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《卖花女》主人公伊莉莎的人物塑造《卖花女》是英国剧作家乔治·伯纳德·肖伯纳创作的戏剧作品，主要讲述了一个贫穷的伦敦卖花女伊莉莎如何通过接受上流社会的教育和改变仪表举止，从而获得社会地位提升的故事。
伊莉莎的人物塑造既展示了她的坚强和勇敢，也体现了她的温柔和善良。
伊莉莎是《卖花女》中的主人公，她是一个外表粗野、语言粗鲁的贫穷女子。
她的人物塑造充满了矛盾与冲突，但也是因此才显得鲜活而有深度。
伊莉莎的坚强和勇敢是她人物形象的重要特点。
从一开始，伊莉莎就生活在贫穷和困苦的环境中，她靠卖花维持生活。
尽管她处于社会底层，但她没有自暴自弃，而是勇敢地面对生活。
她主动向雨果教授请教语言学习，也敢于接受上流社会的约稿。
她试图改变自己的命运，展现了奋斗和坚韧的精神。
伊莉莎的人物形象也表现出她的温柔和善良。
尽管伊莉莎像个小混混一样说粗话、举止粗鲁，但她却是一个内心善良的人。
她对待爱德华德的感情是纯真而真挚的，她愿意为了他改变自己，也用心对待他。
她对自己的母亲也十分关心，尽管没有经济能力帮助她，但她用自己的方式保护母亲的尊严。
她在与雨果教授学习的过程中也展现出对他的善意和理解。
伊莉莎的人物形象还展示了她的倔强和自尊。
尽管伊莉莎生活在贫困和艰苦中，但她拒绝接受慈善捐款和施舍。
她希望通过自己的努力改变命运，而不是沉溺于自己的困境中。
她拒绝在与雨果教授结婚时成为他的玩物，坚持要尊重自己的人格和自尊心。
她坚信只有通过自己的努力，她才能获得真正的自由和幸福。
伊莉莎的人物形象是丰满而复杂的。
她既有坚强和勇敢的一面，也展现了她温柔和善良的一面。
她的倔强和自尊让观众对她的敬佩和喜爱，而她的努力和追求让她成为一个有勇气改变命运的女性形象。
通过《卖花女》中的伊莉莎，我们可以看到一个贫困女子逆境中的励志故事，同时也感受到她身上所散发出的正能量和对人性的美好展示。
賣花女(戲劇)《賣花女》，原名《皮革馬利翁》(Pygmalion) 是愛爾蘭劇作家蕭伯納的戏剧。
皮革馬利翁原是羅馬神話中的一位雕刻家的名字，一生不愛女色，卻愛上了自己刻的雕像。
這尊雕像令他魂牽夢縈，最後他去請求維納斯女神成全。
維納斯讓皮革馬利翁用手碰觸雕像，雕像變成了一位活生生的美貌女子。
皮革馬利翁相當高興，給她取名伽拉忒婭(Galatea)，並帶她去感謝維納斯。
蕭伯納以這個故事為藍本，以賣花女一劇表現出皮格馬利翁和伽拉忒婭可能會發生的問題。
本劇曾於1938年翻拍成黑白電影，1956年，此劇改編為音樂劇《窈窕淑女》(My Fair Lady)。
1964年，音樂劇拍成同名電影，改由奧黛麗·赫本飾演伊萊莎。
Pygmalion: A Romance in Five Acts (1913) is a play by George Bernard Shaw. Professor of phonetics Henry Higgins makes a bet that he can train a bedraggled Cockney flower girl, Eliza Doolittle, to pass for a duchess at an ambassador's garden party by teaching her to assume a veneer of gentility, the most important element of which, he believes, is impeccable speech. The play is a sharp lampoon讽刺of the rigid刻板的British class system of the day and a comment on women's independence, packaged as a romantic comedy.InspirationsShaw created Eliza Doolittle specifically for Mrs Patrick Campbell, partly as a flirtatious challenge and partly to tease her for her social pretensions, which he felt hampered her growth as an artist.[1]Her affected diction onstage (even in Shakespeare), which both he and Oscar Wilde instantly recognized as that of a suburban social climber,[2] was at odds with her considerable abilities, and likely provoked the Higgins in Shaw to a great degree. The idea came to him in 1897, when "Mrs. Pat" was under contract to Johnston Forbes-Robertson and at the height of her youthful fascination and glamour. Writing to Ellen Terry in September of that year, he mentions Forbes's "rapscallionly flower girl"; the next sentence is, "Caesar and Cleopatra has been driven clean out of my head by a play I want to write for them in which he shall be a west end gentleman and she an east end dona in an apron and three orange and red ostrich feathers."[3]"The reformer England needs today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play."[4] The success of Pygmalion drew attention to the science of phonetics and speculation arose over whether a model for Henry Higgins existed. Shaw never named an inspiration for the man or the professor. However, in the Preface to the 1916 edition he writes at length about the respected philologist and phonetician Henry Sweet, with whom he communicated for years regarding phonetics and shorthand. Dr. Sweet would stand before a group of speakers, taking furious notes on their phonetic conversation; he categorized voice sounds and accents, sent postcards to friends written in a unique shorthand or in the symbols of his "Broad Romic" system of phonetic notation,[5] could pronounce seventy-two vowel sounds,[6][7] and "unfortunately was of a rather difficult disposition."[8]Nevertheless, "Higgins is not a portrait of Sweet... still, as will be seen, there are touches of Sweet in the play."[4]Shaw also knew and may have consulted with Daniel Jones, the leading phonetician of the time. In a few years Jones would codify a standard of English speech, Received Pronunciation, "the accent most commonly associated with the British 'upper crust'...based on a sixteenth-century, upper-class London accent";[9] the steps to learning and teaching such an accent would have been of paramount importance to the playwright. It's also possible that Dr. Jones's laboratoryequipment inspired Higgins's,[10] but Jones's biographer concludes that "the Higgins character...would appear to have taken on a vivid life of its own during the writing of the play."[10]First productionsShaw wrote the play in the spring of 1912 and read it to Mrs. Campbell in June. She came on board almost immediately, but her mild nervous breakdown (and its doctor-enforced leisure, which led to a quasi-romantic intrigue with Shaw[11]) contributed to the delay of a London production. Pygmalion premiered at the Hofburg Theatre in Vienna on October 16, 1913, in a German translation by Shaw's Viennese literary agent and acolyte, Siegfried Trebitsch.[12][13] Its first New York production opened March 24, 1914 at the German-language Irving Place Theatre.[14]It opened in London April 11, 1914 at Sir Herbert Beerbohm Tree's His Majesty's Theatre and starred Mrs. Campbell as Eliza and Tree as Higgins. Shaw directed the actors through stormy rehearsals often punctuated by at least one of the three flinging out of the theater in a rage.[15]PlotFirst American (serialized) publication, Everybody's Magazine, November 1914Shaw was conscious of the difficulties involved in staging a complete representation of the play. Acknowledging in a "Note for technicians" that such a thing would only be possible "on the cinema screen or on stages furnished with exceptionally elaborate machinery", he marked some scenes as candidates for omission if necessary. Of these, a short scene at the end of Act One in which Eliza goes home, and a scene in Act Two in which Eliza is unwilling to undress for her bath, are not described here. The others are the scene at the Embassy Ball in Act Three and the scene with Eliza and Freddy in Act Four. Neither the Gutenberg edition referenced throughout this page nor the Wikisource text linked below contain these sequences.