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1 Against the Standard: Linguistic Imitation, Racial Masquerade, and the Modernist Rebellion
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Published:August 1994
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Abstract
In the preface to Pygmalion George Bernard Shaw reassures his readers, some of whom might be daunted by the dazzling success of Eliza Doolittle, that she is but an example of the “many thousands of men and women who have sloughed off their native dialects and acquired a new tongue.” Sounding a bit like Dale Carnegie, who began his self-help empire at about this time, Shaw promises those who follow Eliza a world of social harmony based on proper phonetics, a world in which words cannot be mispronounced, in which men and women will no longer be divided by differences of speech. “It’s filling up the deepest gulf that separates class from class and soul from soul,” as Henry Higgins crows in the play itself.1 The American musical My Fair Lady expands on Shaw’s expansiveness by staging Eliza’s final elocution lesson as a triumphant tango: when “the rine in Spine” finally becomes “the rain in Spain,” the three principals drop all decorum and dance.
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