has disposed of the chocolate after being nearly choked by it] I wouldnt have ate it, only I'm too ladylike to take it out of my mouth.

HIGGINS. Listen, Eliza. I think you said you came in a taxi.

LIZA. Well, what if I did? Ive as good a right to take a taxi as anyone else.

HIGGINS. You have, Eliza; and in future you shall have as many taxis as you want. You shall go up and down and round the town in a taxi every day. Think of that, Eliza.

MRS. PEARCE. Mr. Higgins: youre tempting the girl. It's not right. She should think of the future.

HIGGINS. At her age! Nonsense! Time enough to think of the future when you havnt any future to think of. No, Eliza: do as this lady does: think of other people's futures; but never think of your own. Think of chocolates, and taxis, and gold, and diamonds.

LIZA. No: I dont want no gold and no diamonds. I'm a good girl, I am. [She sits down again, with an attempt at dignity].

HIGGINS. You shall remain so, Eliza, under the care of Mrs. Pearce. And you shall marry an officer in the Guards, with a beautiful moustache: the son of a marquis, who will disinherit him for marrying you, but will relent when he sees your beauty and goodness –

PICKERING. Excuse me, Higgins; but I really must interfere. Mrs. Pearce is quite right. If this girl is to put herself in your hands for six months for an experiment in teaching, she must understand thoroughly what shes doing.

HIGGINS. How can she? Shes incapable of understanding anything. Besides, do any of us understand what we are doing? If we did, would we ever do it?

PICKERING. Very clever, Higgins; but not sound sense. [To Eliza] Miss Doolittle –

LIZA [overwhelmed] Ah-ah-ow-oo!

HIGGINS. There! Thats all you get out of Eliza. Ah-ah-ow-oo! No use explaining. As a military man you ought to know that. Give her her orders: thats what she wants. Eliza: you are to live here for the next six months, learning how to speak beautifully, like a lady in a florist's shop. If youre good and do whatever youre told, you shall sleep in a proper bedroom, and have lots to eat, and money to buy chocolates and take rides in taxis. If youre naughty and idle you will sleep in the back kitchen among the black beetles, and be walloped by Mrs. Pearce with a broomstick. At the end of six months you shall go to Buckingham Palace in a carriage, beautifully dressed. If the King finds out youre not a lady, you will be taken by the police to the Tower of London, where your head will be cut off as a warning to other presumptuous flower girls. If you are not found out, you shall have a present of seven-and-sixpence to start life with as a lady in a shop. If you refuse this offer you will be a most ungrateful and wicked girl; and the angels will weep for you. [To Pickering] Now are you satisfied, Pickering? [To Mrs. Pearce] Can I put it more plainly and fairly, Mrs. Pearce?

MRS. PEARCE [patiently] I think youd better let me speak to the girl properly in private. I dont know that I can take charge of her or consent to the arrangement at all. Of course I know you dont mean her any harm; but when you get what you call interested in people's accents, you never think or care what may happen to them or you. Come with me, Eliza.

HIGGINS. Thats all right. Thank you, Mrs. Pearce. Bundle her off to the bath-room.

LIZA [rising reluctantly and suspiciously] Youre a great bully, you are. I wont stay here if I dont like. I wont let nobody wallop me. I never asked to go to Bucknam Palace, I didnt. I was never in trouble with the police, not me. I'm a good girl –

MRS. PEARCE. Dont answer back, girl. You dont understand the gentleman. Come with me. [She leads the way to the door, and holds it open for Eliza].

LIZA [as she goes out] Well, what I say is right. I wont go near the king, not if I'm going to have my head cut off. If I'd known what I was letting myself in for, I wouldnt have come here. I always been a good girl; and I never offered to say a word to him; and I dont owe him nothing; and I dont care; and I wont be put upon; and I have my feelings the same as anyone else –

PICKERING. 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 character where women are concerned?

PICKERING. Yes: very frequently.

HIGGINS [dogmatically, lifting himself on his hands to the level of the piano, and sitting on it with a bounce] Well, I havnt. I find that the moment I let a woman make friends with me, she becomes jealous, exacting, suspicious, and a damned nuisance. I find that the moment I let myself make friends with a woman, I become selfish and tyrannical. Women upset everything. When you let them into your life, you find that the woman is driving at one thing and youre driving at another.

PICKERING. At what, for example?