[edit] Act One'Covent Garden' - 11.15p.m. A group of people are sheltering from the rain. Amongst them are the Eynsford-Hills, superficial social climbers eking out a living in "genteel poverty", consisting initially of Mrs. Eynsford-Hill and her daughter Clara. Clara's brother Freddy enters having earlier been dispatched to secure them a cab (which they can ill afford), but being rather timid and faint-hearted he has failed to do so. As he goes off once again to find a cab, he bumps into a flower girl, Eliza. Her flowers drop into the mud of Covent Garden, the flowers she needs to survive in her poverty-stricken world. Shortly they are joined by a gentleman, Colonel Pickering. While Eliza tries to sell flowers to the Colonel, a bystander informs her that a man is writingdown everything she says. The man is Henry Higgins, a professor of phonetics. Eliza worries that Higgins is a police officer and will not calm down until Higgins introduces himself. It soon becomes apparent that he and Colonel Pickering have a shared interest in phonetics; indeed, Pickering has come from India to meet Higgins, and Higgins was planning to go to India to meet Pickering. Higgins tells Pickering that he could pass off the flower girl as a duchess merely by teaching her to speak properly. These words of bravado spark an interest in Eliza, who would love to make changes in her life and become more mannerly, even though, to her, it only means working in a flower shop. At the end of the act, Freddy returns after finding a taxi, only to find that his mother and sister have gone and left him with the cab. The streetwise Eliza takes the cab from him, using the money that Higgins tossed to her out of pity, leaving him on his own.[edit] Act TwoHiggins' home - Next Day. As Higgins demonstrates his phonetics to Pickering, the housekeeper, Mrs. Pearce, tells him that a young girl wants to see him. Eliza has shown up, and she tells Higgins that she will pay for lessons. He shows no interest in her, but she reminds him of his boast the previous day, so she can talk like a lady in a flower shop. Higgins claimed that he could pass her for a duchess. Pickering makes a bet with him on his claim, and says that he will pay for her lessons if Higgins succeeds. She is sent off to have a bath. Mrs. Pearce tells Higgins that he must behave himself in the young girl's presence. He must stop swearing, and improve his table manners. He is at a loss to understand why she should find fault with him. Then Alfred Doolittle, Eliza's father, appears with the sole purpose of getting money out of Higgins. He has no interest in his daughter in a paternal way. He sees himself as member of the undeserving poor, and means to go on being undeserving. He has an eccentric view of life, brought about by a lack of education and an intelligent brain. He is also aggressive, and when Eliza, on her return, sticks her tongue out at him, he goes to hit her, but is prevented by Pickering. The scene ends with Higgins telling Pickering that they really have got a difficult job on their hands.[edit] Act ThreeMrs. Higgins' drawing room. Higgins bursts in and tells his mother he has picked up a "common flower girl" whom he has been teaching. Mrs. Higgins is not very impressed with her son's attempts to win her approval because it is her 'at home' day and she is entertaining visitors. The visitors are the Eynsford-Hills. Higgins is rude to them on their arrival. Eliza enters and soon falls into talking about the weather and her family. Whilst she is now able to speak in beautifully modulated tones, the substance of what she says remains unchanged from the gutter. She confides her suspicions that aunt was killed by relatives, and mentions that gin had been "mother's milk" to this aunt, and that Eliza's own father was always more cheerful after a good amount of gin. Higgins passes off her remarks as "the new small talk", and Freddy is enraptured. When she is leaving, he asks her if she is going to walk across the park, to which she replies, "Walk? Not bloody likely!" (This is the most famous line from the play, and, for many years after the play's debut, use of the word 'bloody' was known as a pygmalion; Mrs. Campbell was considered to have risked her career by speaking the line on stage.[citation needed]) After she and the Eynsford-Hills leave, Henry asks for his mother's opinion. She says the girl is not presentable and is very concerned about what will happen to her, but neither Higgins nor Pickering understand her thoughts of Eliza'sfuture, and leave feeling confident and excited about how Eliza will get on. This leaves Mrs. Higgins feeling exasperated, and exclaiming, "Men! Men!! Men!!!"However, the six months are not yet up, and just in time for the Embassy Ball Eliza learns to behave properly as well as to speak properly. The challenge she faces is increased, however, by the presence at the Ball of Nepommuck, a former pupil of Higgins' who speaks 32 languages and is acting as an interpreter for a "Greek diplomatist" who was in fact born the son of a Clerkenwell watchmaker and "speaks English so villainously that he dare not utter a word of it lest he betray his origin." Nepommuck charges him handsomely for helping keep up the pretence. Pickering worries that Nepommuck will see through Eliza's disguise; nonetheless, Eliza is presented to the Ball's hosts, who, impressed by this vision of whom they know nothing, despatch Nepommuck to find out about her. Meanwhile Higgins, the interesting work done, rapidly loses interest in proceedings as he sees that no-one will see through Eliza. Indeed, Nepommuck returns to his hosts to report that he has detected that Eliza is not English, as she speaks it too perfectly ("only those who have been taught to speak it speak it well"), and that she is, in fact, Hungarian, and of Royal blood. When asked, Higgins responds with the truth - and no-one believes him.