In the Induction of his play “Taming of the Shrew,” Shakespeare foreshadows one of the major motifs of the play: the role and perception of women in society. He does so by describing the characteristics of Christopher Sly’s “wife” (who is actually the Page in disguise). The Lord instructs the Page to have a “soft low tongue and lowly courtesy,” “show her duty” and be a “humble wife” (5). When the Page acts the role of the wife, he says, “I am your wife in all obedience” (9) and “Here, noble lord: what is thy will with her?” (8). Shakespeare uses subservient diction to demonstrate that women were expected to be respectful and humble in the presence of men. This expectation is reiterated in Act One through the contrasting descriptions of Katharina and Bianca. Katharina is described as an “irksome brawling scold” (24). Her negative reputation is associated with the fact that she is “wonderful froward” – willfully contrary and not easily managed. Clearly, lack of submission was an intolerable trait in a female. Katharina is portrayed as the exact opposite of her sister Bianca, who is quiet, sweet and beautiful. When Lucentio falls in love with Bianca, he describes her as a “young modest girl,” a description that emphasizes her lack of a personal will. Shakespeare associates beauty with modesty and acquiescence – traits that were expected in well-bred women of the time.
In the induction of the Taming of the Shrew by William Shakespeare, the Lord uses animalistic and filthy diction to describe Sly as well as visual imagery to describe his plans to trick Sly. When the Lord sees Sly passed out in the alehouse, he exclaims, “O monstrous beast! how like a swine he lies! / Grim death, how foul and loathsome is thine image!” (Ind. i. 30-31). The words “monstrous,” “beast,” and “swine” not only depicts Sly’s unsightly appearance, but it also shows his lowly status of a beggar that is relatable to that of an animal (specifically a swine/pig). This idea is further emphasized with the use filthy diction including “foul” and “loathsome” to describe Sly. These descriptions of Sly are important because they stand in sharp contrast to what the Lord makes him through his plans: a lord of high status. In fact, the Lord’s use of visual imagery to describe his plans to have Sly “wrapp’d in sweet clothes, rings put upon his fingers, / A most delicious banquet by his bed, / And brave attendants near him when he wakes,” (Ind. i. 34-36) shows the luxuriousness of Sly’s new status, a direct antithesis of his actual “foul” and “loathsome” self. When the Lord questions, “Would not the beggar then forget himself?” (Ind. i. 37), he believes that Sly (and the others) will eventually delude himself into actually believing that he is a Lord despite initial protests and disbelief and forget his status as a beggar, which actually happens later in the induction. This passage is important to the whole play because it represents Katrina’s change in the actual play. Initially, Katrina is a vicious, shrew-like woman who is unattractive to all the men. However, Petruchio plans to “tame” her by setting up different scenarios such as ruining their wedding and being outrageously fickle. By constantly treating her poorly, she eventually caves in becomes a tame, docile, and obedient wife who all but forgets her past personality of a shrew.
Petruchio. Signior Hortensio, ‘twixt such friends as we Few words suffice; and therefore if thou know One rich enough to be Petruchio’s wife – As wealth is burthen of my wooing dance – Be she as foul as was Florentius’ love, As old as Sibyl, and as curst and shrewd As Socrates’ Xanthippe or a worse, She moves me not, or not removes, at least, Affection’s edge in me, were she as rough As are the swelling Adriatic seas. I come to wive in wealthily in Padua; If wealthily, then happily in Padua.
In this excerpt from The Taming of the Shrew, the author William Shakespeare uses allusion/similes and confident language to characterize Petruchio, suitor to Kate. In context, this excerpt occurs in Scene 2 of Act 1 in which Petruchio and his servant Grumio first arrive in Padua from Verona. We can see many uses of allusion in conjunction with similes to characterize Petruchio as a confident and determined person. In line 68, Shakespeare writes “Be she as foul as was Florentius’ love”. In this line, “foul” is actually a positive term meaning “homely”. “Florentius” is an allusion to John Gower’s Confessio Amantis, in which a knight marries a hag who actually turns out to be a beautiful woman. Shakespeare also makes other allusions to people such as Sibyl (line 69), a woman in Greek mythology who is of remarkably old age, and Xanthippe (70), the wife of Socrates, who is supposedly a harsh and argumentive person. The author also writes in line 71-73, “She moves me not, or not removes, at least, / Affection’s edge in me, were she as rough / As are the swelling Adriatic seas”. This compares the personality of someone who is wild and uncontrollable, similar to the rough waves of the Adriatic sea. Petruchio is portrayed as a confident suitor who believes that no matter the personality or character of his wife, he will be successful and wealthy. In addition, Shakespeare also uses confident language to show Petruchio’s character in the play. In the excerpt, Petruchio says “One rich enough to be Petruchio’s wife - / As wealth is burthen of my wooing dance” (66-67), which shows his confident, almost arrogant self-image. Petruchio says that his wife must be very rich in order to be worthy of his “wooing dance”. Also, at the end of the passage, Petruchio goes on to say how he comes “to wive it wealthily in Padua” (74), further displaying his confidence and determination about his plans.
In the induction of “Taming of the Shrew” by William Shakespeare, he uses sexual references to objectify women. Throughout the entire induction, women are described by little more than their looks. Lord says, “We’ll show thee Io as she was a maid And how she was beguiled and surprised, As lively painted as the deed was done.” Io is one of Jove’s mistresses and Lord describes her being charmed, in a most likely deceptive way, and used by a man. Lord describes her “as lively painted”. Paintings are often 2d works of art that physically lack depth. The reason Lord describes her that way is because she is nothing more than something to look at and use for the men. Sly also objectifies and belittles his wife Page when he says “Madam wife, they say that I have dream’d And slept above some fifteen year or more.” Sly mentions the idea of him and his wife sleeping together, not an unusual idea because they are married. However, he says that he has “slept above” her. In general, this quote leads the reader to believe that they sleep together but the word “above” suggests that he is on a sort of pedestal and is of higher value than she is. The reason Shakespeare specifically said sleeps above is because women were sexually objectified and other than for that purpose, wives were seen as having little to no value to the men.
In the induction of “Taming of the Shrew” by William Shakespeare, repetition and personification to show that Sly accepts that he is a Lord because it is what he has always dreamed. Being a beggar, Christopher Sly has never had much to his name, but to wake up being called “Lord” must be something in his wildest dreams. It was so easy for Sly to be convinced by his servants because he was waking up to a great life instead of the disappointing life he left behind. When describing what Sly could do today, Lord uses repetition in the words “wilt thou…” to show how many options that Sly can have now that he is in a higher class (6). By suggesting activities such as listening to music, napping, taking a walk, riding horses, and hunting, Lord shows Sly the wealth that he has. When Sly hears of all the things he can now do, it makes it more believable to him because he wants to believe that this life is real. If you want something bad enough, it is easy to persuade yourself that is has actually happened. Second, Lord uses personification when describing the bed he will sleep on as “lustful” (6). The bed is described as lustful because it is so inviting and “begs” to be laid on. By describing the bed this way, Shakespeare makes Sly’s new life seem more inviting and increases his wishes for wealth. His refusal to believe the Lord’s story would most likely result in becoming a beggar again. Even after they say these things, Sly thinks “Or do I dream? or have I dream’d till now? I do not sleep: I see, I hear, I speak; I smell sweet savours and I feel soft things. Upon my life, I am a Lord indeed” (7). As a reader, this makes me believe that Sly mostly believed Lord because he was surrounding by tempting wealth and wanted to be a part of the upper class.
In the play, “Taming of the Shrew,” by William Shakespeare, the play begins with an induction that uses realism and personification to set a dominant effect of a separation between each character and the class rank difference between each. Sly degrades the servant by commanding her to her “cold bed” (7-8). By using the realism of the fact that her bed literally contains no warmth, it implies that she is impoverished and is not able to pay for something so basic and simple like a warm bed. It is ideal for every person or child to at least have a bed to sleep in at night, but the servant does not, showing she is part of such a low class that she can not even afford an object many people in the society consider a necessity for living. As the story of the induction moves on, the Lord describes the Sly and compares him to animal or “O monstrous beast, how like a swine he lies!”(30). An animal is not even a human what so ever and the ideal animal has no poise, manners, class, nor money compared to the human race. Since Sly is being compared to an animal it implies that he has all of the bad qualities of a “beast” not obtaining any human qualities. In the Lord’s eyes, Sly is a spitting image of an animal proving that he is the lowest of all economic classes.
On lines forty one through forty four, the Lord states, “Then take him up and manage well the jest. / Carry him gently to my fairest chamber, / And hand it round with all my wanton pictures.” When the Lord states “manage well the jest,” this means to carry out the ‘joke’ in style. The Lord is referring to the Sly as a joke, not a human worth his time, not worth anyone’s time which shows that Sly is no real person, has no money, no valued qualities and is therefor at the bottom of all classes. Although, when the Lord talks of himself, he adds far more poise, elegance, and class to the conversation because of his economical ranking within society. Within this quote he states the phrase “to my fairest chamber” referring to his “best bedroom.” Since the Lord is giving the option of his best bedroom he clearly has far more within his household since he is so rich and can pay for each. Finally implying that the Lord is at the top of the economical classes. Similarly to the quote used above, on lines fifty three through fifty five, the Lord says, “And say, ‘Will ‘t please your Lordship cool your hands?’ / Someone be ready with a costly suit, / And ask him what apparel he will wear.” First, ‘Lordship’ is capitalized in the middle of the sentence and only nouns are capitalized within the middle of sentences. This implies that the Lord is above each and every social and economical class since his ‘name’ or status is important enough to be capitalized. Also, on the last line, Shakespeare states “apparel” showing the fact and idea that he has a large selection of clothes that only the richest would be able to pay for proving the separation of the classes and that the Lord is above all.
"Am I a lord, and have I such a lady? Or do I dream? Or have I dreamed till now? I do not sleep: I see, I hear, I speak. I smell sweet savors and I feel soft things. Upon my life, I am a lord indeed And not a tinker, nor Christopher Sly. Well, bring our lady hither to our sight, And once again, a pot o' the smallest ale." (Scene II. Lines 53-60).
In the induction, Shakespeare is writing about how a Lord plays a trick on Christopher Sly, and he is doing this because he wants to convince Sly that he is suffering from madness and he doesn't believe the servants until they mention a wife. I really thought this line was and creative because he is using this prank to set the tone as humorous for the comedy that is about to take place regarding this poem. Shakespeare creates this induction to actually foreshadow a different aspect the play will actually focus on. Some examples would include the class system and social status, and how people react to one another or how they act according to how they are treated, and lastly as well as the aspect of deception and disguise as well as how people are treated differently according to looks. An example of the class system and social status taking place in lines 3-4 of the induction where Sly yells “Y’ are a baggage: the Slys are no rogues; look in the chronicles; we came in with Richard Conqueror.” This line showcases how Sly is using the word “baggage” to actually mean the word “whore” and how she doesn’t seem to know anything at all because she is a woman. Men usually have complete power in their family, so with the constant insults that the woman is receiving she must be able to cope with it and can’t voice her opinions at all.
