PYGMALION’S

BRIDE
CAROL ANN DUFFY
 MYTHOLOGICAL
CONTEXT OF
PYGMALION’S BRIDE
In the myth of Pygmalion, a skilled sculptor from Cyprus becomes
disillusioned with women and chooses to remain single. He creates an
ivory statue of his ideal woman, so beautiful and perfect that he falls in
love with it. Pygmalion treats the statue as though it were alive,
adorning it and longing for it to be real. He prays to Aphrodite, the
goddess of love, asking for a wife as perfect as the statue. Moved by his
devotion, Aphrodite brings the statue to life. The statue, now named
Galatea, becomes Pygmalion’s wife, and they live happily together. The
myth highlights themes of love, creation, and the idealisation of women.
DUFFY’S MODERN TAKE
In Carol Ann Duffy’s "Pygmalion’s Bride," Galatea tells her side of the
story, depicting Pygmalion’s advances as unwanted and intrusive. She
tries to push him away by showing no interest, but ironically, he
becomes more drawn to her when she pretends to not enjoy his
attention. The real shift happens when Galatea gains her own voice and
desires, and Pygmalion’s interest fades. This suggests he preferred her
as an idealised, silent object rather than a living, thinking woman.

The poem critiques how, in some modern relationships, women feel

pressured to fit into the roles that partners envision for them, losing
their individuality. It highlights the discomfort of being valued only for
compliance and beauty, not for one's own thoughts and feelings,
reflecting on how objectification diminishes genuine connection.
 THEMES
Male Desire,
Autonomy
Dominance,
and Identity
and Control

Gender &
The Illusion
Sexual
of Love
Hypocrisy
 RICH IDEA
In *Pygmalion's Bride*, Carol Ann Duffy critiques patriarchal
norms by reimagining the myth of Pygmalion to emphasise the
tension between being a ‘creation’
of another’s desire and discovering self-autonomy. The bride,
initially a passive object shaped by the sculptor’s will, represents
how women are often objectified and controlled. As she gains self-
awareness, her rejection of the sculptor’s advances becomes a
powerful metaphor for reclaiming freedom and identity.

Duffy explores themes of consent and autonomy, illustrating the

bride’s transformation from an inanimate object into a self-aware
individual who rejects the notion that she exists for male pleasure.
This resistance highlights the broader struggle against societal
expectations, showing that self-determination is an act of defiance
against oppressive power structures. Ultimately, the poem
celebrates the reclamation of identity, freedom, and the power to
define one’s own existence.
 STANZA 1
COLD, I WAS, LIKE SNOW, LIKE IVORY.
I THOUGHT HE WILL NOT TOUCH ME,
BUT HE DID

In the opening stanza Galeta describes herself as "Cold [...] like snow" or "ivory." These
similes emphasise Galatea's coolness and hardness. Snow and ivory are also both
white, a colour typically associated with purity, ivory also symbolising the rigidity
and firmness of her statued state. Thus, Galatea establishes how, as a statue, she lacks
human warmth, softness, and sexuality.
Galatea believes that her stony, clean, and pure appearance will dissuade Pygmalion
from making a pass at her—"I thought He will not touch me"—but she's woefully
mistaken. She concludes the stanza with grim simplicity: "But he did." Since Galatea is
essentially an inanimate object that cannot speak up for herself, the final line conveys
that she doesn't invite, consent, or even respond to Pygmalion's touch; rather, he acts
entirely according to his own unpleasant urges and impulses. Galeta’s use of a short,
3 worded conclusion implies how uncomfortable she felt after having to bear
Pygmalions touches.
 STANZA 2
HE KISSED MY STONE-COOL LIPS.
I LAY STILL
AS THOUGH I’D DIED.
HE STAYED.
HE THUMBED MY MARBLED EYES.

Here, the imagery of "stone-cool lips" suggests a sense of emotional or physical numbness.
The comparison to death ("as though I’d died") reinforces the speaker's lack of
responsiveness and the heavy weight of stillness. This conveys a feeling of being trapped
or immobilized. The use of "marbled" implies a cold, hard exterior, again evoking themes of
inaccessibility. The act of him "thumbing" her eyes can suggest an attempt to connect, yet it
feels invasive rather than intimate. This indicates a power imbalance where the speaker is
objectified.
 STANZA 3
HE SPOKE -
BLUNT ENDEARMENTS, WHAT HE’D DO AND HOW.
HIS WORDS WERE TERRIBLE.
MY EARS WERE SCULPTURE,
STONE-DEAF SHELLS.
I HEARD THE SEA.
I DROWNED HIM OUT.
I HEARD HIM SHOUT