HIGGINS [coming off the piano restlessly] Oh, Lord knows! I suppose the woman wants to live her own life; and the man wants to live his; and each tries to drag the other on to the wrong track. One wants to go north and the other south; and the result is that both have to go east, though they both hate the east wind. [He sits down on the bench at the keyboard]. So here I am, a confirmed old bachelor, and likely to remain so.

PICKERING [rising and standing over him gravely] Come, Higgins! You know what I mean. If I'm to be in this business I shall feel responsible for that girl. I hope it's understood that no advantage is to be taken of her position.

HIGGINS. What! That thing! Sacred, I assure you. [Rising to explain] You see, she'll be a pupil; and teaching would be impossible unless pupils were sacred. Ive taught scores of American millionairesses how to speak English: the best looking women in the world. I'm seasoned. They might as well be blocks of wood. I might as well be a block of wood. It's –

Mrs. Pearce opens the door. She has Eliza's hat in her hand. Pickering retires to the easy-chair at the hearth and sits down.

HIGGINS [eagerly] Well, Mrs. Pearce: is it all right?

MRS. PEARCE [at the door] I just wish to trouble you with a word, if I may, Mr. Higgins.

HIGGINS. Yes, certainly. Come in. [She comes forward]. Dont burn that, Mrs. Pearce. I'll keep it as a curiosity. [He takes the hat].

MRS. PEARCE. Handle it carefully, sir, please. I had to promise her not to burn it; but I had better put it in the oven for a while.

HIGGINS [putting it down hastily on the piano] Oh! thank you. Well, what have you to say to me?

PICKERING. Am I in the way?

MRS. PEARCE. Not at all, sir. Mr. Higgins: will you please be very particular what you say before the girl?

HIGGINS [sternly] Of course. I'm always particular about what I say. Why do you say this to me?

MRS. PEARCE [unmoved] No, sir: youre not at all particular when youve mislaid anything or when you get a little impatient. Now it doesnt matter before me: I'm used to it. But you really must not swear before the girl.

HIGGINS [indignantly] I swear! [Most emphatically] I never swear. I detest the habit. What the devil do you mean?

MRS. PEARCE [stolidly] Thats what I mean, sir. You swear a great deal too much. I dont mind your damning and blasting, and what the devil and where the devil and who the devil –

HIGGINS. Mrs. Pearce: this language from your lips! Really!

MRS. PEARCE [not to be put off] – but there is a certain word I must ask you not to use. The girl has just used it herself because the bath was too hot. It begins with the same letter as bath. She knows no better: she learnt it at her mother's knee. But she must not hear it from your lips.

HIGGINS [loftily] I cannot charge myself with having ever uttered it, Mrs. Pearce. [She looks at him steadfastly. He adds, hiding an uneasy conscience with a judicial air] Except perhaps in a moment of extreme and justifiable excitement.

MRS. PEARCE. Only this morning, sir, you applied it to your boots, to the butter, and to the brown bread.

HIGGINS. Oh, that! Mere alliteration, Mrs. Pearce, natural to a poet.

MRS. PEARCE. Well, sir, whatever you choose to call it, I beg you not to let the girl hear you repeat it.

HIGGINS. Oh, very well, very well. Is that all?

MRS. PEARCE. No, sir. We shall have to be very particular with this girl as to personal cleanliness.

HIGGINS. Certainly. Quite right. Most important.

MRS. PEARCE. I mean not to be slovenly about her dress or untidy in leaving things about.

HIGGINS [going to her solemnly] Just so. I intended to call your attention to that [He passes on to Pickering, who is enjoying the conversation immensely]. It is these little things that matter, Pickering. Take care of the pence and the pounds will take care of themselves is as true of personal habits as of money. [He comes to anchor on the hearthrug, with the air of a man in an unassailable position].

MRS. PEARCE. Yes, sir. Then might I ask you not to come down to breakfast in your dressing-gown, or at any rate not to use it as a napkin to the extent you do, sir. And if you would be so good as not to eat everything off the same plate, and to remember not to put the porridge saucepan out of your hand on the clean tablecloth, it would be a better example to the girl. You know you nearly choked yourself with a fishbone in the jam only last week.

HIGGINS [routed from the hearthrug and drifting back to the piano] I may do these things sometimes in absence of mind; but surely I dont do them habitually. [Angrily] By the way: my dressing-gown smells most damnably of benzine.