GRU: Will he woo her? Ay, or I’ll hang her. PET: Why came I hither but to that intent? Think you a little din can daunt mine ears? Have I not in my time heard lions roar? Have I not heard the sea puff’d up with winds Rage like an angry boar chafed with sweat? Have I not heard great ordnance in the field And heaven’s artillery thunder in the skies? Have I not in a pitched battle heard Loud ‘larums, neighing steeds, and trumpets’ clang? And do you tell me of a woman’s tongue, That gives not half so great a blow to hear As will a chestnut in a farmer’s fire? Tush, tush! Fear boys with bugs. GRU: For he fears none.
In this excerpt, Shakespeare characterizes Petruchio as a man with high self-confidence and machismo through the use of rhetorical questions, auditory imagery, and battle diction. Petruchio compares what he has heard about Katharina—that she is an “irksome, brawling scold” (I, ii, 24)—to other unpleasant experiences that he has supposedly endured during his lifetime. He asks rhetorical questions such as “Think you a little din can daunt mine ears? / Have I not in my time heard lions roar?” to emphasize that he does not fear anything so insignificant as “a woman’s tongue.” Shakespeare uses these rhetorical questions to emphasize Petruchio’s self-confidence; Petruchio speaks as if he were daring someone to contradict him while knowing that no one will. Petruchio shows his machismo through his use of auditory imagery such as “lions roar,” “rage like an angry boar,” “heaven’s artillery thunder,” and “Loud ‘larums, neighing steeds, and trumpets’ clang.” This imagery, suggestive of battle and danger, contrasts with the imagery used to describe the sound of Katharina’s tongue, which “gives not half so great a blow to hear / As will a chestnut in a farmer’s fire.” It is evident that Petruchio does not believe a woman can pose a threat to his comfort and well-being. He even suggests that the other men’s aversion to Katharina makes them weak when he says “Tush, tush! Fear boys with bugs.” Despite Petruchio’s macho attitude, the reader is forced to question whether he has actually experienced battle as he claims. Earlier in Act I, Petruchio states that he has come to “seek [his] fortunes farther than at home, / Where small experience grows” (I, ii, 20), suggesting that Petruchio has had little worldly experience. The implication that Petruchio is fabricating stories of his past deeds is reinforced when his servant Grumio says, “For he fears none.” The reader can infer that Grumio’s comment is sarcastic due to Shakespeare’s previous characterization of Grumio as an incompliant prankster. This excerpt implies that Petruchio has an inflated sense of self-assurance.
I agree with your idea that Petruchio boasts self-confidence. Another example that supports your idea is when he says that he is looking for a wife “rich enough to be Petruchio's wife,” (I. ii. 68). Petruchio’s sole requirement for his wife is to be rich. However, she cannot only be rich, but she must be rich “enough” for Petruchio. The fact that he says the word “enough” shows that any other woman is not good enough for him. He clearly places himself above all others, and his cocky and arrogant attitude seems unappealing, However, I think it is interesting that Shakespeare uses his attitude as a humorous and comedic effect. If fact, throughout the play, his cocky attitude is what brings laughs from the audience as he wreaks havoc in Kathrine’s life until she is finally “tamed.”
In the induction of “Taming of the Shrew” by William Shakespeare, the author uses three different types of language – rough, eloquent, and demeaning – to convey the disparity between the rich and the poor classes. In the induction, a beggar named Sly is taken in by the Lord and is tricked into thinking that he is actually the Lord. In the first few lines of the Induction, we can see examples of rough language spoken by Sly. In line 6, Sly says, “Sessa!”, which when translated means “scram” or “shut up”. This is an example of rough language used by Sly to characterize his lower class behavior. Later, Sly then says, “I’ll not budge an inch, boy” (Ind., i, 14). In this context, “boy” actually means “wretch”, and the use of this rough language characterizes Sly as a coarse and rugged personality. Shakespeare also uses eloquent language to characterize the Lord and his servants. An example of this eloquent language is when the Lord says, “Thou art a fool. If Echo were as fleet, / I would esteem him worth a dozen such. / But sup them well and look unto them all. / Tomorrow I intend to hunt again” (Ind., i, 26-29). The Lord speaks in a very formal manner with eloquent language, further showing his high status and class. In addition, the author uses demeaning language to convey the Lord’s view of Sly when Sly is passed out. The Lord says, “O monstrous beast, how like a swine he lies! / Grim death, how foul and loathsome is thine image! / Sirs, I will practice on this drunken man” (Ind., i, 34-36). The Lord is displaying his disgust with Sly’s appearance and manner by using phrases like “like a swine he lies” and “foul and loathsome is thine image” to describe a poor and filthy character, which is how the Lord thinks of Sly.
Excerpt from Act I Scene I, lines 75-93 (Pages 13-14)
BAP: Gentlemen, that I may soon make good What I have said, Bianca, get you in: And let it not displease thee, good Bianca, For I will love thee ne'er the less, my girl. KATH: A pretty peat! it is best Put finger in the eye, an she knew why. BIAN: Sister, content you in my discontent. Sir, to your pleasure humbly I subscribe: My books and instruments shall be my company, On them to took and practise by myself. LUC: Hark, Tranio! thou may'st hear Minerva speak. HOR: Signior Baptista, will you be so strange? Sorry am I that our good will effects Bianca's grief. GRE: Why will you mew her up, Signior Baptista, for this fiend of hell, And make her bear the penance of her tongue? BAP: Gentlemen, content ye; I am resolved: Go in, Bianca:
In this excerpt, Shakespeare contrasts Bianca’s and Kathrine’s personalities using both indirect and direct characterization as well as an allusion to Roman mythology. This passage begins with Baptista Molina, the sisters’ father, ordering Bianca to get into their house. He addresses her sweetly with words of love and comfort when he says “And let it not displease thee, good Bianca, / For I will love thee ne’er the less, my girl” (I. i. 77-78). It is obvious by Baptista’s tone that he adores Bianca, and when Bianca replies to her father with “Sir, to your pleasure humbly I subscribe” (I. i. 82), readers can infer that Bianca and her father have a pleasant relationship and that Bianca is very sweet and obedient- the antithesis of Kathrine. In fact, Shakespeare uses indirect characterization again when Kathrine spitefully exclaims “A pretty peat! it is best / Put finger in the eye, an she knew why” (I. i. 79-80). Kathrine’s hateful tone and her coarse language show her hot temper and harsh tongue. Her exclamations are contrasted immediately with Bianca’s dialogue filled with tranquility and obedience such as “Sister, content you in my discontent” and “My books and instruments shall be my company.” Unlike Kathrine, Bianca does not easily get riled up and maintains her composure. Shakespeare also uses direct characterization to describe Kathrine’s shrew-like personality when Gremio calls Kathrine a “fiend of hell” (I. i. 90). In the Shakespearian era, women of wealth and high status were treated with respect, and the fact that Gremio insults Kathrine shows that her personality is so contemptible that it has caused her to lose her respect. Whereas Gremio Kathrine is called a “fiend of hell,” Lucentio uses an allusion to Roman mythology to compare Bianca to “Minerva” (I. i. 85). Minerva, or Athena in Greek form, is the Roman goddess of wisdom. Through this divine allusion, Lucentio not only showers Bianca with praise, but he also places Bianca as equal to a goddess because she is the epitome of the ideal woman: beautiful, smart, and obedient.
I really liked your comments about the allusion in this act. I had not noticed the allusion to Athena in this part of the play, and I like how you related this to the foil. Your analysis made me understand how foils work, especially with Katharina and Bianca. Another piece of evidence that supports this is in the dialogue between Katharina and Bianca. Katharina first says “ A pretty peat! it is best/ Put finger in the eye, and she knew why” and then Bianca responds “Sister content you in my discontent” (I. i. 79-81). This shows how the girls are opposites in speech, with Katharina having a fiery tongue and Bianca being very calm and serene. Katharina insists that Bianca will be a pet, but Bianca seems to be happy to have a husband soon.
Your analysis is very in depth and well done. The explanation you gave about the allusions in this excerpt clearly relate to the characterization of these two characters. I also find it interesting that Shakespeare would juxtapose them in this way because they are related. Since they are sisters, one might assume that their upbringing was very similar and therefore they will have similar character traits. The irony of two women raised in the same home by the same people ending up as opposites furthers their juxtaposition.
“Petruchio Signior Hortensio, ‘twixt such friends as we Few words suffice; and therefore, if thou know One rich enough to be Petruchio’s wife, As wealth is burden of my wooing dance, Be she as foul as a Florentius’s love,* As old as Sibyl,* and as curst and shrewd As Socrates’ Xanthippe,* or a worse, She moves me not, or not removes at least Affection’s edge in me, where she as rough As are the swelling Adriatic seas. I come to wive it wealthily in Padua.” (I.ii.62-73)
Within Act one, Shakespeare begins to introduce Petruchio with the use of metaphors, talking in first person, and similes to show how strongly he cares for and desires the materialistic world and how highly he thinks of himself. Within the third line, Petruchio already starts off describing “one rich enough to be Petruchio’s wife,” meaning a women would not even come close to that position unless she had enough money to be his wife. Also, by him using first person to describe this, Shakespeare creates a tone in the reader that Petruchio feels as if he would be doing a women the honor be him even letting them have the chance to marry him. Since he speaks of himself in first person one can easily tell he thinks very highly of himself as well. When describing a women though that could possibly be his wife, the first quality they must acquire is being “rich” rather having true and raw beauty or a heart that can heal all souls. This proves and shows how much Petruchio cares and values the materialistic world and that world only. From lines 66-73 Petruchio then compares this women to many horrible, ugly things, with the use of similes, and says that none of those qualities would matter as long as the women had money. Even if she were “As are the swelling Adriatic seas,” in other words, as stormy as the Adriatic seas, describing her personality; it still would have no emotional or negative impact on whether or not he would marry such a woman.
I totally agree with your analysis of the portrayal of Petruchio in this passage. However, I also believe that Shakespeare uses allusion to characterize women in this play. The frequent allusions to unpleasant characters and objects such as “Florentius’ love”, “Sibyl”, “Xanthippe”, and the Adriatic seas characterize women – in this case, Kate - in a bad manner. All of these allusions are not positive ideas. This establishes women as people who must be controlled or “tamed”, hence the title of the play. This is a great example of Shakespeare making social commentary through his plays, something he does frequently.
Bap Gentlemen, importune me no farther, For how I firmly am resolved to know you; That is, not to bestow my youngest daughter Before I have a husband for the elder: If either of you both love Katharina, Because I know you well and love you well, Leave shall you have to court her at your pleasure. Gre. To cart her rather: she’s too rough for me. There, there, Hortensio, will you any wife? Kath. I pray you, sir, is it your will To make a stale of me amongst these mates?
In this scene from William Shakespeare’s play, Taming of the Shrew he uses irony to characterize the male characters in his play. Throughout the play, Shakespeare characterizes women as weak, unintelligent people, and at points as possessions. Katharina, however is none of these things. She is loud and opinionated which was considered very impolite for a lady in this time period. In this scene particularly, Shakespeare flips this stereotype on men. It is not Katharina that is weak and afraid in this scene, but instead, the men. They are disappointed when Baptista informs them he will not marry his youngest daughter until Katharina has wed. This is because the men are scared of Katharina. In a time when men were supposed to be brave and strong, they are only willing to marry someone weak that is easily controlled. Despite Katharina’s unique characteristics, she is still treated as a possession, most notably by her own father. The men speak about her as if she a good that must be sold before she goes stale. She, in her unique way, calls them out for speaking about her this way and is greatly offended by their unwillingness to marry her. In a society in which men are supposedly strong and women weak, Shakespeare characterizes his male leads as weak for their unwillingness to wed anyone that is not easily controlled.
