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“Reading Enlightened Aspects of Shaw’s Pygmalion.” Studies on English Language & Literature. 36.1(2010): 87-109. In Pygmalion Act I thrives in chaos, the delight of the sideshow. Act Ⅱ plays levels of comprehension against each other, provoking a humor of misunderstanding, of fact versus fairy tale, of science versus melodrama. Act Ⅲ is Bergsonian, Eliza being comic as she is mechanical, the decorous manner of her presence being sharply incongruous with the earthy matter of her speech. Act Ⅳ involves the humor of a lovers’ quarrel, with a comic peripeteia occurring when the underdog triumphs and the master loses all dignity. And Act Ⅴ carries this to greater personal depths through a humor of inversion, involving a psychological and spiritual search in which the total complex is sensitively analyzed. With humor, myth, didacticism, and spiritual evolution thus reflecting dynamically upon one another and incorporated vitally into the vigorous story, Pygmalion emerges as an effective synthesis of Shaw’s careful dramaturgy, intrinsic fun, and thoughtful aesthetics. (Yewon Arts University)