MRS. PEARCE. No doubt it does, Mr. Higgins. But if you will wipe your fingers –

HIGGINS [yelling] Oh very well, very well: I'll wipe them in my hair in future.

MRS. PEARCE. I hope youre not offended, Mr. Higgins.

HIGGINS [shocked at finding himself thought capable of an unamiable sentiment] Not at all, not at all. Youre quite right, Mrs. Pearce: I shall be particularly careful before the girl. Is that all?

MRS. PEARCE. No, sir. Might she use some of those Japanese dresses you brought from abroad? I really cant put her back into her old things.

HIGGINS. Certainly. Anything you like. Is that all?

MRS. PEARCE. Thank you, sir. Thats all. [She goes out].

HIGGINS. You know, Pickering, that woman has the most extraordinary ideas about me. Here I am, a shy, diffident sort of man. Ive never been able to feel really grown-up and tremendous, like other chaps. And yet shes firmly persuaded that I'm an arbitrary overbearing bossing kind of person. I cant account for it.

Mrs. Pearce returns.

MRS. PEARCE. If you please, sir, the trouble's beginning already. Theres a dustman downstairs, Alfred Doolittle, wants to see you. He says you have his daughter here.

PICKERING [rising] Phew! I say! [He retreats to the hearthrug].

HIGGINS [promptly] Send the blackguard up.

MRS. PEARCE. Oh, very well, sir. [She goes out].

PICKERING. He may not be a blackguard, Higgins.

HIGGINS. Nonsense. Of course hes a blackguard.

PICKERING. Whether he is or not, I'm afraid we shall have some trouble with him.

HIGGINS [confidently] Oh no: I think not. If theres any trouble he shall have it with me, not I with him. And we are sure to get something interesting out of him.

PICKERING. About the girl?

HIGGINS. No. I mean his dialect.

PICKERING. Oh!

MRS. PEARCE [at the door] Doolittle, sir. [She admits Doolittle 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 gentlemen is his man] Professor Higgins?

HIGGINS. Here. Good morning. Sit down.

DOOLITTLE. Morning, Governor. [He sits down magisterially] I come about a very 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: thats what I want. See?

HIGGINS. Of course you do. Youre her father, arnt you? You dont suppose anyone else wants her, do you? I'm glad to see you have some spark of family feeling left. Shes upstairs. Take her away at once.

DOOLITTLE [rising, fearfully taken aback.] What!

HIGGINS. Take her away. Do you suppose I'm going to keep your daughter for you?

DOOLITTLE [remonstrating] Now, now, look here, Governor. Is this reasonable? Is it fairity to take advantage of a man like this? The girl belongs to me. You got her. Where do I come in? [He sits down again].

HIGGINS. Your daughter had the audacity to come to my house and ask me to teach her how to speak properly so that she could get a place in a flower-shop. This gentleman and my housekeeper have been here all the time. [Bullying him] How dare you come here and attempt to blackmail 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. Dont take a man up like that, Governor.

HIGGINS. The police shall take you up. This is a plant – a plot to extort money by threats. I shall telephone for the police [he goes resolutely to the telephone and opens the directory].

DOOLITTLE. Have I asked you for a brass farthing? I leave it to the gentleman here: have I said a word about money?

HIGGINS [throwing the book aside and marching down on Doolittle with a poser] What else did you come for?

DOOLITTLE [sweetly] Well, what would a man come for? Be human, Governor.

HIGGINS [disarmed] Alfred: did you put her up to it?

DOOLITTLE. So help me, Governor, I never did. I take my Bible oath I aint seen the girl these two months past.

HIGGINS. Then how did you know she was here?

DOOLITTLE ["most musical, most melancholy"] I'll tell you, Governor, if youll only let me get a word in. I'm willing to tell you. I'm wanting to tell you. I'm waiting to tell you.

HIGGINS. Pickering: this chap has a certain natural gift of rhetoric. Observe the rhythm of his native woodnotes wild. "I'm willing to tell you: I'm wanting to tell you: I'm waiting to tell you." Sentimental rhetoric! thats the Welsh strain in him. It also accounts for his mendacity and dishonesty.

PICKERING. Oh, p l e a s e, Higgins: I'm west country myself. [To Doolittle] How did you know the girl was here if you didnt send her?

DOOLITTLE. It was like this, Governor. The girl took a boy in the taxi to give him a jaunt. Son of her landlady, he is. He hung about on the chance of her giving him another ride home. Well, she sent him back for her luggage when she heard you was willing for her to stop here. I met the boy at the corner of Long Acre and Endell Street.