One passage that intrigued me was the first one in Act I, Scene II where it first begins with Petruchio and Grumio, the servant, outside of Hortensio’s, their friend,house. In the conversation between Petruchio and Grumio they seem to play with words without thinking about what they were exactly going to say. This is shown here when Petruchio tells Grumio to knock.”(I.ii.5) Then Grumio replies back with “Knock, sir! whom should I knock? is there any man has rebused your worship?”(I.ii.6-7) I found that a lot of punctuation marks take place between the conversion and I believe it is used to create a tone of unnecessary confusion that is used to actually used to annoy Petruchio in order to amuse Grumio. Continuing with the conversation Grumio is still searching for who he should “knock”(I.ii.9,13) and Petruchio starts to get extremely impatient by naming him “villain”(I.ii.8,11,19) and begins to threaten to hit him by saying, “Villain, I say, knock me at this gate And rap me well, or I’ll knock your knave’s plate.”(I.ii.11-12). Grumio still refuses to give up his search on what to “knock and tired by this nonsense Petruchio uses his own knowledge and strength to put an end to the foolish game by saying; “Faith, sirrah, an you’ll not knock, I’ll ring it; I’ll try how you can sol, fa, and sing it”(I.ii.16-17). Petruchio uses his knowledge by using a heroic couplet to end the quarrel, which is exactly the way a poet would end their own poems. In order to show his strength Petruchio is able to make Grumio sing sol” and “fa.”(I.ii.17) From this passage I was able to determine that Petruchio,despite him being smart, he also appears short tempered and never wants to be outdone by another person who he believes is in a lower class than he is.
“GRE. “To cart her, rather. She’s too rough for me.— There, there, Hortensio, will you any wife? , KATH. I pray you, sir, is it your will To make a stale of me amongst these mates? HOR. “Mates,” maid? How mean you that? No mates for you, Unless you were of gentler, milder mold” (I. i. 55-62)
In Act I in “Taming of the Shrew” Shakespeare uses metaphors and archaic diction to show the audience that men believe that women need to fit certain standards to be seen as desirable. I thought that this was very apparent in the treatment of Katherine, the daughter of Baptista. She is seen as the “shrew” of the story, meaning that she has a very violent temper and speech. The men in the play are very attracted to Bianca, who is a very calm and humble. While speaking to Baptista, Gremio says that he would rather “cart” Katherine than to marry her. Shakespeare uses the archaic diction of “cart”, which is a way of public punishment, to show how Katherine is undesirable. Because Katherine does not fit society’s standards of how a woman should be, she is seen as an unsatisfactory would be wife. A metaphor is used when Hortensio says that Katherine would be courted if she was of a “gentler, milder mould”. A preferred wife is one that will stay quiet and is not a strong or opinionated woman like Katherine is. If Katherine fit a different “mould” she would be courted. Especially in this time period, men want a housewife, who will bend to their will and is not an equal in the relationship. Societal standards and sexism make Katherine seem like she is unfitting to be a wife, while her sister is the perfect example of someone who would be desirable. Because the girls are such polar opposites, Katherine’s bad characteristics stand out more, making suitors see her sister as perfect and her as damaged.
I realized that in Act II we learned a new perspective to Kate and I began to ponder the title that Kate is referred to as “Kate the crust.”(I.ii.122) Kate shows us throughout the act that she actually cares about her father’s opinions of her, and doesn’t appreciate how the father is giving all his love to her sister. “What will you not suffer me? Nay, now I see She is your treasure, she must have a husband.” (II.i.32-32) I thought this line seemed like she is speaking in a tone that feels like her heart has been broken and that she has been betrayed by someone that was close to her. Her father on the other hand feels no pity at all for her even though her emotions show that she is being rejected and unloved because she is always compared to her sister. Her father thinks that he is actually doing Kate a favor because he is saving her from having to “dance barefoot”(II.i.33), “lead apes in hell,”(II.i.34) and any other punishments that an unwed woman would face. Kate however believes that her being forced to marry means that her father would give up on the chance that she could the “perfect man”. With her not being able to find the “perfect man” she begins to feel hurt and her interaction with her father causes her to have a strong hatred for other men. This is described by her taking “revenge”(II.i.36) on her father by rejecting all other men from marriage. These lines 32-36 really illustrate that Kate is just as complex and emotional as any other ordinary human being.
I completely agreed with your analysis of this act of the play. I thought it was interesting that you brought up that Katherine was angry at her father for forcing her to marry a man that she may not want to. I thought that she may be jealous of Bianca more than she is angry at her father. Her comments such as “her silence flouts me” and “she is your treasure” made me think that she felt resentful towards Bianca because of her desirable traits (II. i. 31, 34). Also, she has her father’s love and is the “favorite” child. Katherine wants to be like her sister in that she has the qualities that men look for in a wife, unlike herself.
PET. You lie, in faith, for you are called plain Kate, And bonny Kate, and sometimes Kate the curst. But Kate, the prettiest Kate in Christendom, Kate of Kate Hall, my super-dainty Kate, For dainties are all Kates, and therefore, Kate, Take this of me, Kate of my consolation. Hearing thy mildness praised in every town, Thy virtues spoke of, and thy beauty sounded – Yet not so deeply as to thee belongs – Myself am moved to woo thee for my wife. KAT. Moved! In good time, let him that moved you hither Remove you hence. I knew you at the first You were a movable. PET. Why, what’s a movable? KAT. A joint stool. PET. Thou hast hit it; come sit on me. KAT. Asses are made to bear and so are you. PET. Women are made to bear and so are you. KAT. No such jade as you, if me you mean. (II.i.184-201)
In this excerpt of William Shakespeare’s play “Taming of the Shrew”, we can see the first encounter between Petruchio and Kate, in which we can specifically see Petruchio’s attempts to woo Kate and Kate’s termagant behavior. In this passage, the author uses praising language, repetition, and condescending language to describe Petruchio and Kate’s first encounter together. In the beginning of the passage, we can see Shakespeare’s use of praising language to show Petruchio’s affection towards Kate and what he has previously heard of her. The author writes “the prettiest Kate in Christendom” (line 187) and “Thy virtues spoke of, and thy beauty sounded” (192). These lines show the praise and admiration that Petruchio has for Kate in his attempts to woo her. Later, Petruchio also says “Myself am moved to woo thee for my wife” (194), which shows his desire to wed Kate. In addition, the author also uses repetition with the word “Kate” to convey Petruchio’s admiration of Kate and to put emphasis on Petruchio’s thoughts about Kate. We can see this technique being used throughout lines 185 to 190. In the later part of the excerpt, Shakespeare uses condescending language coming from Kate to convey her shrewlike qualities. In line 194, Kate immediately starts to insult Petruchio, calling him a “movable” or a piece of furniture. Petruchio is confused by this statement and is further attacked with more insults. Kate then says “Asses are made to bear and so are you” (199) and “No such jade as you, if me you mean.” (201). Kate called Petruchio an “ass” and a “sorry horse”, insulting the shocked Petruchio.
I agree with your idea that Shakespeare uses condescending language to show Kathrine’s shrew-like qualities. I also think that Shakespeare uses a lot of metaphors, puns, and repetition in the interchange between Kathrine and Petruchio to show Kathrine’s temperament, stubbornness and intelligence- qualities that were undesirable and discouraged within women at the time. For example, the play on words they have with the “buzzard,” “wasp,” “stinger,” and “tail” shows Kathrine’s knowledge and advanced control of speaking poetically and cleverly. I think it is interesting that Shakespeare puts all these “manly” or “masculine” qualities in Kathrine to show the power struggle Kathrine and Petruchio have, and also the social difference between genders at the time. Petruchio clearly wants power in the form of wealth and submission from Kathrine while Kathrine desires to go against the standard norms of woman and superiority over other people in including her sister, father, and other men.
“Petruchio I pray you do. I will attend her here - [Exit all but PETRUCHIO.] And woo her with some spirit when she comes. Say that she rail, why then I’ll tell her plain She sings as sweetly as a nightingale. Say that she frown, I’ll say she looks as clear As morning roses newly wash’d with dew. Say she be mute and will not speak a word, Then I’ll commend her volubility, And say she uttereth piercing eloquence. If she do bid me pack, I’ll give her thanks, As though she bid me stay by her a week. If she deny to wed, I’ll crave the day When I shall ask the banns* and when be married. But here she comes-and now Petruchio, speak. Enter KATHRINE Good morrow, Kate, for that’s your name, I hear.” (II.i.173-186)
Within the second act, Petruchio presents himself in a new way, and the audience sees him in a new light, as he meets and greets Kathrine for the first time before he marries her. Similarly discussed in my previous blog, Petruchio, is a very self centered man that thinks very highly of himself and believes that he is completely above every single person. Although, in this act, Petruchio shows some more sympathy and a caring side to his personality but it’s only a mask. He uses this “sympathetic” side as a mask to disguise his real motives and beliefs following this arranged marriage. Shakespeare shows this mask that Petruchio has with the use of visual and auditory imagery. Above shows a quote where Petruchio is talking to himself telling himself all the things he would say to her no matter her first reaction to seeing him. Petruchio has to plan out every reaction proving that no matter what she would say or do, he already had an idea as to what he would say proving it all fake. He would not be going off of his true feelings and rather he would be hiding behind this imaginary mask he has to show this fake love he has for her. Towards the end Petruchio speaks in first person showing that he still thinks very highly of himself as well. Right after he says that, and Katherine walks into the room, he doesn't even have the decency to ask her for her real name, rather he names her and gives her a nickname because he feels as if he has enough authority over her as well; bringing out another side to him, his self pride that enables him to feel as if he can degrade women.
Excerpt from Act II, Scene I, lines 137-144 (Page 32)
PET: Why, that is nothing. For I tell you, father, I am as peremptory as she proud-minded; And where two raging fires meet together, They do consume the thing that feeds their fury. Though little fire grows great with little wind, Yet extreme gusts will blow out fire and all. So I to her and so she yields to me, For I am rough and woo not like a babe.
In this excerpt, Shakespeare uses metaphors and audacious diction to represent Kathrine and Petruchio’s temperamental and stubborn personalities. Petruchio uses a metaphor to compare Kathrine and himself to “raging fires” (II. i. 140). This is fitting for Kathrine who is infamous for her fiery temperament and tongue, and she is often associated with the devil and hell (for example, “fiend of hell” (I. i. 90)). Petruchio also compares himself to a fire not only because of his own fickle and stubborn personality, but also because he believes himself to have power comparable to that of Kathrine’s; all the other men are cannot even fathom of being with Kathrine, but Petruchio seems to see her as a challenge that makes him superior to others. In fact, he uses another metaphor to compare himself to an “extreme gust” (II. i. 142) because he knows that with little wind only helps to fan a fire, or in other words, little or passive action will only cause Kathrine’s hellish personality to become worse. By becoming an “extreme gust,” he vows to extinguish her inner flame by radical and drastic actions until she “yields to” him (II. i. 143). Shakespeare also uses audacious language and diction to enhance Petruchio’s masculinity, a key symbol of power in the Shakespeare’s time. Petruchio always emphasizes his power and self-confidence whenever he speaks. For example, when he says to Baptista, “I am as peremptory as she [Kathrine] proud-minded” (II. i. 138), he seems to boasting authority by using the word “peremptory” as he seems confident to control Kathrine’s behavior. Also, he says, “For I am rough and woo not like a babe” (II. i. 144) to represent his masculinity with the word “rough” and maturity of age.