[edit] Act FourHiggins' home - The time is midnight, and Higgins, Pickering, and Eliza have returned from the ball. A tired Eliza sits unnoticed, brooding and silent, while Pickering congratulates Higgins on winning the bet. Higgins scoffs and declares the evening a "silly tomfoolery", thanking God it's over and saying that he had been sick of the whole thing for the last two months. Still barely acknowledging Eliza beyond asking her to leave a note for Mrs. Pearce regarding coffee, the two retire to bed. Higgins returns to the room, looking for his slippers, and Eliza throws them at him. Higgins is taken aback, and is at first completely unable to understand Eliza's preoccupation, which aside from being ignored after her triumph is the question of what she is to do now. When Higgins does understand he makes light of it, saying she could get married, but Eliza interprets this as selling herself like a prostitute. "We were above that at the corner of Tottenham Court Road." Finally she returns her jewelry to Higgins, including the ring he had given her, which he throws into the fireplace with a violence that scares Eliza. Furious with himself for losing his temper, he damns Mrs. Pearce, the coffee and then Eliza, and finally himself, for "lavishing" his knowledge and his "regard and intimacy" on a "heartless guttersnipe", and retires in great dudgeon.亨利.希金斯是一名固执傲慢的语言学教授。
童话故事《卖花女》童话故事《卖花女》从前，在一个小山村里住着相依为命的父女俩，他们生活得很贫穷。
父亲平日里靠打点零工挣钱，以维持生活;女儿聪明懂事，也很体谅父亲的辛苦。
一天，父亲出去干活后，小女孩自己偷偷地跑上山去。
因为今天是父亲过生日，小女孩要送父亲一份礼物。
跑到山顶上，看到了山顶上到处开满了山花，小女孩高兴极了，心想：如果我把这些花采回家，然后再拿到集市上去卖，那不就有钱给父亲买礼物了吗?于是，她便把一朵朵山花摘了下来，不一会儿，就摘了很多的花。
小女孩心里很开心。
天快要黑了，小女孩把摘的花用双手捧着，高兴地回家了。
父亲干活早已回来了，这时，小女孩匆匆地赶了回来，双手抱着一大堆山花。
父亲看到小女孩抱来一大堆山花，很是奇怪地问：“你采那么多花干什么呀?”小女孩对父亲说：“我采花去卖。
”“卖花?”父亲问小女孩：“你这是上哪儿去卖?”小女孩忙回答道：“集市上。
”“太远了，来回十多里地呢!”“没关系的，我会慢慢走的`。
”父亲虽然不放心让小女孩独自一人去卖花，但最终还是同意了。
第二天，天刚刚亮，小女孩抱着花很开心的去集市了。
刚来到集市，到处都是人。
卖什么的都没有，可是自己什么都没有，只有卖了这些花，才能买东西啊!小女孩这样想着。
因为是第一次独自一人来这个很大的集市上，也不知道自己该在哪里卖这些花。
小女孩边走边四处寻找着卖花的地方。
小女孩走了一会，看见了前面全都是各种各样的鲜花，很是高兴，“我就坐在这里卖花吧!”小女孩第一次来卖花，也不知道这些花能值多少钱，她心里没有一点数。
这时，有一个看上去很富贵的老太婆问小女孩：“你的花可真香呀!我全都包了，多少钱呀?”小女孩听了这个老太婆要全买下这些花，心里很是高兴。
“老婆婆，如果你喜欢的话，你看着给几个钱就可以了。
”老太婆听了小女孩的话后，对小女孩说：“好，好，好!你可真是个懂事的好孩子，那我就给你一个银元吧!”小女孩接过银元后，高兴的不得了。
谢过老婆婆之后，小女孩拿着钱为父亲买了一瓶酒、一双新鞋，给她自己买了一根头绳，然后高高兴兴地回家去了。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是英国著名剧作家萧伯纳的代表作之一，该剧以伦敦底层社会为背景，描写了一个卖花女伊莉莎靠自己的聪明才智和勤奋努力逐渐改变命运的故事。
伊莉莎是该剧的主人公，她的人物塑造极具个性魅力，让人印象深刻。
下面就从外貌、性格、成长等方面来对伊莉莎的人物形象进行深入解析。
我们来谈谈伊莉莎的外貌。
在剧中，伊莉莎被描述为一位身穿简陋的衣服，头戴破旧帽子，脸上常年煤烟、泥水的沾染还有一抹笑容，看起来十分憔悴的女孩。
尽管外表看起来并不起眼，但她有一双明亮有神的眼睛，看似弱不禁风的模样下却隐藏着坚韧和锐利的内心。
这种反差给伊莉莎的形象增添了独特的魅力，也预示着她内在的勇敢和坚定。
我们来谈谈伊莉莎的性格。
伊莉莎性格中最明显的特点就是坚强和自尊。
尽管生活困苦，环境恶劣，她却从不向命运低头，始终保持着自己的尊严和自信。
她不愿将自己局限在贫困和无知之中，而是积极向上，不断努力学习和改善自己的生活。
伊莉莎还具有一种开朗、直率的性格，她敢说敢做，敢于在男性主导的社会中挑战传统的女性角色。
她对生活充满了乐观和幽默，这种个性让她成为了观众心目中的一位可爱而坚强的女性形象。
让我们来探讨伊莉莎的成长历程。
刚开始的时候，伊莉莎是一个普通的街头卖花女，生活在贫穷潦倒的环境中，没有受过良好的教育，缺乏社会经验。
当她遇到了语言学家希金斯教授后，她的生活开始发生了转变。
希金斯教授用严格的方法和坚定的意志，对伊莉莎进行了一番全方位的改造，使她得以脱胎换骨，不仅语言举止变得优雅得体，而且头脑也逐渐变得敏捷聪慧。
伊莉莎不再是一个朴素无知的乡村姑娘，而是一个生活经验丰富，见识渐广的现代女性。
伊莉莎在《卖花女》中的塑造可谓是极其成功，她既具有深刻的社会意义，也给人留下了深刻的印象。
她既是一个具有鲜明个性和坚韧毅力的底层女性形象，也是一个充满了生活力量和希望的现代女性样本。
她的成长历程和性格内在的一系列变化，无不展示出她的坚韧不屈和乐观进取的生活态度。
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。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是英国著名剧作家乔治·伯纳德的经典作品，曾被多次改编成电影和音乐剧。
其中的主人公伊莉莎是一位生活在伦敦贫民窟的卖花女，她的人物塑造十分丰满，展现了一个坚强、乐观、勇敢的女性形象。
伊莉莎的外表描写给人留下了深刻印象。
她是一个年轻、美丽的女孩，但由于贫穷的生活和艰苦的劳动，她的面容却显得憔悴而疲惫。
她头戴一顶破旧的花帽，穿着破烂的衣裳，手提一篮篮的鲜花挨家挨户地叫卖，勤劳又忍辛负苦。
这样的形象使她成为了伦敦市井中的一道风景，也让人对她的命运产生了深深的同情和共鸣。
伊莉莎的性格特点是她的坚强和乐观。
在生活中伊莉莎面对着种种困难和挑战，但她却从不向命运低头，时刻保持着积极的态度。
即使是在最艰难的时候，她也从不放弃对生活的希望，始终坚信自己会有一天能够改变自己的命运。
这种乐观的态度和坚定的信念，让她在命运的逆境中展现出了顽强的生命力，也成为了激励她不断前行的动力。
伊莉莎的成长历程是她人物塑造的最大亮点。
在剧情中，伊莉莎从一个贫苦的卖花女逐渐成长为一个拥有自信和尊严的女性，这个过程是一个由外在到内在的转变。
在这个过程中，她不仅学会了如何变卖花朵生计，更懂得如何与人相处，如何应对各种各样的挑战和困难。
她逐渐明白了自己的价值与尊严，学会了如何捍卫自己的权益和尊严。
这样的成长历程，让她从一个单纯的卖花女变成了一个坚强和独立的女性形象，也展现了她内心逐渐成熟的一面。
伊莉莎是一个具有鲜明个性和坚强意志的女性形象，她的人物塑造展现了一个生活在贫困中的女性在面对挑战和困难时所展现出的坚韧和乐观。
她的形象成为了《卖花女》这部经典作品中最令人难忘的角色之一，也成为了一代代观众心目中的女性典范。
“高贵”与“低贱”的反差与反讽———评肖伯纳的《卖花女》摘要: 肖伯纳的《卖花女》是一部富有强烈戏剧效果的艺术典范之作。
肖伯纳运用“高贵”与“低贱”的反差与反讽, 无情地批判貌似温文尔雅的资产阶级。
这部作品既不失严肃性又有强烈的喜剧色彩, 融讽刺于嬉笑之中, 发人深省。
关键词: 肖伯纳《卖花女》反差反讽一、《卖花女》简介《卖花女》(Pygmalion) 是著名英国戏剧家肖伯纳(George Bernard Shaw,1856—1950)写于1912年的作品。
中国对外翻译公司出版发行了著名翻译家杨宪益翻译的英汉对照版本。
在这个戏剧中, 资产阶级语言学家息金斯拿一个贫寒的街头卖花女伊莉莎作为试验, 与人打赌, 企图通过改变她的语言和语音,打造她的外表,让她变成了一位似乎出身于豪门贵族的仪容优雅的小姐, 迷惑权贵阶级。
伊莉莎的确在出席大使馆游园会时倾倒了所有的人。
息金斯点石成金, 打赌全胜, 正当他得意于自己的聪明, 享受着成功的喜悦时, 伊莉莎悄悄离开了他。
个自诩高贵而富有天分的上层阶级教授似乎对低贱的伊莉莎产生了感情, 但其骨子里的傲慢与矜持, 及上等人对下等人的冷酷与虐待皆暴露无遗。
这个故事与西方著名的关于皮格马里翁的希腊神话有相似之处。
古代塞浦路斯岛有个叫皮格马里翁的国王爱上了自己用象牙雕刻的女像, 在爱情女神的帮助下神像被赋予生命, 他们结成了夫妻。
剧本虽然采用同名, 但是肖伯纳想表现并不是一个主题相同的浪漫爱情故事。
他用讽刺夸张充满幻想的喜剧手法揭示资产阶级的虚伪性, 在这个构思奇妙充满戏剧性的剧本里, 再一次无情地批判貌似温文尔雅的资产阶级。
所谓的上层社会人物不过是接受了一点资产阶级教育, 能操“文明”一些的语言, 有着比较“高贵”的发音。
除此之外并无更多长处, 他们的灵魂绝对不比在他们眼里“贫贱”的卖花女高贵。
二、“高贵”与“低贱”的反差与反讽秉承了肖伯纳一贯的现实主义倾向《卖花女》在揭露“高贵”的资产阶级上层人物对“低贱”的社会下层人物的罪恶行径时有其独到之处。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是英国著名剧作家乔治·伯纳德的代表作之一，讲述了伦敦街头卖花女伊莉莎的故事。
伊莉莎作为该剧的主人公，是一位鲜活而又富有个性魅力的女性形象，其人物塑造饱含了作者对社会现实和性别议题的关注。
在剧中，伊莉莎的形象通过语言、行为和命运展现出她坚强、乐观和自立自强的品质，同时也揭示了她内心的软弱、不安和渴望改变命运的一面。
通过对伊莉莎的人物塑造，读者可以深刻地感受到作者对于女性解放和社会等级观念的批判，以及对个体价值和自我实现的呼吁。
伊莉莎作为卖花女，她的地位低微，生活贫苦，但她并不甘于命运的安排，而是充满了对美好生活的渴望。
她天性乐观，嘴巴甜、头脑聪慧。
她的语言表达充满了街头女孩的率真和敏锐，她的坚毅与自尊也使她在挫折中挺立不倒。
她的个性魅力和坚韧不拔的精神深深吸引着人们的目光。
从伊莉莎的言行中可以看出，她是一个极具个性的女性。
她的话语直截了当，不做作，充满了街头女孩的率真和坦诚。
她善于发现社会现实中的荒谬和不公，敢于直面贫穷和压迫。
在和雨果工作室那场冲突中，当雨果工作室以一片花的不值钱驳斥伊莉莎的指责时，伊莉莎的坚定回击让观众见识到了她的果敢和不屈：“不值钱？就像一条婊子不值钱吗？”除了言行，伊莉莎的生活态度也表现出了她的坚强和乐观。
在她生活贫困、环境恶劣的情况下，她并不自怨自艾，反而通过努力工作，不断努力地改变自己的命运。
她不愿被安排的生活所束缚，希望通过自己的努力改变现状。
在一次偶然的机会下，她得到了语言学家希金斯的帮助，开始接受语言和礼仪的培训，逐渐融入了上流社会的生活。
伊莉莎对美好生活的渴望和对自身价值的追求展现了她内心的顽强和勇敢。
伊莉莎也不是一个完美的英雄形象，她也有着自己的软弱和不安。
在第二幕中，当伊莉莎从街头女孩变身为上流夫人后，她发现自己需要面对更多的社交和礼仪压力，同时也被迫放弃了自己的根源和性格。
因为她不能完全融入上流社会的习俗，伊莉莎身处于一种“中间地带”，既不能回到贫民区，也无法充分融入上流社会。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是由英国剧作家乔治·伯纳德·肖写的戏剧作品。
故事讲述了伦敦的一个下层底层女子伊莉莎，她通过与语言教授亨利·希金斯的接触和改造，逐渐实现了从一个卖花女到一个上流社会女士的转变。
伊莉莎是一个出身贫寒的卖花女，她生活在伦敦的贫民区，过着艰苦的生活。
她粗鲁、无知、口音重，在社会上没有地位和价值。
她有着强烈的求知欲望和向上的愿望，虽然身处逆境，但她保持了一个积极向上的态度。
伊莉莎的人物塑造通过剧作家的叙述、对话和行为描写展现出来。
伊莉莎的外在形象是一个独立自主、坚强勇敢的女性。
剧中描写了伊莉莎每天早上起床，穿戴整齐去卖花的场景，她的坚持和努力给人留下了深刻印象。
在剧中，伊莉莎不仅有独立自主的个性，还展现出较高的智商和反叛精神。
她善于观察和模仿上流社会的举止和言谈，她耐心地研究着发音和语气，逐渐改变了她原来的粗俗形象和底层身份。
她通过非正式的学习，掌握了重要的知识和技能，成为了一个声音清晰、礼貌得体的女性。
伊莉莎并不仅仅是一个受害者或成功者，她也有自己的内心世界和情感纠葛。
在与希金斯的相处中，她逐渐对他产生了感情，并希望获得他的爱和认可。
她试图从卖花女变成一个上流社会的妇女，但她也面临着身份认同的困惑和自我肯定的挑战。
