Bernard Shaw’s concern for the perfection of the English language in his Comedy “Pygmalion” content introduction chapter I. George Bernard Shaw's life and work

SYMBOLS 

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  Clothing: what the characters wore was representative of their societal status. The exchange of rags for fine dresses is symbolic of Eliza's societal transformation from a poor flower girl to an upper class woman. 
  
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  The Mirror: Eliza has never seen herself clearly before, and therefore sees herself without flaws. The mirror she sees in Higgins' bathroom is representative of Eliza "waking up" to realize she can improve her life and herself. 
  
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  Flower Shop: The flower shop that Eliza wishes to own at the beginning of the play symbolizes all of Eliza's hopes and dreams.
  
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  The Bath: The bath that Eliza takes once Higgins and Pickering make their bet represents Eliza washing herself of her past life and speech patterns. 
  

Conclusion
George Bernard Shaw was not merely the best comic dramatist of his time but also one of the most significant playwrights in the English language since the 17th century. Some of his greatest works for the stage—Caesar and Cleopatra, the “Don Juan in Hell” episode of Man and Superman, Major Barbara, Heartbreak House, and Saint Joan—have a high seriousness and prose beauty that were unmatched by his stage contemporaries. His development of a drama of moral passion and of intellectual conflict and debate, his revivifying of the comedy of manners, and his ventures into symbolic farce and into a theatre of disbelief helped shape the theatre of his time and after. A visionary and mystic whose philosophy of moral passion permeates his plays, Shaw was also the most trenchant pamphleteer since Swift, the most readable music critic in English, the best theatre critic of his generation, a prodigious lecturer and essayist on politics, economics, and sociological subjects, and one of the most prolific letter writers in literature. By bringing a bold critical intelligence to his many other areas of interest, he helped mold the political, economic, and sociological thought of three generations.
Henry Higgins, a phonetician, accepts a bet that simply by changing the speech of a Cockney flower seller he will be able, in six months, to pass her off as a duchess. Eliza undergoes grueling training. When she successfully “passes” in high society—having in the process become a lovely young woman of sensitivity and taste—Higgins dismisses her abruptly as a successfully completed experiment. Eliza, who now belongs neither to the upper class, whose mannerisms and speech she has learned, nor to the lower class, from which she came, rejects his dehumanizing attitude.