This dialogue stood out to me as well. It is really incredible to me that such beautiful language is used to describe a quest to rid someone of their personality. I find Petruchio admirable and I personally believe that his lack of respect for women is simply a product of the time period. The consistency of Shakespeare's comparison of fire and Kate amazes me because it portrays her personality so well. I am interested to see if the type of diction he uses to describe her will change after her and Petruchio have wed.
In Act II of “Taming of the Shrew” by William Shakespeare, the author uses the transition between Katherine and Kate to convey the sudden turn in the plot of the play. Throughout all of Act I and the first half of Act II, Katherine was referred to by her full name. The description of her, given by the other characters, consisted of mainly negative remarks. She was indirectly characterized as hot headed and violent, both frowned upon characteristics of women of that time. She is also characterized by her violent behavior seen clearly in Act II when she strikes her sister Bianca and then strikes Hortensio during their music lesson. Her character is exposed in a whole new way when Petruchio enters her room. He greets her by saying, “Good morrow, Kate; for that’s your name I hear” (II.i.186). This is among the first times that Katherine is referred to as Kate. It is important that it is Petruchio's first meeting with her because this line serves as the beginning of a plot twist. This is also shown by the time of day, morning, because that is the beginning of the day. Petruchio changes Kate in a very unexpected way. He explains his plan to, “bring you from a wild Kate to a Kate / Conformable as other household Kates” (II.i.1135-1136). He wants to change her wild ways by wedding her. To the shock of the reader, she does not object to the proposal and remains silent for the end of the scene. The change of the name symbolizes the change in the character that is caused by Petruchio.
I think your analysis is very insightful. I agree that Petruchio’s use of the name “Kate” instead of “Katharine” is significant and is part of Petruchio’s greater theme of calling Katharine things that she is not accustomed to hearing, such as “the prettiest Kate in Christendom” and “sweet as spring-time flowers.” By calling her such names, Petruchio aims to make her into a different person. The shortening of her name can also be seen as representing the truncation of her character; Petruchio will eventually take away her contentious personality and make her into a “Kate Conformable as other household Kates.”
“BAP: Why dost thou wrong her that did ne’er wrong thee? When did she cross thee with a bitter word? KATH: Her silence flouts me, and I’ll be revenged! BAP: What, in my sight?—Bianca, get thee in. KATH: What, will you not suffer me? Nay, now I see She is your treasure, she must have a husband, I must dance barefoot on her wedding day And, for your love to her, lead apes in hell. Talk not to me. I will go sit and weep Till I can find occasion of revenge.” (II. i. 29-39)
In this act, readers can see a different side to Katherine, the sharp tongued daughter of Baptista. In the first act, Katherine is viewed as vulgar and undesirable and men often hurl insults at her. Her negative qualities stand out against her sister’s peaceful ones. In this section, Shakespeare uses proverbs and allusions to past beliefs to show readers that there are reasons for Katherine’s attitude and to evoke sympathy in the reader. First, Shakespeare uses the proverb “they that die maids, lead apes in hell”. Katherine refers to herself in this proverb because she is the one that would die without marrying someone, and would go to hell for it. She is jealous of her sister because she has so many suitors, and she has none because of her independent spirit. Even though she does not seem like she wants a husband, Katherine does not want to end up alone and a maid. When Katherine talks about having to dance barefoot on her sister’s wedding day, she is alluding to a popular belief at the time. The belief is that if your younger sister gets married before you, you have to dance barefoot at their wedding to prevent yourself from staying a spinster. Katherine has a fear of never marrying, and is jealous of her sister’s suitors. Also, she is angry that her father seems to favor Bianca over her. Readers can see this through Katherine’s comments about her father’s love for Bianca, and her obvious jealousy of her favorable traits.
PET: Let specialties be therefore drawn between us, That covenants may be kept on either hand.
BAP: Ay, when the special thing is well obtain’d, That is, her love; for that is all in all.
PET: Why, that is nothing; for I tell you, father, I am as peremptory as she proud-minded; And where two raging fires meet together They do consume the thing that feeds their fury: Though little fire grows great with little wind, Yet extreme gusts will blow out fire and all: So I to her and so she yields to me; For I am rough and woo not like a babe.
BAP: Well mayst thou woo, and happy be thy speed!
This excerpt, which describes an interesting interaction between Baptista and Petruchio, foreshadows events that will occur later in the play and indicates what little say Katharine has in deciding whether or not she will marry Petruchio. The organization that Shakespeare uses in this dialogue is significant in showing that Katharine’s love is not “all in all” as Baptista says, but rather a secondary concern. Though Petruchio has never met Katharine, Petruchio and Baptista’s topic of conversation immediately after meeting one another is the dowry that Petruchio will have when he marries Katharine. Baptista is excited about the prospect of meeting a man willing to marry his “curst” daughter – so much so that he nearly forgets to consider the fact that Katharine may be unwilling to marry Petruchio. Remembering his role as a father, he says, “Ay, when the special thing is well obtain’d, / That is her love; for that is all in all.” The brevity of this line, as well as the regretful “Ay” preceding it, shows that Baptista wishes that Katharine’s love were not a concern in the matter. It also suggests that the two men will get what they want (a marriage between Petruchio and Katharine) no matter how much opposition they receive from Katharine. The inevitability of the marriage is further demonstrated through Shakespeare’s use of foreshadowing. When Petruchio describes how “two raging fires meet” and “consume the thing that feeds their fury,” he foreshadows how his abusive attitude towards Katharine will eventually be the thing to “blow out [her] fire” and tame her. Baptista, apparently oblivious to Petruchio’s threatening fire diction, wishes Petruchio good luck in winning over Katharine. By ignoring the threat of possible abuse towards his daughter, Baptista indicates the extent of his desire to be rid of Katharine.
In the third Act, Katherine and Petruchio are about to step foot in marriage but the day of the wedding, Petruchio shows late, in horrid clothing that is completely improper and inappropriate for this special occasion. With Petruchio arriving late, it gives the chance for other characters to share their piece of mind about Petruchio and his malicious ways, most importantly coming from Katherine and her views.
“Katherine No shame but mine. I must, forsooth, be forc’d To give my hand oppos’d against my heart, Unto a mad-brain rudesby full of spleen, Who woo’d in haste and means to wed at leisure. I told you, I, he was a frantic fool, Hiding his bitter jests in blunt behaviour, And, to be noted for a merry man, He’ll woo a thousand, ‘point the day of marriage, Make friends, invite, and proclaim the banns, Yet never means to wed where he hath woo’d. Now must the world point at poor Katherine, And say, “Lo, there is mad Petruchio’s wife, If it would please him come and marry her!’” (III.ii.8-20)
Katherine is overwhelmed with the embarrassment she is feeling for herself at this moment. The one who is supposed to take her hand in marriage does not even have the decency to arrive on time. She is forced into this marriage, having no choice or say in this arrangement and Petruchio still decides and feels as if he may arrive late. By Shakespeare writing, “To give my hand oppos’d against my heart,” it shows how strongly Katherine is against this marriage since she feels and knows in her heart that he is not the one. By using the body part of the heart, the one that is consistently associated with love, supports and shows that Katherine is completely miserable with only the idea of this marriage and this all has to do with Petruchio’s actions of only caring for the materialistic world. This action displays and presents Petruchio with a horrible reputation and it shows everyone the type of man he is; one that has only a real care for what Katherine possess, money and power, rather her true qualities that she has. Although he tries to cover up his real, nasty feelings with a mask that presents himself in a far more gentleman like way. This theme of an imaginary mask that he possess proves that Petruchio may seem as if he cares, but deep down he has only one real care and that is his love for the materialistic world. By this description coming from Katherine, the one who is about to be the closest to Petruchio within his life, shows how real and easily found qualities he has to the world. If Petruchio actions do not already represent it far enough, than Katherine’s actions and descriptions of him are able to show them far more to the audience coming from another character.
Excerpt from Act III, Scene II, lines 159-185 (Pages 49-80) GRE: Tut, she's a lamb, a dove, a fool to him! I'll tell you, Sir Lucentio: when the priest Should ask, if Katharina should be his wife, 'Ay, by gogs-wouns,' quoth he; and swore so loud, That, all-amazed, the priest let fall the book; And, as he stoop'd again to take it up, The mad-brain'd bridegroom took him such a cuff That down fell priest and book and book and priest: 'Now take them up,' quoth he, 'if any list.' TRA: What said the wench when he rose again? GRE: Trembled and shook; for why, he stamp'd and swore, As if the vicar meant to cozen him. But after many ceremonies done, He calls for wine: 'A health!' quoth he, as if He had been aboard, carousing to his mates After a storm; quaff'd off the muscadel And threw the sops all in the sexton's face; Having no other reason But that his beard grew thin and hungerly And seem'd to ask him sops as he was drinking. This done, he took the bride about the neck And kiss'd her lips with such a clamorous smack That at the parting all the church did echo: And I seeing this came thence for very shame; And after me, I know, the rout is coming. Such a mad marriage never was before: Hark, hark! I hear the minstrels play.
In this except, Shakespeare uses metaphors and visual imagery, and rough diction/language to portray Petruchio’s shocking crude behavior and its effects to the other characters in the play. Previously, Katherine was always associated with the devil and hell, and people pitied Petruchio for getting married to her. However, now Katherine is now compared to a “lamb, a dove, and a fool to him” (III. ii. 159). Katherine, the once vicious shrew, is now as harmless and even peaceful in comparison to the boorish Petruchio. This sudden and stark contrast really shows Petruchio’s true nature is worse than Katherine’s, and readers may get the sense that Kathrine has met her rival for power, and this time, she may not have the upper hand. Shakespeare also uses visual imagery to directly show the cringe-worthy visual of Petruchio’s crude behavior and its effect to the audience. For example, when he hits the priest for dropping his book, Shakespeare writes, “The mad-brain'd bridegroom took him such a cuff / That down fell priest and book and book and priest” (III. ii. 165-166) which is almost immediately followed by Katherine’s reaction of being “trembled and shook” (III. ii. 169). This is shocking for the readers because the great Katherine, infamous for her sharp and biting tongue and fiery temper, has been shaken by Petruchio’s appalling actions. More examples of visual imagery showing the damaging nature of Petruchio’s actions include “he stamp'd and swore” (III, ii. 169), “He calls for wine: 'A health!' quoth he, as if / He had been aboard, carousing to his mates / After a storm” (III. ii. 172-174), “And threw the sops all in the sexton's face” (III. ii. 175), and “This done, he took the bride about the neck And kiss'd her lips with such a clamorous smack” (III. ii. 180-181). The use of rough diction/language such as “stamp’d and swore,” “carousing to his mates,” “storm,” “threw,” and “took the bride about the neck” really depicts the disastrous wedding scene. Furthermore, when the kiss was described to have a “a clamorous smack / That at the parting all the church did echo” (III. ii. 180-181), Shakespeare inputs another meaning in those lines to show that not only is Katherine’s humiliation so mortifying that it has an impact like that of a clamorous smack, but also the “echo” represents the lasting effect of the humiliation in the future because echoes always rebound many times until it eventually fades, just as villager’s latest gossips and rumors do.