HIGGINS. Public house. Yes?

DOOLITTLE. The poor man's club, Governor: why shouldnt I?

PICKERING. Do let him tell his story, Higgins.

DOOLITTLE. He told me what was up. And I ask you, what was my feelings and my duty as a father? I says to the boy, "You bring me the luggage," I says –

PICKERING. Why didnt you go for it yourself?

DOOLITTLE. Landlady wouldnt have trusted me with it, Governor. Shes that kind of woman: you know. I had to give the boy a penny afore he trusted me with it, the little swine. I brought it to her just to oblige you like, and make myself agreeable. Thats all.

HIGGINS. How much luggage?

DOOLITTLE. Musical instrument, Governor. A few pictures, a trifle of jewelry, and a bird-cage. She said she didnt want no clothes. What was I to think from that, Governor? I ask you as a parent what was I to think?

HIGGINS. So you came to rescue her from worse than death, eh?

DOOLITTLE [appreciatively: relieved at being so well understood] Just so, Governor. Thats 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 I now?

HIGGINS [determinedly] Youre going to take her away, double quick. [He crosses to the hearth and rings the bell].

DOOLITTLE [rising] No, Governor. Dont say that. I'm not the man to stand in my girl's light. Heres a career opening for her, as you might say; and –

Mrs. Pearce opens the door and awaits orders.

HIGGINS. Mrs. Pearce: this is Eliza's father. He has come to take her away. Give her to him. [He goes back to the piano, with an air of washing his hands of the whole affair].

DOOLITTLE. No. This is a misunderstanding. Listen here –

MRS. PEARCE. He cant take her away, Mr. Higgins: how can he? You told me to burn her clothes.

DOOLITTLE. Thats right. I cant carry the girl through the streets like a blooming monkey, can I? I put it to you.

HIGGINS. You have put it to me that you want your daughter. Take your daughter. If she has no clothes go out and buy her some.

DOOLITTLE [desperate] Wheres the clothes she come in? Did I burn them or did your missus here?

MRS. PEARCE. I am the housekeeper, if you please. I have sent for some clothes for your girl. When they come you can take her away. You can wait in the kitchen. This way, please.

DOOLITTLE. Listen here, Governor. You and me is men of the world, aint we?

HIGGINS. Oh! Men of the world, are we? Youd better go, Mrs. Pearce.

MRS. PEARCE. I think so, indeed, sir. [She goes, with dignity].

PICKERING. The floor is yours, Mr. Doolittle.

DOOLITTLE [to Pickering] I thank you, Governor. [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 dust about him]. Well, the truth is, Ive taken a sort of fancy to you, Governor; and if you want the girl, I'm not so set on having her back home again but what I might be open to an arrangement. Regarded in the light of a young woman, shes a fine handsome girl. As a daughter shes not worth her keep; and so I tell you straight. All I ask is my rights as a father; and youre the last man alive to expect me to let her go for nothing; for I can see youre one of the straight sort, Governor. Well, whats a five pound note to you? And whats 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 wasnt, Id ask fifty.

HIGGINS [revolted] Do you mean to say, you callous rascal, that you would sell your daughter for £50?

DOOLITTLE. Not in a general way I wouldnt; but to oblige a gentleman like you I'd do do a good deal, I do assure you.

PICKERING. Have you no morals, man?

DOOLITTLE [unabashed] Cant afford them, Governor. Neither could you if you was as poor as me. Not that I mean any harm, you know. But if Liza is going to have a bit out of this, why not me too?

HIGGINS [troubled] I dont know what to do, Pickering. There can be no question that as a matter of morals it's a positive crime to give this chap a farthing. And yet I feel a sort of rough justice in his claim.

DOOLITTLE, Thats it, Governor. Thats all I say. A father's heart, as it were.

