Eliza Doolittle – „She is not at all a romantic figure.“ So is she introduced in Act I. Everything about Eliza Doolittle seems to defy any conventional notions we might have about the romantic heroine. When she is transformed from a sassy, smart-mouthed kerbstone flower girl with deplorable English, to a (still sassy) regal figure fit to consort with nobility, it has less to do with her innate qualities as a heroine than with the fairy-tale aspect of the ttransformation myth itself. In other words, the character of Eliza Doolittle comes across as being much more instrumental than fundamental. The real (re-)making of Eliza Doolittle happens after the ambassador’s party, when she decides to make a statement for her own dignity against Higgins’ insensitive treatment. This is when she becomes, not a duchess, but an independent woman; and this explains why Higgins begins to see Eliza not as a mill around his neck but as a creature worthy of hhis admiration.
Colonel Pickering – Colonel Pickering, the author of Spoken Sanskrit, is a match for Higgins (although somewhat less obsessive) in his passion for phonetics. But where Higgins is a boorish, careless bully, Pickering is always considerate and a genuinely ggentleman. He says little of note in the play, and appears most of all to be a civilized foil to Higgins’ barefoot, absentminded crazy professor. He helps in the Eliza Doolittle experiment by making a wager of it, saying he will cover the costs of the experiment if Higgins does indeed make a convincing duchess of her. However, while Higgins only manages to teach Eliza pronunciations, it is Pickering’s thoughtful treatment towards Eliza that teaches her to respect herself.
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, hhe immediately pursues to see if he can get some money out of the circumstance. His unique brand of rhetoric, an unembarrassed, unhypocritical advocation of drink and pleasure (at other people’s expense), is amusing to Higgins. 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 ffew pounds, but he is one of the few unaffected characters in the play, unmasked by appearance or language. Though scandalous, his speeches are ...
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