The speaker expresses her emotional and psychological detachment from Pygmalion's words,
highlighting her resistance to his attempts to control her. His "blunt endearments" refer to a pointless
speech lacking sensitivity & genuine affection. “His words are terrible” as they are mechanical and
oppressive, revealing his desire to shape her into an idealized version of herself, resulting in
overwhelming and violent language. By likening her ears to "stone-deaf shells," she underscores
her refusal to listen or be affected by him, symbolizing her lack of agency. However, she hears the
sea instead, using it as a mental escape and a way to block out his voice, suggesting her growing
autonomy. Despite this, Pygmalion’s voice grows louder, his shouting reflecting his frustration and
inability to control her. The stanza ultimately portrays the speaker’s internal struggle against
Pygmalion's control, using sensory imagery to convey her rejection and newfound power.
 STANZA 4
HE BROUGHT ME PRESENTS, POLISHED PEBBLES,
LITTLE BELLS.
I DIDN’T BLINK,
WAS DUMB.
HE BROUGHT ME PEARLS AND NECKLACES AND RINGS.
HE CALLED THEM GIRLY THINGS.
HE RAN HIS CLAMMY HANDS ALONG MY LIMBS.
I DIDN’T SHRINK,
PLAYED STATUE, SHTUM.

LANGUAGE AND TECHNIQUE

Materialism and Objectification:The listing of gifts ("polished pebbles, little bells, pearls, necklaces, rings") underscores how the man
attempts to control and seduce the speaker through materialism. These items, particularly associated with adornment, symbolise how
women are objectified and valued for their appearance. Duffy’s choice to include "girly things" is a direct critique of how patriarchal
societies reduce women’s identities to superficial objects of male desire. The repetition of and in the list emphasises how these gifts
accumulate, as if her worth is being measured by these material tokens.

Symbolism:
“Played statue” serves as a metaphor for the bride’s passive resistance. Her silence (“shtum”) and stillnessrepresent a refusal to engage with
the sculptor’s desires. This metaphor links back to the theme of autonomy: although shaped by the sculptor’s will, she reclaims her
agency by choosing not to respond. Her body, an object of desire, resists conforming to the male gaze.
 STANZA 4
HE BROUGHT ME PRESENTS, POLISHED PEBBLES,
LITTLE BELLS.
I DIDN’T BLINK,
WAS DUMB.
HE BROUGHT ME PEARLS AND NECKLACES AND RINGS.
HE CALLED THEM GIRLY THINGS.
HE RAN HIS CLAMMY HANDS ALONG MY LIMBS.
I DIDN’T SHRINK,
PLAYED STATUE, SHTUM.

Tactile Imagery:
The description of his “clammy hands” conveys discomfort and repulsion, emphasising the oppressive nature of the male
figure’s touch. The tactile imagery reflects her physical entrapment while subtly reinforcing her emotional detachment from
his advances. His desire for her submission is further symbolised by his invasive, “clammy” actions, which she silently
endures.

Tone and Irony:

The bride’s refusal to shrink from his touch reflects a tone of quiet defiance. She maintains control over herself, using silence
and physical non-reaction as weapons against his advances. This ironic subversion of passivity demonstrates the power of
inaction in asserting autonomy, challenging patriarchal expectations that women should respond submissively.
 STANZA 5
HE LET HIS FINGERS SINK INTO MY FLESH,
HE SQUEEZED, HE PRESSED.
I WOULD NOT BRUISE.
HE LOOKED FOR MARKS,
FOR PURPLE HEARTS,
FOR INKY STARS, FOR SMUDGY CLUES.
HIS NAILS WERE CLAWS.
I SHOWED NO SCRATCH, NO SCRAPE, NO SCAR.
HE PROPPED ME UP ON PILLOWS,
JAWED ALL NIGHT.
MY HEART WAS ICE, WAS GLASS.
HIS VOICE WAS GRAVEL, HOARSE.
HE TALKED WHITE BLACK.