伊莉莎在一段时间内陷入了无助和迷茫的状态，展现出她内心的复杂性和情感的缠绕。
伊莉莎的塑造也反映了社会的不公和阶级的固化。
她所处的社会环境充满了偏见和歧视，她不被视为人格的平等者，而是被贴上了愚蠢和下贱的标签。
伊莉莎不甘于现状，她积极寻求改变，通过学习和努力来扭转她的命运。
这种积极向上的倾向和对个人尊严的追求使她成为一个令人钦佩的人物。
伊莉莎是一个充满活力和韧性的主人公，她通过自己的努力和勇气战胜了困难，实现了自己的梦想。
她的人物塑造凸显了个人奋斗和社会阶层的关系，展示了人们对自由和尊严的追求。
卖花女读后感《卖花女》是一部充满悲剧色彩的小说，它描绘了19世纪伦敦贫困阶层的生活，以及社会对女性的压迫和歧视。
作者夏洛蒂·布朗特通过主人公苏珊娜的命运，展现了当时社会的黑暗面，引起了读者对社会问题的深刻思考。
在小说中，苏珊娜是一个卖花女，她生活在贫民窟里，靠着出售小小的花朵来维持生计。
她的生活充满了艰辛和苦难，她不仅要应对生活的种种困难，还要面对社会的压迫和歧视。
她没有受过良好的教育，没有家庭背景，更没有社会地位，因此她在当时的社会中几乎没有任何权利和地位。
她的命运完全掌控在男性和社会的手中，她无法改变自己的命运，只能默默忍受一切。
在小说中，苏珊娜的命运被社会的不公正对待所决定。
她的父亲是一个酗酒者，母亲早逝，她从小就生活在贫困和苦难之中。
她的丈夫是一个不负责任的男人，他不但不愿意承担家庭的责任，还经常施暴于苏珊娜。
在这样的环境下，苏珊娜只能忍受一切，她没有选择的权利，只能听从命运的安排。
她的生活充满了痛苦和无助，她没有任何希望，也没有任何出路。
在小说中，苏珊娜的命运引起了读者的深深同情。
她是一个善良、勤劳、善良的女人，她并没有做错什么，却要承受如此多的苦难和痛苦。
她的命运是社会的悲剧，也是整个社会的悲剧。
她的命运反映了当时社会对女性的压迫和歧视，她的命运也反映了当时社会的不公正和黑暗。
她的命运唤起了读者对社会问题的关注和思考，引发了读者对社会的深刻反思。
《卖花女》是一部充满悲剧色彩的小说，它描绘了19世纪伦敦贫困阶层的生活，以及社会对女性的压迫和歧视。
通过主人公苏珊娜的命运，作者夏洛蒂·布朗特展现了当时社会的黑暗面，引起了读者对社会问题的深刻思考。
这部小说不仅是一部文学作品，更是一部社会现实的写照，它唤起了人们对社会问题的关注和思考，引发了人们对社会的深刻反思。
阅读这部小说，让我深刻地感受到了社会的黑暗和不公正，也让我对社会问题有了更加深刻的认识。
希望我们能够共同努力，改变社会的不公正，让每个人都能够得到应有的尊重和尊严。
萧伯纳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主义制度，反对暴力革命。
内容梗概故事讲述的是：语音学家希金斯（Higgins）和朋友匹克林上校（Pickering）打赌用街头卖花女伊莉莎（Eliza）作实验，通过六个月改变她的语言和外表，使之成为仿佛出身名门的贵族小姐。
伊莉莎通过一系列训练，果然完全脱离了出身贫寒、言行粗俗的氛围，在出入任何高贵场合的时候都能引起万众瞩目。
然而，希金斯是个独身主义者，不可能与她结婚，而伊莉莎既成不了真正的公爵夫人，又不能再回菜市场卖花，遂被置于一种不上不下的尴尬境地作品赏析主题《卖花女》讲述的是社会底层人物的悲惨遭遇，客观地展示了当时英国的社会面貌，同时更深入地揭示了当时英国的社会问题。
因此，伊莉莎所处的伦理环境、对社会的伦理诉求及伦理身份的转变是萧伯纳关注社会问题的最佳注脚。
立足伊莉莎做出身份选择的伦理环境，探讨伊莉莎改变自我的动机以及此后她所经历的伦理身份困惑，从而找寻导致其伦理困境的根本原因是作为萧伯纳社会问题剧的伦理价值所在。
萧剧《卖花女》讲述了语音学家希金斯与皮克林打赌，将卖花女伊莉莎改造成了大使馆舞会上风度优雅的绝色公主这样一个故事。
萧伯纳以神话中人物名为剧本命名，显然是在向读者昭示其作品与该神话之间的联系。
神话中，象牙变成美丽的雕像，雕像又被赋予生命，从象牙到少女，其改变一是由于皮格马利翁精湛的雕刻技艺，二是由于女神为其注入生命。
萧剧中伊莉莎从一个“满嘴土话的家伙”变成大使馆舞会上人人艳羡的“匈牙利王家公主”，这是希金斯对她6个月的语音和仪态训练的结果。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是英国著名作家萧伯纳的作品，讲述了伦敦东区的花女伊莉莎从一个贫穷的卖花女成长为一名上流社会的淑女的故事。
主人公伊莉莎是一位鲜活、充满个性的角色，她的人物塑造极具特色，深受读者喜爱。
下面就来分析一下伊莉莎的人物塑造。
伊莉莎是一个勇敢、执着、独立的女性形象。
从她一开始出场的那一刻起，就展现了她的坚强和勇气。
她在恶劣的环境中谋生，每天奔波于伦敦街头，卖力地叫卖着自己的花。
尽管面对艰难的生活，伊莉莎却没有放弃过，她用自己的双手谋生，坚持不懈。
她不仅勇敢地面对生活的困难，而且还积极地寻求改变，努力提升自己的社会地位。
这种不畏艰难、勇往直前的品质使伊莉莎成为一个令人敬佩的女性角色。
伊莉莎展现出了她的聪明和智慧。
尽管她出身贫苦，但她却有着敏锐的观察力和出色的口才。
在与上流社会的贵族亨利相识之后，她不断地接受他的教导，刻苦学习，不断提升自己的知识水平和修养，最终成功融入了上流社会的生活。
在社交场合，伊莉莎的聪明和机智更是令人惊叹，她能以自己独特的方式与上流社会的人交往，表现出了她超群的智慧和才智。
正是这种聪明和智慧，使伊莉莎最终获得了她一生中最大的成功，成为了一名上流社会的淑女。
伊莉莎还展现出了她的善良和正直。
在社交场合，她的直率和率真令人难忘，她敢于说出真心话，不轻易妥协，坚持自己的原则。
尽管她在与亨利相识后发生了巨大的变化，但她的内心却依然保持着善良和正直，她并没有因为社会地位的提升而改变原有的品性，她依然保持着对贫苦人民的同情心，甚至还积极参与了一些社会公益活动，为贫苦人民谋取利益。
这种善良和正直使伊莉莎成为一个深受人们喜爱的角色，她的人格魅力更是令人着迷。
伊莉莎还展现出了她的成长与进步。
在整个故事中，伊莉莎经历了从一个不受重视的卖花女到一名上流社会的淑女的蜕变过程。
她在这个过程中不断地学习和成长，她的思想境界也在不断地提升。
在她与亨利的爱情中，她更是不断地完善自己，使自己变得更加优雅、自信、成熟。
评萧伯纳《卖花女》中的人物形象萧伯纳的《卖花女》是一部深刻的社会讽刺剧，通过教授希金斯与卖花女莉莎的交往，展现了英国社会等级意识的荒谬和腐朽。
在这部作品中，萧伯纳成功塑造了希金斯和莉莎两个人物形象，他们的性格特点与生活经历截然不同，形成了鲜明的对比。
希金斯是一个典型的英国绅士，自命不凡，高傲自大。
他对语言有着浓厚的兴趣和研究，但同时也是一个只看中社会地位和名誉的虚伪人士。
在躲雨的屋檐下，他遇到了莉莎，一个生活在社会底层的卖花女。
希金斯对莉莎的出身和言行举止感到不满，但又被她的美丽所吸引。
为了证明自己的语言学成就，他决定训练莉莎，使她成为一个能出席任何高贵场合的名门小姐。
莉莎是一个善良、聪明、坚韧的女性，虽然生活在贫困之中，但她有着高尚的情操和追求。
她渴望改变自己的命运，但并不渴望依赖别人。
在希金斯的训练下，莉莎改变了自己的语言和外表，也改变了自己的命运。
她以优雅的举止、礼貌的谈吐赢得了上流社会的认可，甚至让希金斯和皮克林这样的人都为之倾倒。
在《卖花女》的结尾，萧伯纳给观众带来了一个出人意料的结局。
莉莎并没有选择和希金斯在一起，而是选择嫁给了一位没落的资产阶级。
这个结局展现了萧伯纳对英国社会等级意识的批判和讽刺。
虽然莉莎在希金斯的帮助下改变了自己的命运，但她并没有选择依附于希金斯或者任何一个男人，而是选择了独立自主的生活。
希金斯在剧中的形象是一个虚伪的资产阶级代表，他对莉莎的改变持有怀疑态度，认为这只是因为她学习了所谓的“正规说话方式”等简单技巧。
然而，在莉莎成功改变后，他却又被她的优雅谈吐所吸引。
当莉莎以礼貌而犀利的言语对他进行语言反击时，希金斯暴露出一系列不符合他身份的语言和行为，这是喜剧的讽刺性达到了一个高潮。
此时，观众可以看到一个虚伪的资产阶级人士在卖花女面前成了一个语言粗俗、毫无礼貌的小市民。
而与卖花女的优雅谈吐无疑形成了一个巨大的对比与讽刺。
希金斯在该剧结束时说了一句：“一片烂菜叶，还想开花店。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是由乔治·伯纳德·肖作于1912年的一部戏剧作品，主人公伊莉莎是这部戏剧中的关键角色之一，她的人物塑造在剧中发挥了重要作用。
伊莉莎是一个贫穷的伦敦花女，她的生活和命运在剧中经历了巨大的改变，这也展现了她在这个社会中的力量和决心。
下面我将详细分析一下伊莉莎这个角色的人物塑造。
伊莉莎是一个具有矛盾性格的女孩。
她在剧中表现出坚强和顽强的一面，同时又带有一点儿天真和无知。
她生活在一个残酷的社会中，贫困使她不得不学会如何在这个社会中求生存。
她通常在街头卖花为生，虽然生活艰辛，但她从未失去希望和乐观。
在她的身上，我们看到了一个小女孩的天真和单纯，却也看到了一个坚强勇敢的女性形象。
正是她这种矛盾的性格塑造了她生动立体的形象，让她成为了一个令人难忘的角色。
伊莉莎身上还有着强烈的渴望。
她一直渴望改变自己的命运，摆脱贫困，过上体面的生活。
这种渴望驱使着她勇敢地面对生活中的一切困难和挑战。
尤其是在遇到学者希金斯后，伊莉莎的生活发生了翻天覆地的改变，她得到了学者的帮助并接受了英语培训，最终成为了一名漂亮、优雅的淑女。
伊莉莎的故事表现出了她强烈的个人意志和追求，她用自己的努力和坚持，改变了自己的命运，这也使她在读者和观众心中留下了深刻的印象。
伊莉莎还展现了她的善良和同情心。
尽管她自己生活在贫困之中，卖花为生，但她并没有丧失对他人的同情和保护欲。
在剧中，她对受虐妇女的同情和帮助，以及对学者的真诚感情，都展现了她内心深处善良的一面。
她用自己的善良感化了学者希金斯，也为贫困的人们带来了希望和温暖。
这种善良和同情心使她成为一个动人的角色，也是她形象塑造的一个重要方面。
伊莉莎的人物塑造还表现了她的自我认知和成长。
她从一个不识字、口齿不清的卖花女，逐渐变成了一个能够与上流社会交往的淑女。
这个过程中，她不仅学会了如何谈吐得体，穿着得体，还学会了如何自立自强，独立生活。
在与学者希金斯的交往中，她渐渐意识到自己的价值和能力，她不再满足于安于现状，而是勇敢地去追寻自己的梦想和目标。
《卖花女》主人公伊莉莎的人物塑造1. 引言1.1 介绍主人公伊莉莎的背景和重要性《卖花女》是乔治·伯纳德的经典剧作，主要讲述了伦敦贫穷的街头女孩伊莉莎的成长故事。
伊莉莎是一个极具代表性的人物，她的背景和重要性在整个故事中起到了至关重要的作用。
伊莉莎出身于一个贫困的家庭，常年在街头卖花为生。
由于缺乏教育和社会资源，她的生活一直处于边缘状态，缺乏尊严和尊重。
伊莉莎并不满足于现状，她怀揣着改变命运的渴望和勇气，努力学习和改变自己的命运。
在整个故事中，伊莉莎扮演着一个重要的角色，她的成长、挣扎和奋斗体现了人类的善良、勇气和无畏。
她的故事不仅仅是一个个体的成长故事，更是对整个社会的深刻反思和批判。
通过伊莉莎这个形象，作者向读者展示了一个普通人如何通过勇气和努力改变命运的可能性，同时也传递了关于人性、社会和尊严的深刻思考。
在整个故事中，伊莉莎的背景和重要性无疑是一个不可或缺的元素，她的形象让整个故事更加生动、感人和感动。
2. 正文2.1 伊莉莎的外表形象伊莉莎是一位身穿简朴的粗布裙子，头戴一顶破旧花边帽子的卖花女。
她的皮肤黝黑，双手粗糙，面容疲惫而憔悴。
她瘦弱的身躯在冬日里颤抖着，仿佛只有一缕风就可以吹倒她。
她的眼睛深邃而无神，似乎承载着无尽的痛苦和忧虑。
她的唇干裂，微微颤抖，透露出内心的无助和苦涩。
伊莉莎的外表形象展现了一个被生活击倒却依然顽强生存的女性形象。
她的朴素打扮和疲惫的容颜，凸显了她的贫困和困境。
正是这种质朴的外表形象，让她的内心矛盾和人生转变变得更加令人动容。
她的外表与内心的矛盾呼应着作品中的主题，揭示了贫困与尊严、困境与坚强之间的冲突，展现了一个普通女性的生活真实与坚强。
伊莉莎的外表形象不仅仅是一个表面的描绘，更是对她内心世界的深刻展示，引发了读者对她命运和结局的思考和关注。
2.2 伊莉莎的性格特点伊莉莎的性格特点十分丰富多彩。
她是一个独立坚强的女性，勇敢地面对生活的困境和挑战。
尽管她是一个卖花女，处境贫困，但她从不畏惧困难，努力工作赚取生活费用。
《卖花女》主人公伊莉莎的人物塑造1. 引言1.1 背景介绍伊莉莎是《卖花女》这部经典小说中的主人公，她是一个生活在伦敦街头卖花为生的女孩。
背景介绍中，我们可以了解到伊莉莎生长在一个贫困的家庭，失去了母亲且没有父亲的照顾，所以不得不靠自己的劳动去维持生计。
在这个社会底层的环境中长大，伊莉莎从小就学会了坚强和勇敢，她努力工作以换取一天的口粮，过着艰苦的生活。
通过了解伊莉莎的背景，我们可以更好地理解她的性格和行为举止，深入分析她与其他人物之间的关系以及她的心理活动。
从而更加全面地了解这个故事中的主人公，以及她在整个故事情节中所扮演的重要角色。
【内容结束】2. 正文2.1 外貌形象塑造伊莉莎是《卖花女》这部小说中的主人公，她的外貌形象塑造独具特色。
伊莉莎有一头乌黑发亮的长发，通常梳成简单而整洁的发髻，配上清澈明亮的眸子和红润的唇色，她看起来充满了青春活力和朝气。
她的皮肤白皙细腻，尤其是在阳光下更显得晶莹剔透。
伊莉莎的衣着也与她的外表相得益彰。
她经常穿着简洁朴素的衣物，但总能展现出一种优雅和自信的气质。
她喜欢戴着简单的花朵头饰，给她增添了一份清新可爱的韵味。
伊莉莎的外貌形象塑造体现了她天真率真、热情开朗的个性，并且让读者对她产生了深深的共鸣和喜爱。
通过细致入微的描写，作者成功地勾勒出了一个真实而充满魅力的形象，为整个故事增添了一抹亮丽的风景。
2.2 性格特点描写伊莉莎的性格特点包括坚强、乐观、善良和勇敢。
她从小就失去了父母，在贫困的环境下生活，但她并没有向命运低头，而是选择努力工作，靠自己的双手谋生。
她从不抱怨生活的艰辛，相反，她总是满怀希望和乐观面对困难。
在逆境中，她展现出了不屈不挠的精神，永远不放弃对美好生活的追求。
伊莉莎的善良和慈爱也深深地影响着身边的人。
她不计较个人得失，愿意帮助需要帮助的人，义不容辞地支援弱者。