PICKERING. Well, I know the feeling; but really it seems hardly right –

DOOLITTLE. Dont say that, Governor. Dont look at it that way. What am I, Governors both? I ask you, what am I? I'm one of the undeserving poor: thats what I am. Think of what that means to a man. It means that hes up agen middle class morality all the time. If theres anything going, and I put in for a bit of it, it's always the same story: "Youre undeserving; so you cant have it." But my needs is as great as the most deserving widow's that ever got money out of six different charities in one week for the death of the same husband. I dont need less than a deserving man: I need more. I dont eat less hearty than him; and I drink a lot more. I want a bit of amusement, cause I'm a thinking man. I want cheerfulness and a song and a band when I feel low. Well, they charge me just the same for everything as they charge the deserving. What is middle class morality? Just an excuse for never giving me anything. Therefore, I ask you, as two gentlemen, not to play that game on me. I'm playing straight with you. I aint pretending to be deserving. I'm undeserving; and I mean to go on being undeserving. I like it; and thats the truth. Will you take advantage of a man's nature to do him out of the price of his own daughter what hes brought up and fed and clothed by the sweat of his brow until shes growed big enough to be interesting to you two gentlemen? Is five pounds unreasonable? I put it to you; and I leave it to you.

HIGGINS [rising, and going over to Pickering] Pickering: if we were to take this man in hand for three months, he could choose between a seat in the Cabinet and a popular pulpit in Wales.

PICKERING. What do you say to that, Doolittle?

DOOLITTLE. Not me, Governor, thank you kindly. Ive heard all the preachers and all the prime ministers – for I'm a thinking man and game for politics or religion or social reform same as all the other amusements – and I tell you it's a dog's life anyway you look at it. Undeserving poverty is my line. Taking one station in society with another, it's – it's – well, it's the only one that has any ginger in it, to my taste.

HIGGINS. I suppose we must give him a fiver.

PICKERING. He'll make a bad use of it, I'm afraid.

DOOLITTLE. Not me, Governor, so help me I wont. Dont you be afraid that I'll save it and spare it and live idle on it. There wont be a penny of it left by Monday: I'll have to go to work same as if I'd never had it. It wont pauperize me, you bet. Just one good spree for myself and the missus, giving pleasure to ourselves and employment to others, and satisfaction to you to think it's not been throwed away. You couldnt spend it better.

HIGGINS [taking out his pocket book and coming between Doolittle and the piano] This is irresistible. Lets give him ten. [He offers two notes to the dustman].

DOOLITTLE. No, Governor. She wouldnt have the heart to spend ten; and perhaps I shouldnt neither. Ten pounds is a lot of money: it makes a man feel prudent like; and then goodbye to happiness. You give me what I ask you, Governor: not a penny more, and not a penny less.

PICKERING. Why dont you marry that missus of yours? I rather draw the line at encouraging that sort of immorality.

DOOLITTLE. Tell her so, Governor: tell her so. I'm willing. It's me that suffers by it. Ive no hold on her. I got to be agreeable to her. I got to give her presents. I got to buy her clothes something sinful. I'm a slave to that woman, Governor, just because I'm not her lawful husband. And she knows it too. Catch her marrying me! Take my advice, Governor: marry Eliza while shes young and dont know no better. If you dont youll be sorry for it after. If you do, she'll be sorry for it after; but better you than her, because youre a man, and shes only a woman and dont know how to be happy anyhow.

HIGGINS. Pickering: if we listen to this man another minute, we shall have no convictions left. [To Doolittle] Five pounds I think you said.

DOOLITTLE. Thank you kindly, Governor.

HIGGINS. Youre sure you wont 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 to the door, anxious to get away with his booty. When he opens it he is confronted with a dainty and exquisitely clean young Japanese lady in a simple blue cotton kimono printed cunningly with small white jasmine blossoms. Mrs. Pearce is with her. He gets out of her way deferentially and apologizes]. Beg pardon, miss.

THE JAPANESE LADY. Garn! Dont you know your own daughter?

DOOLITTLE, HIGGINS AND PICKERING [exclaiming simultaneously]]

DOOLITTLE: Bly me! It's Eliza!

HIGGINS: Whats that! !This!

PICKERING By Jove!

LIZA. Dont I look silly?

HIGGINS. Silly?

MRS. PEARCE [at the door] Now, Mr. Higgins, please dont say anything to make the girl conceited about herself.

HIGGINS [conscientiously] Oh! Quite right, Mrs. Pearce. [To Eliza] Yes: damned silly.

MRS. PEARCE. Please, sir.

HIGGINS [correcting himself] I mean extremely silly.

LIZA. I should look all right with my hat on. [She takes up her hat; puts it on; and walks across the room to the fireplace with a fashionable air].

HIGGINS. A new fashion, by George! And it ought to look horrible!

DOOLITTLE [with fatherly pride] Well, I never thought she'd clean up as good looking as that, Governor. Shes a credit to me, aint she?

