Appropriation is the translation of elements of one text into another text, in which the old elements are transformed to suit the responders of the new social context. Similarly, with the topic of marriage, issues of it have been taken from Pygmalion, which had been created within the context of the late 19th century, appropriated and translated into 20th century marriage issues as in Pretty Woman. .
Firstly, the societal attitudes and ideals towards marriage differ vastly in these two periods. In Pygmalion, which had been created in the context of the late 19th century, marriage had moreso of being seen as an economic relationship in which women were dependent on their husbands for financial sustenance. Pygmalion vividly demonstrates this as in the epilogue, Higgins taunts Freddy because of his inability to provide financially for Eliza. This point is further reinforced as Eliza exclaims: "Why did you take away my independence, I am a slave now, for all my fine clothes." However, in Pretty Woman, which is created in the context of the late 20th century, the marriage ideals of Pygmalion had been transformed to that of spiritual unity and love, to suit the 20th century responder. Though initially, Vivian is overwhelmed at the prospect of making $300, however, through the plot's development of her falling in love with Edward, not even a New York apartment or a limitless credit on his bank cards could break her away from him as she refuses the offer, because she only wants to be rescued and live happily ever after with her "white knight". As can be seen, the attitude to marriage in the 19th century context of Pygmalion contrasts sharply to that of Pretty Woman, a 20th century text.
Another aspect of marriage which has been vastly altered through the appropriation of Pygmalion into Pretty Woman is the nature of the relationship within marriage themselves. .
In Pygmalion, due to the limited capacity of a stage, Freddy and Eliza demonstrate their love for each and to the responder by kissing (shown by stage directions).