她对待他人充满同情和关爱，在她身上，我们看到了一颗善良的心，一个热爱生活，热爱他人的灵魂。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是乔治·伯纳德·肖的经典作品，讲述了一个贫苦女子伊莉莎的奋斗与成长。
伊莉莎是一个非常富有个性的女主角，她的性格特点和成长历程构成了小说的精髓。
在小说中，作者通过伊莉莎的言行和情感描写，塑造了一个深受读者喜爱的形象。
伊莉莎从小就生活在一个贫穷的家庭中，她的父亲是一个酗酒和懒惰的人，母亲早逝，她独自依靠卖花为生。
尽管生活条件十分艰难，但她却始终保持着乐观和勇敢的态度。
她善良、坚强、勤劳，对生活充满希望和梦想，这些性格特点在整个小说中贯穿始终。
伊莉莎的性格特点主要有以下几个方面：1. 乐观向上伊莉莎是一个拥有坚强意志和乐观心态的女孩。
尽管生活条件非常艰难，她也没有因此而沮丧或绝望。
相反，她总是笑对生活，积极面对困难。
在小说中，她不断努力卖花，和人们搭讪，勇敢地追求自己的幸福。
她充满了对生活的热爱和对未来的希望，这种乐观向上的态度使她深受读者的喜爱。
2. 善良纯真伊莉莎是一个善良纯真的女孩，她对周围的人都充满了同情和关爱。
虽然她自己的生活非常艰难，但她总是心系他人，乐于助人。
在小说中，她给别人卖花时总是热情洋溢，从不因自己的困难而抱怨或发牢骚。
她的善良和纯真感染了周围的人，也让读者对她产生了很深的共鸣。
3. 勤劳好学伊莉莎非常勤奋好学，尽管没有受到良好的教育，但她仍然很努力地在自己的业余时间学习知识。
她向往着知识，也渴望改变自己的命运。
在小说中，她总是怀揣一本书，在等待顾客的空隙中读上几页。
她对知识和学习的渴求让她的形象更加丰满和立体。
伊莉莎是一个勇敢、善良、乐观向上的女孩，她对待生活的态度和对人的关爱，使她成为小说中一个非常有吸引力的人物。
她通过自己的努力和勇气，克服了生活中的困难，在小说中也留下了深刻的印象。
她的形象是作者对于乐观向上、善良纯真、勤劳好学的理想女性的塑造，也是对于生活本质的一种追求。
《卖花女》主人公伊莉莎的人物塑造《卖花女》是英国作家伯纳德·肖aw的小说，讲述了伦敦“花街”的卖花女之一伊莉莎的生活经历，以及她和沉默寡言却心地善良的教授希金斯之间的感情纠葛。
伊莉莎是一位非常鲜明的女性形象，她勇敢、努力、聪明、独立、坚韧而又感性，是世界文学中的一位经典女性形象。
首先，在行为上，伊莉莎是一位极其积极向上的女性。
她出身于贫穷，家境贫困，但她并没有放弃希望，而是勤奋地工作来谋生。
在街头市场上卖花，她不怕阳光暴晒，不惧严寒，她坚持每天努力工作，拼命赚钱。
尽管生活十分困难，她没有丧失对美好生活的憧憬。
伊莉莎的勇气和决心可以让读者在最艰难的时刻感受到希望的力量。
其次，在性格上，伊莉莎具有非常强烈的独立自主意识。
她不仅在工作上表现得非常坚韧，而且在生活中她也不会被别人的意见所左右，保持着自己独立思考的能力。
尤其是在面对“上流社会”的贵族家庭时，她从容不迫，从未因自己的身世和文化水平而感到自卑。
相反，她用自己的聪明才智证明了人类的价值是不分贵贱的。
她自己通过良好的教育和努力成为了一个优秀的人。
此外，伊莉莎的感性灵敏，这一点表现得非常明显。
尽管她在表达自己的感受和情绪时不是非常善于言语，但从小说中可以明确看出，她那敏感的灵魂使得她对美好、真实与善良的东西无比向往。
尤其是在通过美娜和简突然的助力以及夫人“女红珠宝”的压抑生活，她走出些事的关键时刻，感受到的欣喜、释放压抑的感觉都是极为强烈的。
最后，伊莉莎的坚韧和她对于个人自我价值的维护令她成为了一位独特而令人敬佩的女性形象。
尽管她的经济地位、出身和教育条件都非常不利，但她以自己的勇气和才智塑造了一个独立、自主、坚韧而又感性的女性形象，展示了了一位生命中积极向上的真正的女性形象。
综上所述，《卖花女》中伊莉莎的形象十分丰富和鲜明，成为了一位坚韧、独立、感性而又充满活力的女性形象。
她在艰难困苦的生活环境中仍然能够坚韧不屈，展示出了女性在弱势地位下也能够拥有自己的一片天地，成为值得信赖的人、成功人士和有情感的个体。
賣花女(戲劇)《賣花女》，原名《皮革馬利翁》(Pygmalion) 是愛爾蘭劇作家蕭伯納的戏剧。
皮革馬利翁原是羅馬神話中的一位雕刻家的名字，一生不愛女色，卻愛上了自己刻的雕像。
這尊雕像令他魂牽夢縈，最後他去請求維納斯女神成全。
維納斯讓皮革馬利翁用手碰觸雕像，雕像變成了一位活生生的美貌女子。
皮革馬利翁相當高興，給她取名伽拉忒婭(Galatea)，並帶她去感謝維納斯。
蕭伯納以這個故事為藍本，以賣花女一劇表現出皮格馬利翁和伽拉忒婭可能會發生的問題。
本劇曾於1938年翻拍成黑白電影，由Wendy Hiller 飾演賣花女伊萊莎·杜立德(Eliza Doolittle)，莱斯利·霍华德飾演語音學教授亨利·希金斯(Henry Higgins)。
1956年，此劇改編為音樂劇《窈窕淑女》(My Fair Lady)，由朱莉·安德鲁斯(Julie Andrews)飾演伊萊莎，Rex Harrison飾演希金斯教授。
1964年，音樂劇拍成同名電影，改由奧黛麗·赫本飾演伊萊莎。
[编辑]故事大綱[编辑]第一幕安斯佛西爾太太 (Mrs Eynsford-Hill) 和女兒克拉拉 (Clara) 正在聖保羅教堂外等待兒子弗雷迪 (Freddy)，豈料弗雷迪冒冒失失的撞到了賣花女伊萊莎。
像伊萊莎那樣中下階級的市井小民，說起英语來有一種特殊的考克尼腔。
語音學家亨利希金斯偷偷記下伊萊莎說話的腔調，並宣稱自己能在六個月內矯正伊萊莎的發音，將她訓練成一位淑女。
弗雷迪在計程車裡等家人，但是安斯佛西爾太太和克拉拉卻搭上了公車。
伊萊莎於是和弗雷迪坐同一班計程車回家。
[编辑]第二幕希金斯在前幕認識的上校平克林 (Colonel Pickering) 在位於溫普街 (Womple Street) 的家裡。
伊萊莎到希金斯府上，希望他能矯正自己的發音，以開花店自力更生，不用再到街上賣花。
[编辑]第三幕[编辑]第四幕[编辑]第五幕伊萊莎和弗雷迪偷偷逃走，希金斯和平克林報警找人。
伊萊莎與弗雷迪來到希金斯太太的住處，希金斯和平克林也找到了這裡。
希金斯太太命令僕人暫時把伊萊莎和弗雷迪藏起來。
希金斯氣得暴跳如雷，向母親說明伊萊莎不知去向。
這時，已變成中產階級的杜立德先生來向他訴說自己不快樂的生活，還有他又要再婚的事。
不久希金斯太太終於讓伊萊莎出來，和父親交談幾句後，所有人都離開，只剩下伊萊莎和希金斯兩人。
此時的伊萊莎和過去已大大不同，反而不知將來該何去何從 (一口標準英語和同行之間好似沒落的貴族，但是在某些貴族的眼裡，她還是賣花女出身。
)。
她頻頻問希金斯該怎麼做，希金斯只是認為她可以再回去賣花。
這時伊萊莎終於把她對希金斯的不滿說了出來，並宣布自己將與弗雷迪結婚，教授語音學，希金斯氣得七竅生煙。
希金斯太太備好馬車，要參加杜立德先生的婚禮，問伊萊莎準備好沒有。
希金斯又要求伊萊莎幫他跑腿，伊萊莎丟下一句「你自己去買！(Buy them yourself.)」[1]隨即出去。
[编辑]電影版結局由於原版《賣花女》結局裡伊萊莎並未和希金斯在一起，不符合觀眾期望，蕭伯納又在劇本後補述安排這種結局的原因，說明伊萊莎這個決定是經過深思熟慮的，以及伊萊莎和弗雷迪可能發生的問題。
電影版《賣花女》讓伊來莎再度回到希金斯身邊，但是希金斯只說了一句：「伊萊莎，我的拖鞋死到哪去了？」後來音樂劇《窈窕淑女》，甚至其音樂劇電影版本，都沿用這個結局。
[编辑]註釋1.^另一版本為伊萊莎說了一段話，告訴希金斯「如果沒有我，你會變得怎樣，我很難想像！(What you can do without me I cannot imagine.)」英文版卖花女简介（比上面的全）Pygmalion (play)Pygmalion: A Romance in Five Acts(1913) is a play by George Bernard Shaw. Professor of phonetics Henry Higgins makes a bet that he can train a bedraggled Cockney flower girl, Eliza Doolittle, to pass for a duchess at an ambassador's garden party by teaching her to assume a veneer of gentility, the most important element of which, he believes, is impeccable speech. The play is a sharp lampoon of the rigid British class system of the day and a comment on women's independence, packaged as a romantic comedy.The Pygmalion myth was a popular subject for Victorian era English playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story in 1871, called Pygmalion and Galatea. Shaw also would have been familiar with the burlesque version, Galatea, or Pygmalion Reversed.InspirationsShaw created Eliza Doolittle specifically for Mrs Patrick Campbell, partly as a flirtatious challenge and partly to tease her for her social pretensions, which he felt hampered her growth as an artist.[1]Her affected diction onstage (even in Shakespeare), which both he and Oscar Wilde instantly recognized as that of a suburban social climber,[2] was at odds with her considerable abilities, and likely provoked the Higgins in Shaw to a great degree. The idea came to him in 1897, when "Mrs. Pat" was under contract to Johnston Forbes-Robertson and at the height of her youthful fascination and glamour. Writing to Ellen Terry in September of that year, he mentions Forbes's "rapscallionly flower girl"; the next sentence is, "Caesar and Cleopatra has been driven clean out of my head by a play I want to write for them in which he shall be a west end gentleman and she an east end dona in an apron and three orange and red ostrich feathers."[3]"The reformer England needs today is an energetic phonetic enthusiast: that is why I have made such a one the hero of a popular play."[4]The success of Pygmalion drew attention to the science of phonetics and speculation arose over whether a model for Henry Higgins existed. Shaw never named an inspiration for the man or the professor. However, in the Preface to the 1916 edition he writes at length about the respected philologist and phonetician Henry Sweet, with whom he communicated for years regarding phonetics and shorthand. Dr. Sweet would stand before a group of speakers, taking furious notes on their phonetic conversation; he categorized voicesounds and accents, sent postcards to friends written in a unique shorthand or in the symbols of his "Broad Romic" system of phonetic notation,[5] could pronounce seventy-two vowel sounds,[6][7] and "unfortunately was of a rather difficult disposition."[8] Nevertheless, "Higgins is not a portrait of Sweet... still, as will be seen, there are touches of Sweet in the play."