LIZA. I tell you, it's easy to clean up here. Hot and cold water on tap, just as much as you like, there is. Woolly towels, there is; and a towel horse so hot, it burns your fingers. Soft brushes to scrub yourself, and a wooden bowl of soap smelling like primroses. Now I know why ladies is so clean. Washing's a treat for them. Wish they saw what it is for the like of me!

HIGGINS. I'm glad the bath-room met with your approval.

LIZA. It didnt: not all of it; and I dont care who hears me say it. Mrs. Pearce knows.

HIGGINS. What was wrong, Mrs. Pearce?

MRS. PEARCE [blandly] Oh, nothing, sir. It doesnt matter.

LIZA. I had a good mind to break it. I didnt know which way to look. But I hung a towel over it, I did.

HIGGINS. Over what?

MRS. PEARCE. Over the looking-glass, sir.

HIGGINS. Doolittle: you have brought your daughter up too strictly.

DOOLITTLE. Me! I never brought her up at all, except to give her a lick of a strap now and again. Dont put it on me, Governor. She aint accustomed to it, you see: thats all. But she'll soon pick up your free-and-easy ways.

LIZA. I'm a good girl, I am; and I wont pick up no free and easy ways.

HIGGINS. Eliza: if you say again that youre a good girl, your father shall take you home.

LIZA. Not him. You dont know my father. All he come here for was to touch you for some money to get drunk on.

DOOLITTLE. Well, what else would I want money for? To put into the plate in church, I suppose. [She puts out her tongue at him. He is so incensed by this that Pickering presently finds it necessary to step between them]. Dont you give me none of your lip; and dont let me hear you giving this gentleman any of it neither, or youll hear from me about it. See?

HIGGINS. Have you any further advice to give her before you go, Doolittle? Your blessing, for instance.

DOOLITTLE. No, Governor: I aint such a mug as to put up my children to all I know myself. Hard enough to hold them in without that. If you want Eliza's mind improved, Governor, you do it yourself with a strap. So long, gentlemen. [He turns to go].

HIGGINS [impressively] Stop. Youll come regularly to see your daughter. It's your duty, you know. My brother is a clergyman; and he could help you in your talks with her.

DOOLITTLE [evasively] Certainly. I'll come, Governor. Not just this week, because I have a job at a distance. But later on you may depend on me. Afternoon, gentlemen. Afternoon, maam. [He takes off his hat to Mrs. Pearce, who disdains the salutation and goes out. He winks at Higgins, thinking him probably a fellow-sufferer from Mrs. Pearce's difficult disposition, and follows her].

LIZA. Dont you believe the old liar. He'd as soon you set a bull-dog on him as a clergyman. You wont see him again in a hurry.

HIGGINS. I dont want to, Eliza. Do you?

LIZA. Not me. I dont want never to see him again, I dont. Hes a disgrace to me, he is, collecting dust, instead of working at his trade.

PICKERING. What is his trade, Eliza?

LIZA. Talking money out of other people's pockets into his own. His proper trade's a navvy; and he works at it sometimes too – for exercise – and earns good money at it. Aint you going to call me Miss Doolittle any more?

PICKERING. I beg your pardon, Miss Doolittle. It was a slip of the tongue.

LIZA. Oh, I dont mind; only it sounded so genteel. I should just like to take a taxi to the corner of Tottenham Court Road and get out there and tell it to wait for me, just to put the girls in their place a bit. I wouldnt speak to them, you know.

PICKERING. Better wait til we get you something really fashionable.

HIGGINS. Besides, you shouldnt cut your old friends now that you have risen in the world. Thats what we call snobbery.

LIZA. You dont call the like of them my friends now, I should hope. Theyve took it out of me often enough with their ridicule when they had the chance; and now I mean to get a bit of my own back. But if I'm to have fashionable clothes, I'll wait. I should like to have some. Mrs. Pearce says youre going to give me some to wear in bed at night different to what I wear in the daytime; but it do seem a waste of money when you could get something to shew. Besides, I never could fancy changing into cold things on a winter night.

MRS. PEARCE [coming back] Now, Eliza. The new things have come for you to try on.

LIZA. Ah-ow-oo-ooh! [She rushes out].

MRS. PEARCE [following her] Oh, dont rush about like that, girl [She shuts the door behind her].

HIGGINS. Pickering: we have taken on a stiff job.