In this stanza, Duffy explores the disturbing dynamics of how Pygmalion tried to control
and objectify Galeta. Pygmalion’s touch is invasive as "he let his fingers sink into [her] flesh,"
which suggests that he's treating her body as something malleable and compliant, and he’s
seeking physical responses from her like bruises or marks which Galeta describes as
"purple hearts," "inky stars". This reflects his desire to possess and manipulate her, reducing
her humanity to mere materiality. His touch soon becomes more aggressive, his "nails”
were metaphorically compared to the sharp “claws," of an animal intensifying his violence
and his attempts to dominate her.
 STANZA 5
HE LET HIS FINGERS SINK INTO MY FLESH,
HE SQUEEZED, HE PRESSED.
I WOULD NOT BRUISE.
HE LOOKED FOR MARKS,
FOR PURPLE HEARTS,
FOR INKY STARS, FOR SMUDGY CLUES.
HIS NAILS WERE CLAWS.
I SHOWED NO SCRATCH, NO SCRAPE, NO
SCAR.
HE PROPPED ME UP ON PILLOWS,
JAWED ALL NIGHT.
MY HEART WAS ICE, WAS GLASS.
HIS VOICE WAS GRAVEL, HOARSE.
HE TALKED WHITE BLACK.
Despite his forcefulness, Galeta remains unyielding, showing "no scratch, no scrape, no scar." Duffys use of the
anaphora emphasises how she’s remained perfect despite Pygmalion’s constant abuse and this lack of
response frustrates him, as it denies him the power to leave a visible impact on her body. His attempts to
exert control also extend to speech, as he "jawed all night" — an expression of his dominance over their
interaction, trying to fill the silence with his voice. Yet his words hold no meaning for her, as her “heart was
ice, was glass” indicating his inability to reach her emotionally even though her heart was clear, empty and
easily breakable. Through this, Duffy shows how women are often treated like objects, with their
independence and choices ignored. The speaker’s lack of reaction makes it clear that Pygmalion's attempts to
control her are pointless.
 STANZA 6
SO I CHANGED TACK,
GREW WARM, LIKE CANDLE WAX,
KISSED BACK,
WAS SOFT, WAS PLIABLE,
BEGAN TO MOAN,
GOT HOT,
GOT WILD,
ARCHED, COILED, WRITHED,
BEGGED FOR HIS CHILD,
AND AT THE CLIMAX
SCREAMED MY HEAD OFF - ALL AN ACT.

LANGUAGE AND TECHNIQUE

Simile and Transformation:
The simile “like candle wax” indicates the bride’s shift from passive resistance to active compliance. Wax, which melts and reshapes when
heated, symbolizes how she intentionally molds herself to fulfill the sculptor’s desires. However, this warmth is feigned, underscoring the
theme of performance as a tool for reclaiming autonomy. The speaker’s pliability is artificial, serving as a calculated manipulation to gain
power over him.

Hyperbole and Irony:

Duffy’s use of hyperbole in the phrases “got wild” and “begged for his child” dramatizes the bride’s exaggerated performance of passion.
The bride’s behavior is purposefully extreme, highlighting the irony of her compliance. Her performance of femininity is so over-the-top
that it mocks the sculptor’s desires, revealing that his control over her is illusory. The phrase “screamed my head off” further underscores
the performative nature of her actions, showing that she is playing into his fantasies purely for her own ends.
 STANZA 6
SO I CHANGED TACK,
GREW WARM, LIKE CANDLE WAX,
KISSED BACK,
WAS SOFT, WAS PLIABLE,
BEGAN TO MOAN,
GOT HOT,
GOT WILD,
ARCHED, COILED, WRITHED,
BEGGED FOR HIS CHILD,
AND AT THE CLIMAX
SCREAMED MY HEAD OFF - ALL AN ACT.

Repetition and Climax:

The rapid-fire actions (“kissed back, was soft, was pliable, began to moan”) are presented in a repetitive structure, mimicking the
escalating physicality of the encounter. This repetition creates a sense of false urgency, paralleling the build-up to the climactic
moment where the bride’s performative passion peaks. However, the abrupt revelation that this was “all an act” undercuts the entire
performance, emphasising her autonomy in choosing to manipulate rather than submit.

Tone and Power Shift:

The bride’s tone throughout the stanza shifts from mock compliance to triumphant revelation. Her statement that it was “all an act”
is a decisive moment of power reclamation, as she reveals that her earlier compliance was purely strategic. Duffy’s portrayal of this
power reversal demonstrates the bride’s newfound self-awareness, as she consciously controls the sculptor through performance,
ultimately freeing herself from his influence.
 STANZA 7
AND HAVEN’T SEEN HIM SINCE.
SIMPLE AS THAT
In the lines "And haven’t seen him since. Simple as that," the speaker conveys a
stark sense of finality and detachment. the speaker reveals that the relationship
has abruptly ended, emphasising the ephemeral nature of their connection.
The phrase "haven't seen him since" suggests a deliberate choice to cut ties,
implying that the speaker is reclaiming their autonomy after initially being passive
and cold. The simplicity of "Simple as that" contrasts with the complex emotions
experienced earlier, highlighting the stark transition from an intense interaction to
a decision of self-preservation.
This conclusion reinforces the theme of emotional resilience and the power
dynamics within relationships, suggesting that the speaker, despite their previous
performance, ultimately chooses to prioritize their own well-being. The starkness
of the statement encapsulates a sense of empowerment following a period of
vulnerability.
 CONCLUSION
Through this poem, Carol Ann Duffy brings
out how Pygmalion's desire for the perfect
women is rooted not in genuine care or
love, but in his egotistical need to control
and dominate the one he's set his heart on.
Throughout the poem, it's clear that
Pygmalion's romantic gestures revolve
only around his own desires not Galatea's.
THANK YOU.
GROUP 1