[4]Shaw also knew and may have consulted with Daniel Jones, the leading phonetician of the time. In a few years Jones would codify a standard of English speech, Received Pronunciation, "the accent most commonly associated with the British 'upper crust'...based on a sixteenth-century, upper-class London accent";[9] the steps to learning and teaching such an accent would have been of paramount importance to the playwright. It's also possible that Dr. Jones's laboratory equipment inspired Higgins's,[10] but Jones's biographer concludes that "the Higgins character...would appear to have taken on a vivid life of its own during the writing of the play."[10]First productionsShaw wrote the play in the spring of 1912 and read it to Mrs. Campbell in June. She came on board almost immediately, but her mild nervous breakdown (and its doctor-enforced leisure, which led to a quasi-romantic intrigue with Shaw[11]) contributed to the delay of a London production. Pygmalion premiered at the Hofburg Theatre in Vienna on October 16, 1913, in a German translation by Shaw's Viennese literary agent and acolyte, Siegfried Trebitsch.[12][13] Its first New York production opened March 24, 1914 at the German-language Irving Place Theatre.[14] It opened in London April 11, 1914 at Sir Herbert Beerbohm Tree's His Majesty's Theatre and starred Mrs. Campbell as Eliza and Tree as Higgins. Shaw directed the actors through stormy rehearsals often punctuated by at least one of the three flinging out of the theater in a rage.[15]PlotFirst American (serialized) publication, Everybody's Magazine, November 1914Shaw was conscious of the difficulties involved in staging a complete representation of the play. Acknowledging in a "Note for technicians" that such a thing would only be possible "on the cinema screen or on stages furnished with exceptionally elaborate machinery", he marked some scenes as candidates for omission if necessary. Of these, a short scene at the end of Act One in which Eliza goes home, and a scene in Act Two in which Eliza is unwilling to undress for her bath, are not described here. The others are the scene at the Embassy Ball in Act Three and the scene with Eliza and Freddy in Act Four. Neither the Gutenberg edition referenced throughout this page nor the Wikisource text linked below contain these sequences.[edit] Act One'Covent Garden'- 11.15p.m. A group of people are sheltering from the rain. Amongst them are the Eynsford-Hills, superficial social climbers eking out a living in "genteel poverty", consisting initially of Mrs. Eynsford-Hill and her daughter Clara. Clara's brother Freddy enters having earlier been dispatched to secure them a cab (which they can ill afford), but being rather timid and faint-hearted he has failed to do so. As he goes off once again to find a cab, he bumps into a flower girl, Eliza. Her flowers drop into the mud of Covent Garden, the flowers she needs to survive in her poverty-stricken world. Shortly they are joined by a gentleman, Colonel Pickering. While Eliza tries to sell flowers to the Colonel, a bystander informs her that a man is writing down everything she says. The man is Henry Higgins, a professor of phonetics. Eliza worries that Higgins is a police officer and will not calm down until Higgins introduces himself. It soon becomes apparent that he and Colonel Pickering have a shared interest in phonetics; indeed, Pickering has come from India to meet Higgins, and Higgins was planning to go to India to meet Pickering. Higgins tells Pickering that he could pass off the flower girl as a duchess merely by teaching her to speak properly. These words of bravado spark an interest in Eliza, who would love to make changes in her life and become more mannerly, even though, to her, it only means working in a flower shop. At the end of the act, Freddy returns after finding a taxi, only to find that his mother and sister have gone and left him with the cab. The streetwise Eliza takes the cab from him, using the money that Higgins tossed to her out of pity, leaving him on his own.[edit] Act TwoHiggins' home - Next Day. As Higgins demonstrates his phonetics to Pickering, the housekeeper, Mrs. Pearce, tells him that a young girl wants to see him. Eliza has shown up, and she tells Higgins that she will pay for lessons. He shows no interest in her, but she reminds him of his boast the previous day, so she can talk like a lady in a flower shop. Higgins claimed that he could pass her for a duchess. Pickering makes a bet with him on his claim, and says that he will pay for her lessons if Higgins succeeds. She is sent off to have a bath. Mrs. Pearce tells Higgins that he must behave himself in the young girl's presence. He must stop swearing, and improve his table manners. He is at a loss to understand why she should find fault with him. Then Alfred Doolittle, Eliza's father, appears with the sole purpose of getting money out of Higgins. He has no interest in his daughter in a paternal way. He sees himself as member of the undeserving poor, and means to go on being undeserving. He has an eccentric view of life, brought about by a lack of education and an intelligent brain. He is also aggressive, and when Eliza, on her return, sticks her tongue out at him, he goes to hit her, but is prevented by Pickering. The scene ends with Higgins telling Pickering that they really have got a difficult job on their hands.[edit] Act ThreeMrs. Higgins'drawing room. Higgins bursts in and tells his mother he has picked up a "common flower girl" whom he has been teaching. Mrs. Higgins is not very impressed with her son's attempts to win her approval because it is her 'at home' day and she is entertaining visitors. The visitors are the Eynsford-Hills. Higgins is rude to them on their arrival. Eliza enters and soon falls into talking about the weather and her family. Whilst she is now able to speak in beautifully modulated tones, the substance of what she says remains unchanged from the gutter. She confides her suspicions that aunt was killed by relatives, and mentions that gin had been "mother's milk" to this aunt, and that Eliza's own father was always more cheerful after a good amount of gin. Higgins passes off her remarks as "the new small talk", and Freddy is enraptured. When she is leaving, he asks her if she is going to walk across the park, to which she replies, "Walk? Not bloody likely!" (This is the most famous line from the play, and, for many years after the play's debut, use of the word 'bloody' was known as a pygmalion; Mrs. Campbell was considered to have risked her career by speaking the line on stage.