Higgins And Eliza Quotes

HIGGINS. The great secret, Eliza, is not having bad manners or good manners or any other particular sort of manners, but having the same manner for all human souls: in short, behaving as if were in Heaven, where there are no third-class carriages, and one soul is as good as another.

Mañoso grinned. “This is gonna be fun. This here’s gonna be like Professor Higgins and Eliza Doolittle Does Trenton.

A flush works over my cheeks and grows when Rolondo says, “And here I thought I was pointing out the impact of our divergent socio-economic status when faced with potential agent induced incentives.” We both look at each other for a second then laugh again. “Fucking Sociology major,” I mutter. “Henry-muthafucka-Higgins. You gonna Eliza Doolittle me?” “There you go again, trying to get me to do you. Let the dream die, man.

LIZA. I’m a good girl, I am; and I won’t pick up no free and easy ways. HIGGINS. Eliza: if you say again that you’re a good girl, your father shall take you home.

HIGGINS [sitting down beside her] Rubbish! you shall marry an ambassador. You shall marry the Governor-General of India or the Lord-Lieutenant of Ireland, or somebody who wants a deputy-queen. I'm not going to have my masterpiece thrown away on Freddy. LIZA. You think I like you to say that. But I haven't forgot what you said a minute ago; and I won't be coaxed round as if I was a baby or a puppy. If I can't have kindness, I'll have independence. HIGGINS. Independence? That's middle class blasphemy. We are all dependent on one another, every soul of us on earth. LIZA [rising determinedly] I'll let you see whether I'm dependent on you. If you can preach, I can teach. I'll go and be a teacher. HIGGINS. What'll you teach, in heaven's name? LIZA. What you taught me. I'll teach phonetics. HIGGINS. Ha! Ha! Ha!

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 don't think so. Not any feelings that we need bother about. [Cheerily] Have you, Eliza? LIZA. I got my feelings same as anyone else.

DEEP IN THE ENCHANTED FOREST, in a neat gray house with a wide porch and a red roof, lived the witch Morwen and her nine cats. The cats were named Murgatroyd, Fiddlesticks, Miss Eliza Tudor, Scorn, Jasmine, Trouble, Jasper Darlington Higgins IV, Chaos, and Aunt Ophelia, and not one of them looked anything like a witch’s cat.

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? I've 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 wouldn't have ate it, only I'm too ladylike to take it out of my mouth. (Act 2, Scene 1).

Having settled on the Shavian style of Higgins’s songs, Lerner and Loewe weave two other levels of musical style into the score—just as Rodgers and Loesser wove multiple musical styles into mirrors of class and character. Eliza, the lowly flower seller whom Higgins turns into a lady, could sing with the conventional fire and passion of operetta and musical heroines. The passionate, full-throated sound of her songs—the longing of “Wouldn’t It Be Loverly?” the anger of “Just You Wait, ’Enry ‘lggins,” the joy of “I Could Have Danced All Night,” the insistence of “Show Me”—contrasts with the dry wit of Higgins’s talk-songs. This contrast not only gives the score musical variety and color but embodies the essential dramatic conflict between intellect and emotion. The third musical style belongs to Alfred Doolittle, Eliza’s working-class dad, who, like Higgins, is an unconventional moralist—resisting such constraints of middle-class morality as work, sobriety, thrift, and marriage. Lerner and Loewe saw Doolittle as a refugee from the English music hall—literally, since the veteran music-hall performer, Stanley Holloway, created the role. Doolittle’s “With a Little Bit of Luck” and “Get Me to the Church on Time” are bouncy, raucous music-hall numbers, oom-pah marches with conventional major harmonies and not a trace of American syncopation.

Grandpapa doesn't want to lose Nelly," Eliza said. "Grandpapa is only aware of the trail of belongings Nelly has lost on this trip and thinks she had better wait before she loses her heart, too," he retorted.