I think your analysis is very insightful. I definitely agree that Shakespeare’s diction contributes to creating the image of Katharine’s mortification and also evoking the reader’s sympathy. I think that Petruchio’s behavior is a calculated scheme to “tame” Katharine by giving her a taste of her own medicine. This newfound personality of Petruchio’s may not be his true personality, but rather a reflection of her own.
But for my bonny Kate, she must with me. Nay, look not big, nor stamp, nor stare, nor fret; I will be master of what is mine own. She is my goods, my chattels; she is my house, My household stuff, my field, my barn, My horse, my ox, my ass, my anything. And here she stands, touch her whoever dare. I’ll bring mine action on the proudest he That stops my way in Padua.
William Shakespeare uses several metaphors to compare Kate to household items in his play, “Taming of the Shrew”. During this scene, Petruchio is explaining that he must leave his wedding early before the bride is able to visit with her friends and family. Kate of course objects to this at first and so Petruchio begins his long explanation of how Kate is now his property. In the play it almost seems charming that he compares her to things that are actually quite valuable. Men pride themselves on their land and home. As the list goes on, however, it becomes less enchanting. He compares her to “my ass, my anything” (II.ii.1609). She seems less like a prize to be won and more like an animal needing to be controlled. Although, he does follow this with a promise to protect her. These metaphors are used to compare his love as she is his pet and in a way, contrast the current view of love as an equally beneficial partnership.
I agree with your analysis of Petruchio’s portrayal of Kate in this excerpt of the play. However, I had something to add on to your analysis. In addition to your analysis of how Petruchio compares Kate to household items, I also saw this excerpt as a characterization of Petruchio and how he is asserting his dominance in this situation. 1 line before this excerpt, Petruchio says, “Be mad and merry, or go hang yourselves.”. I think that this line shows his lack of care for what other people think about what he is doing, and this emphasizes his confidence and dominance.
KAT. No shame but mine. I must, forsooth, be forced To give my hand opposed against my heart Unto a mad-brain rudesby, full of spleen, Who wooed in haste and means to wed at leisure. I told you, I, he was a frantic fool, Hiding his bitter jests in blunt behavior. And to be noted for a merry man, He’ll woo a thousand, ‘point the day of marriage, Make friends, invite, and proclaim the banns, Yet never means to wed where he hath wooed. Now must the world point at poor Katherine And say, “Lo, there is mad Petruchio’s wife, If it would please him come and marry her.” (III.ii.8-20)
In this excerpt from William Shakespeare’s “Taming of the Shrew”, the author uses distraught and regretful language and descriptive diction to describe Kate’s despair when she realized that Petruchio might not show up to their wedding. She begins regretting ever agreeing to marry him. Soon after this excerpt, Kate storms out of the wedding party weeping. We can see the use of regretful language in the lines such as “I told you, I, he was a frantic fool,” (line 12) and “Yet never means to wed where he hath wooed.” (17). These lines describe Kate’s regrets for even thinking about marrying Petruchio. She also describes how Petruchio woos many women, only to leave them without marriage. In line 11, Kate also says “Who wooed in hast and means to wed at leisure.” which also shows Petruchio’s apparent apprehension to wed. Also, the author uses descriptive diction to convey Kate’s view of Petruchio, and how she is disappointed and mad at him. Kate uses words and phrases like “mad-brain rudesby” (10), “full of spleen” (10), and “frantic fool” to describe her feelings for Petruchio, and how he is an unpredictable “fool”. In addition, we can see how Kate characterizes herself in this situation. In lines 18 and 19, the author writes “poor Katherine” and “mad Petruchio’s wife”, respectively, to show how Kate characterizes herself as a sad person because of what Petruchio has done to her, as well as how she thinks other people will view her. Kate believes that other people will see her as a “mad” person for marrying someone as unpredictable as Petruchio.
I agree with your analysis of Katherine and her actions at the beginning of this act. One thing that I thought about was that maybe Katherine is so upset because she actually has feelings for Petruchio and wants to marry him. She puts up a facade that she wants to be independent at the beginning of the book, but when she meets Petruchio she does not say anything when he tells her father that they are getting married. I thought it was interesting that she had not agreed to marry Petruchio, but went along with his plans anyways. This may have been because of her attraction to Petruchio and their persiflage. In the third act, I was not surprised that Katherine was so upset that Petruchio was late because she actually cares for him. Plus, she wants to get married and there are not many men that would like to marry her. Her fears of ending up alone also drive her panic in the beginning of the act.
I agree with your idea that Shakespeare uses descriptive diction to show Kate disappointment and anger with Petruchio. I think that it is interesting to see Kathrine weep and be so upset with Petruchio not showing up at the wedding. Previously, she has always been so harsh and short-tempered, but now we can see that underneath her constant anger, she still has feminine qualities by her being upset of being abandoned and rejected. She’s always been associated with the “devil’s dam” and “fiend of hell” by other men, but by exposing her inner feelings, Shakespeare shows that despite her bitter exterior, she is still a woman who can be hurt. This leads me to think about how hurt she must have been by the constant rejecting, disparaging, and blatant ignoring of people including her own father, but she covers it up by building a wall. I also think that she has a genuine interest in Petruchio because he was the one who finally spoke to and acknowledged her, so she is even more hurt by his “abandoning.”
“Be mad and merry, or go hang yourselves. But for my bonny Kate, she must with me. Nay, look not big, nor stamp, nor stare, nor fret; I will be master of what is mine own. She is my goods, my chattels; she is my house, My household stuff, my field, my barn, My horse, my ox, my ass, my anything. And here she stands, touch her whoever dare” (III. ii. 231-239).
In this act of the play, Katherine and Petruchio get married, and Petruchio insists on leaving right after the wedding. He intends to take Katherine with him, and not allowing her to celebrate with her family. Shakespeare uses metaphors and repetition to show Katherine as a possession and not a person. This is common theme throughout the book, as men see women as prizes to be won and objects. Gremio and Hortensio see Bianca this way, because they want to have the perfect wife, and do not care as much about Bianca herself. Once men are married in this time period, the men believe that they can control their wives and that their sole purpose is to serve them. Petruchio is no exception of this perspective. When he describes Katherine as “his goods” he objectifies her and makes her seem no more than all of the things that he lists like “ox”, “ass”, and “barn”. He shows the audience that Katherine is not a person anymore, but an item that he will use. In the beginning of this excerpt, when Petruchio says “be mad and merry, or go hang yourselves” he makes it clear to the party that he does not care what they think or do after he is gone (III. ii. 231). Also, when he speaks as if he has gained a new possession, the audience knows that Petruchio is far from taming Katherine. He is persistent in making her leave, even though she puts up a fight. By claiming Katherine as a possession, Shakespeare foreshadows to the audience the events to come and portrays an important theme throughout the time period.
BIAN: Why, gentlemen, you do me double wrong, To strive for that which resteth in my choice: I am no breeching scholar in the schools; I’ll not be tied to hours nor ’pointed times, But learn my lessons as I please myself. And, to cut off all strife, here sit we down: Take you your instrument, play you the whiles; His lecture will be done ere you have tuned. HOR: You’ll leave his lecture when I am in tune? LUC: That will be never: tune your instrument.
This excerpt shows an interesting new side of Bianca. Instead of acting obedient and modest as she does in the presence of her father and suitors, Bianca reprimands her “teachers” for their quarreling and takes command over her studies. She creates an indignant tone when she says, “I am no breeching scholar in the schools; / I’ll not be tied to hours nor ’pointed times.” Bianca has become vexed at Lucentio and Hortensio for their obvious competition over her attention. Shakespeare implies that Bianca feels a similar irritation in the presence of her many suitors, but is unwilling to express herself due to the need to maintain her modest and acquiescent reputation in the presence of upper-class gentlemen. However, when Bianca believes that Hortensio and Lucentio are only teachers, she is willing to scold them for their quarreling and demand that they stop their foolish behavior: “To cut off all strife, here sit we down: / Take you your instrument, play you the whiles.” Shakespeare uses this dialogue to demonstrate that Bianca, like her father and suitors as well as the characters in the induction, places much importance on the distinction of class. Her submissive behavior may only be a façade used to secure her a lasting place in the aristocracy into which she was raised. In fact, once Bianca is married to Lucentio, we see that she is no longer the dutiful girl she was before. In Act V, Bianca responds to being summoned by her husband by saying “Fie, what a foolish duty call you this?” (V, II, 84). In contrast, Katharine comes obediently at Petruchio’s call. By the end of the play, Katharine has learned to sincerely become what Bianca only ever pretended to be.
In Act III Scene II we witness an extremely grumpy Baptista and Katharina and the reasoning behind is that Petruchio, who is supposed to marry Katharina today, is nowhere to be found. I noticed that Shakespeare uses negative or depressing diction to explain the state of mind that Katharina is in as well as how people view her. Some negative terms that Shakespeare uses is words like “shame,” “forced” showcase both the situation she is in as well as how people view her. Shakespeare uses the word “shame” to not only make Katharina embarrassed that Petruchio was late to the wedding, but also to incorporate how people viewed her because she is referred to as the shrew, and also her sister is viewed higher than her and that she hasn’t accomplished anything in her life. I also found it interesting that we learn more about the characterization of Katharina. When she insults Petruchio using the words “Mad-brain,” and “rudesby” it is extremely shocking as it wasn’t common for rude comments to be targeted at a man like Petruchio. These words show that she is short-tempered and that she isn’t afraid to say anything to even a highly respectable man in Petruchio.
PET. Where be these knaves? What, no man at Door To hold my stirrup nor to take my horse? Where is Nathaniel, Gregory, Philip? ALL SERV. Here, here, sir, here, sir. PET. Here, sir, here, sir, here, sir, here, sir! You loggerheaded and unpolished grooms! What, no attendance? No regard? No duty? Where is the foolish knave I sent before? GRU. Here, sir, as foolish as I was before. PET. You peasant swain! You whoreson malt- horse drudge! Did I not bid thee meet me in the park And bring along these rascal knaves with thee? (IV.i.113-125)
In this excerpt of William Shakespeare’s “Taming of the Shrew”, the author uses questions and condescending and disparaging diction to convey Petruchio’s disappointment and anger with all of his servants. This passage occurs at the beginning of Act 4 when Petruchio has just returned with Kate and is confronting his servants who have been preparing for his return. The author uses condescending diction in words such as “knaves” (line 113), “loggerheaded” and “unpolished” (119), “swain” (123), and “whoreson malthorse drudge” (123-124) to convey his anger with his servants. “Swain” and “whoreson” translate to “bumpkin” and “bastardly”, respectively. The use of this condescending diction characterizes Petruchio’s view of his servants, especially in this situation, in which Petruchio appears to be more of a shrew than Kate. Also in this excerpt, we can see the use of condescending language by one of the servants himself: Grumio. In line 122, Grumio says, “Here, sir, as foolish as I was before.” This shows how he is condescending towards himself in the presence of his master by calling himself “foolish”. In addition, another technique that Shakespeare uses to emphasize the discontent that Petruchio holds with his servants is the use of questions directed towards the servants, specifically, Grumio. We can most prominently see this this technique in line 120 where Petruchio says, “What, no attendance? No regard? No duty?”. He is directing these questions towards Grumio to show how he is disappointed because Grumio did not do what Petruchio had told him to do. We can also see the use of questioning in line 125 where Petruchio says, “And bring along these rascal knaves with thee?” The use of this technique not only expresses Petruchio’s frustration, but it also makes Grumio realize his mistakes by stimulating his own thoughts.