[citation needed]) After she and the Eynsford-Hills leave, Henry asks for his mother's opinion. She says the girl is not presentable and is very concerned about what will happen toher, but neither Higgins nor Pickering understand her thoughts of Eliza's future, and leave feeling confident and excited about how Eliza will get on. This leaves Mrs. Higgins feeling exasperated, and exclaiming, "Men! Men!! Men!!!"However, the six months are not yet up, and just in time for the Embassy Ball Eliza learns to behave properly as well as to speak properly. The challenge she faces is increased, however, by the presence at the Ball of Nepommuck, a former pupil of Higgins' who speaks 32 languages and is acting as an interpreter for a "Greek diplomatist" who was in fact born the son of a Clerkenwell watchmaker and "speaks English so villainously that he dare not utter a word of it lest he betray his origin." Nepommuck charges him handsomely for helping keep up the pretence. Pickering worries that Nepommuck will see through Eliza's disguise; nonetheless, Eliza is presented to the Ball's hosts, who, impressed by this vision of whom they know nothing, despatch Nepommuck to find out about her. Meanwhile Higgins, the interesting work done, rapidly loses interest in proceedings as he sees that no-one will see through Eliza. Indeed, Nepommuck returns to his hosts to report that he has detected that Eliza is not English, as she speaks it too perfectly ("only those who have been taught to speak it speak it well"), and that she is, in fact, Hungarian, and of Royal blood. When asked, Higgins responds with the truth - and no-one believes him.[edit] Act FourHiggins' home - The time is midnight, and Higgins, Pickering, and Eliza have returned from the ball. A tired Eliza sits unnoticed, brooding and silent, while Pickering congratulates Higgins on winning the bet. Higgins scoffs and declares the evening a "silly tomfoolery", thanking God it's over and saying that he had been sick of the whole thing for the last two months. Still barely acknowledging Eliza beyond asking her to leave a note for Mrs. Pearce regarding coffee, the two retire to bed. Higgins returns to the room, looking for his slippers, and Eliza throws them at him. Higgins is taken aback, and is at first completely unable to understand Eliza's preoccupation, which aside from being ignored after her triumph is the question of what she is to do now. When Higgins does understand he makes light of it, saying she could get married, but Eliza interprets this as selling herself like a prostitute. "We were above that at the corner of Tottenham Court Road." Finally she returns her jewelry to Higgins, including the ring he had given her, which he throws into the fireplace with a violence that scares Eliza. Furious with himself for losing his temper, he damns Mrs. Pearce, the coffee and then Eliza, and finally himself, for "lavishing" his knowledge and his "regard and intimacy" on a "heartless guttersnipe", and retires in great dudgeon.[edit] Act FiveMrs. Higgins' drawing room, the next morning. Higgins and Pickering, perturbed by the discovery that Eliza has walked out on them, call on Mrs. Higgins to phone the police. Higgins is particularly distracted, since Eliza had assumed the responsibility of maintaining his diary and keeping track of his possessions, which causes Mrs. Higgins to decry their calling the police as though Eliza were "a lost umbrella". Doolittle is announced; he emerges dressed in splendid wedding attire and is furious with Higgins, who after their previous encounter had been so taken with Doolittle's unorthodox ethics that he had recommended him as the "most original moralist in England" to a rich American founding Moral Reform Societies; the American had subsequently left Doolittle a pension worth three thousand pounds a year, as a consequence of which Doolittle feels intimidated into joining the middle class and marrying his missus. Mrs. Higgins observes that this at least settles the problem of who shall provide for Eliza, to which Higgins objects —after all, he paid Doolittle five pounds for her. Mrs. Higgins informs her son that Eliza is upstairs, and explains the circumstances of her arrival, alluding to how marginalised and overlooked Eliza felt the previous night. Higgins is unable to appreciate this, and sulks when told that he must behave if Eliza is to join them. Doolittle is asked to wait outside.Eliza enters, at ease and self-possessed. Higgins blusters but Eliza isn't shaken and speaks exclusively to Pickering. Throwing Higgins' previous insults back at him ("Oh, I'm only a squashed cabbage leaf"), Eliza remarks that it was only by Pickering's example that she learned to be a lady, which renders Higgins speechless. Eliza goes on to say that she has completely left behind the flower girl she was, and that she couldn't utter any of her old sounds if she tried — at which point Doolittle emerges from the balcony, causing Eliza to relapse totally into her gutter speech. Higgins is jubilant, jumping up and crowing over her. Doolittle explains his predicament and asks if Eliza will come to his wedding. Pickering and Mrs. Higgins also agree to go, and leave with Doolittle with Eliza to follow.The scene ends with another confrontation between Higgins and Eliza. Higgins asks if Eliza is satisfied with the revenge she has wrought thus far and if she will now come back, but she refuses. Higgins defends himself from Eliza's earlier accusation by arguing that he treats everyone the same, so she shouldn't feel singled out. Eliza replies that she just wants a little kindness, and that since he will never stoop to show her this, she will not come back, but will marry Freddy. Higgins scolds her for such low ambitions: he has made her "a consort for a king." When she threatensto teach phonetics and offer herself as an assistant to Nepommuck, Higgins again loses his temper and promises to wring her neck if she does so. Eliza realises that this last threat strikes Higgins at the very core and that it gives her power over him; Higgins, for his part, is delighted to see a spark of fight in Eliza rather than her erstwhile fretting and worrying. Mrs. Higgins returns and she and Eliza depart for the wedding. As they leave Higgins incorrigibly gives Eliza a number of errands to run, as though their recent conversation had not taken place. Eliza disdainfully explains why they are unnecessary, and wonders what Higgins is going do without her. Higgins laughs to himself at the idea of Eliza marrying Freddy as the play ends.[edit] EndingPygmalion was the most broadly appealing of all Shaw's plays. But popular audiences, looking for pleasant entertainment with big stars in a West End venue, wanted a "happy ending" for the characters they liked so well, as did some critics.[16] During the 1914 run, to Shaw's exasperation but not to his surprise, Tree sought to sweeten Shaw's ending to please himself and his record houses.[17] Shaw returned for the 100th performance and watched Higgins, standing at the window, toss a bouquet down to Eliza. "My ending makes money, you ought to be grateful," protested Tree. "Your ending is damnable; you ought to be shot."[18][19]Shaw remained sufficiently irritated to add a postscript essay, "'What Happened Afterwards,"[20] to the 1916 print edition for inclusion with subsequent editions, in which he explained precisely why it was impossible for the story to end with Higgins and Eliza getting married.He continued to protect the play's and Eliza's integrity by protecting the last scene. For at least some performances during the 1920 revival, Shaw adjusted the ending in a way that underscored the Shavian message. In an undated note to Mrs. Campbell he wrote,When Eliza emancipates herself —when Galatea comes to life —she must not relapse. She must retain her pride and triumph to the end. When Higgins takes your arm on 'constant battleship' you must instantly throw him off with implacable pride; and this is the note until the final 'Buy them yourself.' He will go out on the balcony to watch your departure; come back triumphantly into the room; exclaim 'Galatea!' (meaning that the statue has come to life at last); and — curtain. Thus he gets the last word; and you get it too.[21](This ending is not included in any print version of the play.)Shaw fought uphill against such a reversal of fortune for Eliza all the way to 1938. He sent the film's harried producer, Gabriel Pascal, a concluding sequence which he felt offered a fair compromise: a romantically-set farewell scene between Higgins and Eliza, then Freddy and Eliza happy in their greengrocery/flower shop. Only at the sneak preview did he learn that Pascal had shot the "I washed my face and hands" conclusion, to reassure audiences that Shaw's Galatea wouldn't really come to life, after all.[22][edit] Differing versionsDifferent printed versions of the play omit or add certain lines, much like Shakespeare's First Folio and First Quarto editions of his plays. The Project Gutenberg version published online, for instance, omits Higgins' famous declaration to Eliza, "Yes, you squashed cabbage-leaf, you disgrace to the noble architecture of these columns, you incarnate insult to the English language! I could pass you off as the Queen of Sheba!" - a line so famous that it is now retained in nearly all productions of the play, including the 1938 film version of Pygmalion as well as in the stage and film versions of My Fair Lady.[23]The director of the 1938 film, Anthony Asquith, had seen Mrs. Campbell in the 1920 revival of Pygmalion and noticed that she spoke the line, "It's my belief as how they done the old woman in." He knew "as how" was not in Shaw's text, but he felt it added color and rhythm to Eliza's speech, and liked to think that Mrs. Campbell had ad libbed it herself. Eighteen years later he added it to Wendy Hiller's line in the film.[15]In the original play Eliza's test is met at an ambassador's garden party, offstage. For the 1938 film Shaw and co-writers replaced that exposition with a scene at an embassy ball; Nepommuck, the dangerous translator spoken about in the play, is finally seen, but his name is updated to Arstid Karpathy — named so by Gabriel Pascal, the film's Hungarian producer, who also made sure that Karpathy mistakes Eliza for a Hungarian princess. In My Fair Lady he became Zoltan Karpathy.Shaw's screen version of the play as well as a new print version incorporating the new sequences he had added for the film script were published in 1941. The scenes he had noted in "Note for Technicians" are added.[edit] InfluencePygmalion remains Shaw's most popular play. The play's widest audiences know it as the inspiration for the highly romanticized 1956 musical and 1964 film.Ironically, Pygmalion has transcended cultural and language barriers since its first production. The British Museum contains "images of the Polish production...; a series of shots of a wonderfully Gallicised Higgins and Eliza in the first French production in Paris in 1923; a fascinating set for a Russian production of the 1930s. There was no country which didn't have its own 'take' on the subjects of class division and social mobility, and it's as enjoyable to view these subtle differences in settings and costumes as it is to imagine translators wracking their brains for their own equivalent of 'Not bloody likely'."[24]Joseph Weizenbaum named his artificial intelligence computer program ELIZA after the character Eliza Doolittle.[25]《窈窕淑女/卖花女》英文原版亨利.希金斯是一名固执傲慢的语言学教授。