I think that your analysis of the language used in this passage is very accurate and definitely intentional. However, I believe that Grumio calling himself foolish was actually him mocking his master, not giving into him. I am under the impression that Grumio knows Petruchio well enough that he may be in on his plan to tame Kate. Making a joke about how foolish he is serves as evidence that he probably isn't afraid of Petruchio, as the other servants are.
I agree that Petruchio uses disparaging diction to show anger towards his servants. Petruchio does this in order to continue demonstrating to Katharine that he can be as strong-willed and shrewish as she is reputed to be. It is unlikely that Petruchio would act this way towards his servants if Katharine were not present. It is also notable that rather than being rude to Katharine, Petruchio berates his servants in the name of making everything perfect for her. This is a clever scheme because Katharine feels the effects of Petruchio’s actions (which cause her to go without food and nice clothing) but is unable to complain of any physical or verbal abuse.
HOR. Say as he says, or we shall never go. KATH. Forward, I pray, since we have come so far, And be it moon, or sun, or what you please: And if you please to call it a rush-candle, Henceforth I vow it shall be so for me. PET. I say it is the moon. KATH. I know it is the moon PET. Nay, then you lie: it is the blessed sun. (IV.v.2298-2305)
In Taming of the Shrew, William Shakespeare uses a sudden change in Kate’s diction to represent a turn in the plot. Late in Act IV, Kate is worn out by Petruchio’s constant outbursts and deprivation of sleep and food. Until this point in the play, Kate’s dialogue was angry and filled with both physical and verbal abuse. Even at the beginning of this scene, she argues with Petruchio when he makes the outrageous claim that the moon is brighter than the sun. With some encouragement from Hortensio, she quickly gives up this battle and accepts what Petruchio is telling her. She does not really accept it, however. She knows that he is telling her lies but has come to terms with the fact that arguing doesn’t help anyone. She takes on an agreeable tone through the rest of this scene which really goes to show how intelligent she is. She knows the only way she’ll ever get anything she needs is by accepting these new truths that are forced on her by Petruchio. He soon makes this situation a lose-lose for her when he calls her out for “believing” his mad remarks. This marks the beginning of Kate’s taming. The agreeable tone that was added to Kate’s diction in this scene represents the end of her wild ways and the beginning of a new tamed wife for Petruchio.
I agree with you about how this excerpt represents a turning point in the plot, especially with the progression of Kate’s “taming”. I also believe that this is a great example of William Shakespeare’s incorporation of social commentary, and in this case, commentary about gender stereotyping. In this excerpt, Kate must change herself in order to appease Petruchio. Even after that, however, Petruchio, as you mention, actually turns the tables again against Kate and calls her out for “believing” him in the first place. Although this kind of social commentary might be taken as an offensive remark in modern times, the way Shakespeare incorporates it into a comedic play transforms the idea into a more trivial, yet very real, issue.
PET: Now, by my mother’s son, and that’s myself, It shall be moon, or star, or what I list, Or ere I journey to your father’s house. Go on, fetch our horses back again. Evermore cross’d and cross’d nothing but cross’d! HOR: Say as he says, or we shall never go. KATH: Forward, I pray, since we have come so far, And be it moon, or sun, or what you please: And if you please to call it a rush-candle, Henceforth I vow it shall be so for me. PET: I say it is the moon. KATH: I know it is the moon. PET: Nay, then you lie: it is the blessed sun. KATH: Then, God be bless’d, it is the blessed sun: But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it named, even that it is; And so it shall be so for Katharine.
In this excerpt, Shakespeare illustrates the moment in which Katharine realizes that it is pointless to continue acting against Petruchio’s will. Shakespeare uses contrast between the moon and the sun to create an extreme situation in which Katharine can find no compromise between following her will and Petruchio’s. Petruchio swears “by my mother’s son, and that’s myself” that the sun is actually the moon. He uses this diction to compare himself to God, emphasizing what Katharine will later state in her monologue at the end of the play: “Thy husband is thy lord, thy life, they keeper” (V, II, 85). Petruchio’s choice of such an outlandish claim leaves no room for Katharine to compromise; she must choose to either to persist in defending what she knows to be true or to capitulate to Petruchio. Katharine has already endured an embarrassing wedding, lack of food, and demeaning clothing and wishes only to return to her father’s house. She finally decides to humor Petruchio because she realizes that it is the only way that she will be able to be moderately comfortable in her new life. However, Shakespeare emphasizes that although Kate’s words reflect submission to Petruchio, she has not been forced to give up her personal will. He does so through the use of the extreme example of the sun versus the moon and repetition. While Katharine humors Petruchio in saying, “I know it is the moon,” it is obvious that she still knows that it is the sun. When Petruchio says, “It is the blessed sun,” Katharine repeats his words by saying, “Then, God be bless’d it is the blessed sun.” This repetition shows that Katharine will reflect Petruchio’s views but that they are not her own. Katharine has found a way to compromise; outwardly she reflects Petruchio’s every inclination, but inwardly she retains her unique personality.
I like your analysis and how you mentioned that Petruchio's contrast of moon and sun leaves no room for Kate to find a compromise. Thus, do you think the moon and sun symbolizes anything to Kate? Since Kate speaks with confidence when describing the sun that she is only pretending to agree with Petruchio about everything? In a way would you consider Kate to be smarter than Petruchio in a sense that she's pretending, but doing it in order to survive (food, sleep, etc.)?
Those are really good questions! I would say that Kate is definitely becoming smarter in that she is learning how to live with Petruchio without being denied food, clothing, and other comforts. However, I wouldn’t say that Kate is smarter than Petruchio because he is as much aware of what is going on as she is. He knows that she cannot possibly believe that the sun is actually the moon; his intent is only to force Kate to accept his will and abandon her shrewish, contradictory personality. Once Kate is able to fully subjugate herself to Petruchio without complaint or sarcasm, Petruchio will drop his shrewish act and the two will be able to function well as a compromising couple. Shakespeare emphasizes that in order to reach a happy medium, it is first necessary to arrive at the extremes.
Throughout the whole play, Petruchio has possessed a strong desire and need to tame is now wife, Katherine, but has not been successful until this scene. His devious and evil plans to tame her into the women, more seen as an object he owns, into one exactly how he enjoys. Katherine has no freedom, no say, no choice within her everyday life due to Petruchio and he is only beginning to tame her. On pages 186 and 187 Petruchio speaks to Curtis and describes exactly what he will do in order to make Katharine into the ‘perfect’ woman.
Petruchio Thus have I politicly my reign, And ‘tis my hope to end successfully My falcon now is sharp and passing empty And till she stoop she must not be full-gorg’d For the she never looks upon her lure. Another way I have to man my haggard, To make her come and know her keeper’s call, That is, to watch her, as we watch the kites That bate and neat and will not be obedient. She ate no meat today, nor none shall eat; Last night she slept not, nor tonight she shall not; I’ll find about the making of the bed; And here I’ll fling the pillow, there the bolster, This way the coverlet, another way the sheets. Ay, and amid this hurly I intend That all is done and reverend care of her. And, in conclusion, she shall watch all night, And if she chance to nod, I’ll rail and brawl, This is a way to kill a wife with kindness, And this I’ll curb her ad and headstrong humour, He that knows better how to tame a shrew, Now let him speak; ‘tis charity to shrew. (IV.i.187) Within this whole speech that Petruchio has, he mentions many subtle ways that he will tame Kate, for example; “And till she stoop she must not be full-gorg’d,” and “Last night she slept not, nor tonight she shall not; I’ll find about the making of the bed.” Petruchio is keeping her from eating a sleeping and he has tricked her into believing that there is consistently something wrong with the food or the bed causing her to not be able to sleep nor eat. He is taming her this way by manipulating her, making her feel and believe that he knows best and that she must always listen to what Petruchio has to say, although many times what he says is not the truth. Petruchio knows what he is doing is harmful to her but that it is the only way for him to receive what he wants out of this. Petruchio states, “This is a way to kill a wife with kindness,” meaning, by making excuses for the little things, it is far less dramatic and makes it seem as if Petruchio is really looking out for Kate rather taming her. By using “kill with kindness,” it shows that Petruchio is theoretically killing Kate and all her normal ways in order to make her into what he wants. Although he is doing that with ‘kindness’ by making it seem as if the way he manipulates her is only for her good, in reality it’s for the good of him.
I think your analysis is interesting, but I think there is more to the line “this is a way to kill a wife with kindness” (IV. i. 208). I think by Petruchio’s action of restraining and “taming” Kathrine (the killing) is actually to benefit Kathrine (with kindness) because previously, Kathrine’s fiery temper and shrewish personality did not allow her to get close to anyone and made her infamous throughout Padua. If Petruchio tames her, then people are more likely to be willing to befriend her and respect her. In fact, that is what exactly happens later in the play when she is the only wife to heed her husband’s order to attend to him. However, I also think this idea plays more along the lines of the modern interpretation of the Taming of the Shrew where Kathrine is not tamed to become an obedient housewife, but rather a smart and cunning lady who knows exactly what Petruchio is doing, and even wins a bet. By having Petruchio “tame” her, or rather teach her to control her tongue, Kathrine becomes a more approachable, amiable, and successful lady.
I mostly agreed with your analysis of this quote, but I had a couple of different ideas. One idea that differed from yours is that Katherine believes what Petruchio is telling her about the food. I think that Katherine knows exactly what Petruchio is doing. She is not tricked by Petruchio’s caring exterior, and can see what he is planning. There is an example of this when Petruchio, Katherine and Hortensio are returning to Padua, and Petruchio comments on the brightness of the moon. Katherine says that it is obviously the sun that is so bright, because it is day, but Hortensio warns her that she should agree with Petruchio after he stops them from continuing their journey until she agrees. She finally agrees because she is fed up with Petruchio, and can see what he is trying to do to her.
Excerpt from Act IV, Scene III, lines 117-124 (Pages 66-67) PET: O monstrous arrogance! Thou liest, thou thread, thou thimble, Thou yard, three-quarters, half-yard, quarter, nail! Thou flea, thou nit, thou winter cricket, thou! Braved in mine own house with a skein of thread? Away, thou rag, thou quantity, thou remnant, Or I shall so be-mete thee with thy yard As thou shalt think on prating whilst thou liv’st. I tell thee, I, that thou hast marred her gown.
In this excerpt, Shakespeare uses animalistic and sewing diction in Petruchio’s rant toward the tailor who had just made a beautiful gown for Kate upon Petruchio’s request. In this scene, Petruchio intentionally berates the tailor to show Kate of his shrew-like persona. Petruchio uses many animalistic diction such as “monstrous arrogance” (IV. iii. 117) and “thou flea, thou louse, thou winter cricket, thou!” (IV. iii. 119). By comparing the tailor to a monster and to hideous insects, Petruchio dehumanizes the tailor to that of a pest. Although this is not Petruchio’s true intention, such comparison is made for Petruchio’s plot to tame Kathrine. By using sharp and bitter words to dehumanize other, Petruchio is revealing his inner-shrew to scare or rival that of Kathrine. He also uses sewing diction to disparage the tailor because using his profession against the tailor is very insulting. By using lines such as “Thou liest, thou thread, thou thimble, / Thou yard, three-quarters, half-yard, quarter, nail!” (IV. iii. 117), “Braved in mine own house with a skein of thread? / Away, thou rag, thou quantity, thou remnant, / Or I shall so be-mete thee with thy yard” (IV. iii. 120-122), Petruchio seems to be taunting the tailor. Through Petruchio’s rant, he shows that he is far more shrewish than Kathrine is, and his plan to fight fire with fire may actually work.
PET. Thus have I politicly begun my reign, And’t is my hope to end successfully. My falcon now is sharp and passing empty; And till she stoop she must not be full-gorged, For then she never looks upon her lure. Another way I have to man my haggard, To make her come and know her keeper’s call, That is, to watch her, as we watch these kites (4.1.181-189)
I noticed that in this passage Shakespeare is giving us a clear indication of the reasoning behind the title of his beloved play “The Taming of the Shrew.” In this passage Petruchio is coming up with a plan to cure her aggressive personality, and he uses the comparison of “taming” a falcon. This shows that Petruchio feels that he is superior to Katharina as he calls himself a tamer, and Katharina as a type of animal that he needs to control. Shakespeare not only showcases the significance of the title in this passage, but in another passage in Act IV. Petruchio in Scene III comes up with another plan which is to make Katharina starve and cause her to lose sleep in order to cure her aggressive personality. This is shown by the quote “Eat it up all, Hortensio, if thou lovest me. Much good do it unto thy gentle heart!” (4.3.49-50) This quote relates to the title because Petruchio is telling Hortensio to eat all of the meat so that there would be none left for Katarina, so that Petruchio could “tame” her. The reason behind why Petruchio is doing this act is to illustrate that he doesn’t consider Katarina just as his wife, but just another person that is he is superior to. I think that Shakespeare used the word “taming” in his title because the shrew, who is Katarina in the play, is not seen as an equal human being unlike the tamer, who is Petruchio, but is seen as an inferior living being.
“PETRUCHIO: A whoreson beetle-headed flap-eared knave! Come, Kate, sit down. I know you have a stomach. Will you give thanks, sweet Kate, or else shall I? What’s this? Mutton? FIRST SERVANT: Ay. PETRUCHIO: Who brought it? PETER: I. PETRUCHIO: ’Tis burnt, and so is all the meat. What dogs are these? Where is the rascal cook? How durst you, villains, bring it from the dresser And serve it thus to me that love it not? There, take it to you, trenchers, cups, and all! (Throws food and dishes at them.) You heedless joltheads and unmannered slaves! What, do you grumble? I’ll be with you straight.” (IV. i. 154-168)
When Petruchio and Katherine return to Petruchio’s home after the wedding, the audience can immediately see how Petruchio treats his servants. Katherine is tired and hungry, but Petruchio will not let her eat what the servants have prepared for them and is downright awful to the servants. He makes the excuse that he wants to please Katherine and wants everything to be perfect for her. He uses vicious and insulting diction such as “whoreson”, “knave”, “rascal” and “joltheads” to assert his dominance in the household. His treatment of the servants is juxtaposed with the appearance of the treatment of Katherine. However, Petruchio’s seemingly sweet attitude towards Katherine is false concern, because he does not do anything to better her wellbeing. While he acts as if he cares about her wellbeing and the fact that she is hungry, he does not let her eat, claiming that the meat is burnt. The audience then sees that this is all part of Petruchio’s plot to tame Katherine by making her vulnerable and depriving her of necessities. I thought something that was interesting about the way that Petruchio chooses to tame Katherine is that he has a pleasant demeanor. I think that he chooses to tame her while acting like he has concern for her because he does actually care for her, and if he used a negative attitude when taming her then he may never have the chance at a real relationship with her.
KATH. ...My mind hath been as big as one of yours, My heart as great, my reason haply more, To bandy word for word and frown for frown; But now I see our lances are but straws, Our strength as weak, our weakness past compare, That seeming to be most which we indeed least are. (V.ii.2711-2716)
William Shakespeare uses powerful diction and metaphors to add irony to Kate’s speech in Act V. Near the end of the play, Kate delivers a long monologue about gender roles to the other two women. This speech is filled with powerful words and very intelligent language. This creates a tone of domination over the other women. This is fitting, however, because Kate and Petruchio have just won a large sum of money as a result of Kate’s intelligence. The ironic part is that Kate’s speech is all about how women should be submissive and grateful for their husbands. She uses a metaphor to describe that fighting the power of men is useless. Kate does mean that she has given up the fight, rather she is showing the other women that she has learned to play a sort game with the men. She acts submissive simply to get what she wants and then freely voices her opinion. She is also playing a game with her sister, Bianca. Kate was jealous of Bianca because her tame behavior won her favor from their father and many suitors. Now, Kate is showing off how submissive she can be. Not only does she get to beat her in this way, she also gets to spend her life with a man that may actually respect her in a few ways. Petruchio never really tames Kate, they figure out together that her energy can be better spent at the cost of others, so that both Petruchio and Kate can win at their games. This ironic speech is filled with powerful diction and metaphors to conclude that Kate and Petruchio have both been satisfied by the other.
Throughout the play as a whole, there has been a motif and theme of birds and falconry, but within the fifth act there is an abundant amount of references to that idea.
Petruchio To her, Kate! Hortensio To her, widow! (V.ii.35) … Bianca Am I your bird? I mean to shift my bush, And the pursue me as you draw your bow.- You are welcome all. (V.ii.48)
During the time period before any form of technology was at hand for the common person, men would use falcons to send messages and to retrieve objects the man would need. Much like the men would use falcons, the husband in the play use their wives to retrieve and get what they need. Shakespeare uses personification and visual imagery to show the comparison between the two and to show this motif throughout the play. Within the first quote Petruchio and Hortensio are calling to their women in a demanding tone as a man would to their falcon if the needed a task done. This shows how much they have tamed each of their wives since they have the capability of yelling and calling for them in this way. Similarly a man would tame their falcon, the two husbands have tamed their wives. Within the second quote Bianca has caught on to the idea that the women and wives are thought of as birds and personally asks if people think of her as one although with a sarcastic tone. With the use of the sarcastic tone and following the question with the answer of “I mean to shift my bush,” it shows that Bianca realizes that she is being tamed much like a bird although she has no real power there is little she can do making her have to abide by her husband's commands. This is much like a falcon, they have no real power compared to a human being so they must abide and follow their owners commands.
I think your idea that Bianca realizes that she is being tamed like a bird. I think that it is interesting that the roles of Katherine and the other women (Bianca and the widow) have switched. Previously, Katherine was the shrewish and rebellious woman, but now she seems to be the tame one. Bianca and the widow, on the other hand, are rebellious. Although they may not be as shrewish or extreme as Kathrine used to be, Bianca uses sarcasm and directly confronts Lucentio with her question “Am I your bird?” (V. ii. 48). I think this is really interesting because the one difference between Kathrine and other women is her brilliance. I think Shakespeare purposely creates Kathrine as an intelligent character to make her the star of the play. Rather than being tamed by being broken as many people believe, Petruchio teaches her to control her temper and scathing tongue. In this scene, Katherine is aware of what is happening and plays along with Petruchio which makes them win the bet. Because Katherine is essentially the hero of the story, Shakespeare emphasizes the value of intelligence and control over beauty and misleading obedience.
Excerpt from Sct V, Scene II, lines 162-167 (Pages 85)
KAT: Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign, one that cares for thee, And for thy maintenance commits his body To painful labor both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe,
In this excerpt, Shakespeare uses irony in Katherine’s dialogue to show that Kate is not actually tamed to be the docile, obedient housewife as many believe her to be, but rather fully aware of her surroundings and actually plays along with Petruchio, which eventually leads them to win the bet. In Katherine’s speech, she criticizes the women for disrespecting their husbands. Immediately, there is an irony because Katherine used to be the most scathing woman to other men. Furthermore, she emphasizes the point that husbands work endlessly for their wives’ comfort in the lines: “thy maintenance commits his body / To painful labor both by sea and land, to watch the night in storms, the day in cold, / Whilst thou liest warm at home, secure and safe” (V. ii. 164-167). These lines are ironic because Petruchio may have been attracted to Kathrine, but he never actually committed actions that explicitly showed that he cared for Katherine. In fact, he made her life harder by being fickle, starving her, and showing anger tantrums. Also, it is ironic that she writes that husbands protect their wives while the wives lie warm and safe at home because in Act IV, scene II, Petruchio says, “Last night she slept not, nor to-night she shall not … And in conclusions she shall watch all night: / And if she chance to nod, I’ll rail and brawl, / And with the clamour keep her still awake” (IV. ii. 198-207). In these lines, Petruchio specifically plans to keep her awake and make her “watch all night.” When Kathrine extolls husbands and their superiority in her speech, she is actually using irony to express humor because the other characters except Petruchio do not know the truth, but the audience, Kathrine, and Petruchio do. Shakespeare purposely makes Kathrine create an dramatic speech of lies and irony to show that Katherine is not actually tamed and broken, but she actually still has the cunning brilliance as in the beginning. It is this brilliance that not only allows her and Petruchio to win the bet, but also gain the respect from the other characters. In the end, Katherine is the ultimate winner.
I like your idea about the irony of Katharine’s comments on the duty of the husband to keep his wife safe and comfortable. I agree that these comments can be related back to Petruchio’s actions in Act Four that were intended to make Katharine miserable. However, Katharine’s speech could reflect her realization that Petruchio’s actions were intended to tame her and make her realize her own duties as a wife. Kate now understands the meaning of compromise in marriage; she could not expect Petruchio to treat her well if she did not act kindly and respectfully towards him in return. While the speech does reflect outdated gender roles, I think it can be partially applied today in the sense that mutual respect and compromise are still requirements for a peaceful marriage. Now that Katharine and Petruchio have realized this important fact, they are able to work together to win the bet. Hopefully they will be able to live as equals in the future due to their newfound respect for one another.
BAP: How likes Gremio these quick-witted folks? GRE: Believe me, sir, they butt together well. BIAN: Head, and butt! an hasty-witted body Would say your head and butt were head and horn. VIN: Ay, mistress bride, hath that awaken’d you? BIAN: Ay, but not frighted me; therefore I’ll sleep again. PET: Nay, that you shall not: since you have begun, Have at you for a bitter jest or two! BIAN: Am I your bird? I mean to shift my bush; And then pursue me as you draw your bow. You are welcome all. [Exeunt Bianca, Katharina, and Widow.] PET: She hath prevented me. Here, Signior Tranio, This bird you aim’d at, though you hit her not; Therefore a health to all that shot and miss’d.
In the final scene of The Taming of the Shrew, Shakespeare reveals an aspect to Bianca’s character that has been hidden throughout the play. Bianca, who has always been a quiet, respectful, and modest girl, now joins in the insulting banter in a very Katharine-like manner when she says, “Head, and butt! an hasty-witted body would say your head and butt were head and horn.” Her unprovoked, insulting tone is far from her reputed politeness, demonstrating that Bianca’s good manners may have been only a façade intended to attract suitors, not an authentic character trait. The scene, in addition to revealing Bianca’s imperfections, displays Katharine’s newfound ability to act in complete deference to her husband. Shakespeare’s juxtaposition of Katharine and Bianca, as well as the fact that Katharine and Petruchio win a large sum of money from Bianca’s husband, demonstrates that Kate has beaten Bianca at her own game. Not only has Kate secured a husband and a good reputation, she has also achieved what Bianca may never achieve: her husband’s respect. Within this excerpt, Shakespeare subtly shows the respect that Petruchio has for Katharine’s wit and intelligence by describing an interaction between Petruchio and Bianca. Once Bianca enters into the general persiflage, Petruchio’s interest is stirred. However, Bianca quickly decides to leave the conversation. Petruchio tries to prevent this by saying, “Nay, that you shall not: since you have begun, have at you for a bitter jest or two!” Despite Petruchio’s attempts at engaging Bianca’s conversation, she exits the room, thus demonstrating her inability to hold her ground in the entertaining badinage that so intrigues Petruchio. Kate, on the other hand, attracted Petruchio from the start for her sharp tongue and quick wit. By contrasting Kate with her sister Bianca, Shakespeare demonstrates that Kate’s original character and her newfound ability to comply with others gives her great potential to achieve happiness in marriage.
I really enjoyed your blog post. I like how you mentioned that Katherine and Bianca have in a way switched places, because I was thinking the exact same thing. Bianca’s banter with Petruchio was very similar to Katherine’s at the beginning of the play. Now, Katherine has become the compliant one and Bianca is the one arguing. Also, I like how you added that Bianca could not keep up the persiflage like Katherine could, and this is what sets them apart. When Bianca loses the bet she even says “ the more fool you laying on my duty”(V. ii. 128). It surprised me that Bianca calls Lucentio a fool and didn’t have faith in her own willingness to follow duties. A more defiant side was shown of her when she didn’t believe that she should do everything Lucentio asked.
“I am ashamed that women are so simple To offer war where they should kneel for peace, Or seek for rule, supremacy, and sway When they are bound to serve, love, and obey. Why are our bodies soft and weak and smooth, Unapt to toil and trouble in the world, But that our soft conditions and our hearts Should well agree with our external parts?”(V. ii. 161-169)
By the end of the play, most readers are disappointed to see Kate’s speech because she is seen as a strong young woman, and she finally gives into society’s standards. Situational irony, powerful and weak diction, and indirect characterization are used to reveal Kate’s changed views while promoting gender stereotypes. In this act, Petruchio makes a bet with the other men to see who has the most obedient wife. Kate is least favored to win the bet because of her shrewish tendencies. Situational irony is used when Kate wins the bet for Petruchio to show Kate’s development throughout the play. It is also ironic that the character who is the least willing to conform ends up being the one woman to comply. Powerful and weak diction contrast each other when Kate says words like “war”, “peace”, “rule”, “serve”, “soft” and “trouble”. By using contrasting words, Shakespeare enforces that women are lesser than men and should be docile in relationships. Kate describes the ideal woman to prove to the other women that she is now the ideal woman, because she is now compliant to Petruchio, when before her sister was seen as perfect. Indirect characterization is used when Kate makes her speech. Throughout the whole book, Kate resists meeting societal standards. Slowly, Petruchio’s thoughts drilled into her head and finally is seen as “tamed” after her speech. Shakespeare uses Kate’s speech as a way to end the play to prove to the audience and the other characters that Kate has developed into a compliant wife.
KATH: Even such a woman oweth to her husband And when she is froward, peevish, sullen, sour, And not obedient to his honest will, What is she but a foul contending rebel. And a graceless traitor to her loving lord? I am ashamed that women are so simple To offer war where they should kneel for peace; Or seek for rule, supremacy and sway, When they are bound to serve, love and obey. Why are our bodies soft and weak and smooth, Unapt to toil and trouble in the world, But that our soft conditions and our hearts Should well agree with our external parts? (V.ii.160-172)
This speech is delivered by Katharina when Petruchio commands Katharina to do a task in order to win a bet on which wife would obey the command. In this passage I noticed that she uses words like “lord”, “king”, “life”, “keeper”, and “head” to address her husband Petruchio. I found it ironic that at the beginning of the play we viewed Katharina as a woman who hated men and had an aggressive personality, but towards the end of the play she immediately obeys the command of her husband and is officially “tamed” of her aggressive personality. I also found this passage stereotyping women in which she uses the words “soft” and “weak” and she thinks that their personality should be tender to match their physique. I found it unique that Katharina allowed Petruchio to “tame” her by not feeding her and not letting her sleep and making her beg to the servant for food (Act IV), even she could have declined him many times. I thought that Katharina allowed Petruchio to do this because she found her marriage to give harmony in her life in an established social role, and that she find happiness and change her personality in the role that she is authorized to instead of enslave themselves to men.
I agree with your analysis of this passage. It is indeed one of the most important excerpts in the entire play, and it shows a lot about Kate after Petruchio’s “taming” process. Something else that I noticed is how some of the lines rhyme. We can see this in a line when Kate says, “Or seek for rule, supremacy, and sway, / When they are bound to serve, love, and obey” and “But that our soft conditions and our hearts / Should well agree with our external parts”. The use of rhyme here shows Kate’s intelligence and ability to rhyme, which is normally something that people of greater intellect can achieve.
PET. A good swift simile but something currish. TRA. ‘Tis well, sir, that you hunted for yourself; ‘Tis thought your deer does hold you at a bay. BAP. O, O, Petruchio, Tranio hits you now. LUC. I thank thee for that gird, good Tranio. HOR. Confess, confess, hath he not hit you here? PET. ‘A has a little galled me, I confess, And as the jest did glance away from me, ‘Tis ten to one it maimed you two outright. BAP. Now, in good sadness, son Petruchio, I think though hast the veriest shrew of all. PET. Well, I say no. And therefore, for assur- ance, Let’s each one send unto his wife, And he whose wife is most obedient To come at first when he doth send for her Shall win the wager which we will propose. (V.ii.54-68)
In this excerpt of William Shakespeare’s “Taming of the Shrew”, the men – Petruchio, Tranio, Lucentio, Hortensio, and Baptista – are arguing about whose wife is the most genuine. This excerpt occurs in Act V, scene 2. This scene also occurs after Kate and the Widow argue about Petruchio and Kate’s behaviors. The author uses persiflage and descriptive language in order to convey the banter occurring between the men and how they refer to their respective wives. Throughout the whole passage, we can see examples of persiflage, or verbal banter. The characters are constantly bickering back and forth. We can see this quick banter between characters in lines 57-59, where Baptista, Lucentio, and Hortensio are edging Petruchio on. This later causes Petruchio to start up a wager between the men to see whose wife is the “veriest”, or most genuine, shrew of all. In addition to the use of persiflage in this excerpt, the author also uses descriptive language in order to characterize and show the ways of how the men talk about their wives. In line 64, Petruchio uses the word “shrew” to describe the wives. He uses this word instead of calling them “wives” or “women”. The use of this shows how the men viewed their wives in a demeaning light. They recognize them as shrews instead of actual people, and this correlates to the overall theme of the book of gender stereotypes.
Induction and Act I
ReplyDeleteIn the Induction of his play “Taming of the Shrew,” Shakespeare foreshadows one of the major motifs of the play: the role and perception of women in society. He does so by describing the characteristics of Christopher Sly’s “wife” (who is actually the Page in disguise). The Lord instructs the Page to have a “soft low tongue and lowly courtesy,” “show her duty” and be a “humble wife” (5). When the Page acts the role of the wife, he says, “I am your wife in all obedience” (9) and “Here, noble lord: what is thy will with her?” (8). Shakespeare uses subservient diction to demonstrate that women were expected to be respectful and humble in the presence of men. This expectation is reiterated in Act One through the contrasting descriptions of Katharina and Bianca. Katharina is described as an “irksome brawling scold” (24). Her negative reputation is associated with the fact that she is “wonderful froward” – willfully contrary and not easily managed. Clearly, lack of submission was an intolerable trait in a female. Katharina is portrayed as the exact opposite of her sister Bianca, who is quiet, sweet and beautiful. When Lucentio falls in love with Bianca, he describes her as a “young modest girl,” a description that emphasizes her lack of a personal will. Shakespeare associates beauty with modesty and acquiescence – traits that were expected in well-bred women of the time.
In the induction of the Taming of the Shrew by William Shakespeare, the Lord uses animalistic and filthy diction to describe Sly as well as visual imagery to describe his plans to trick Sly. When the Lord sees Sly passed out in the alehouse, he exclaims, “O monstrous beast! how like a swine he lies! / Grim death, how foul and loathsome is thine image!” (Ind. i. 30-31). The words “monstrous,” “beast,” and “swine” not only depicts Sly’s unsightly appearance, but it also shows his lowly status of a beggar that is relatable to that of an animal (specifically a swine/pig). This idea is further emphasized with the use filthy diction including “foul” and “loathsome” to describe Sly. These descriptions of Sly are important because they stand in sharp contrast to what the Lord makes him through his plans: a lord of high status. In fact, the Lord’s use of visual imagery to describe his plans to have Sly “wrapp’d in sweet clothes, rings put upon his fingers, / A most delicious banquet by his bed, / And brave attendants near him when he wakes,” (Ind. i. 34-36) shows the luxuriousness of Sly’s new status, a direct antithesis of his actual “foul” and “loathsome” self. When the Lord questions, “Would not the beggar then forget himself?” (Ind. i. 37), he believes that Sly (and the others) will eventually delude himself into actually believing that he is a Lord despite initial protests and disbelief and forget his status as a beggar, which actually happens later in the induction. This passage is important to the whole play because it represents Katrina’s change in the actual play. Initially, Katrina is a vicious, shrew-like woman who is unattractive to all the men. However, Petruchio plans to “tame” her by setting up different scenarios such as ruining their wedding and being outrageously fickle. By constantly treating her poorly, she eventually caves in becomes a tame, docile, and obedient wife who all but forgets her past personality of a shrew.
ReplyDeleteExcerpt from page 27, Act 1 Scene 2, lines 64-75:
ReplyDeletePetruchio. Signior Hortensio, ‘twixt such friends as we
Few words suffice; and therefore if thou know
One rich enough to be Petruchio’s wife –
As wealth is burthen of my wooing dance –
Be she as foul as was Florentius’ love,
As old as Sibyl, and as curst and shrewd
As Socrates’ Xanthippe or a worse,
She moves me not, or not removes, at least,
Affection’s edge in me, were she as rough
As are the swelling Adriatic seas.
I come to wive in wealthily in Padua;
If wealthily, then happily in Padua.
In this excerpt from The Taming of the Shrew, the author William Shakespeare uses allusion/similes and confident language to characterize Petruchio, suitor to Kate. In context, this excerpt occurs in Scene 2 of Act 1 in which Petruchio and his servant Grumio first arrive in Padua from Verona.
We can see many uses of allusion in conjunction with similes to characterize Petruchio as a confident and determined person. In line 68, Shakespeare writes “Be she as foul as was Florentius’ love”. In this line, “foul” is actually a positive term meaning “homely”. “Florentius” is an allusion to John Gower’s Confessio Amantis, in which a knight marries a hag who actually turns out to be a beautiful woman. Shakespeare also makes other allusions to people such as Sibyl (line 69), a woman in Greek mythology who is of remarkably old age, and Xanthippe (70), the wife of Socrates, who is supposedly a harsh and argumentive person. The author also writes in line 71-73, “She moves me not, or not removes, at least, / Affection’s edge in me, were she as rough / As are the swelling Adriatic seas”. This compares the personality of someone who is wild and uncontrollable, similar to the rough waves of the Adriatic sea. Petruchio is portrayed as a confident suitor who believes that no matter the personality or character of his wife, he will be successful and wealthy.
In addition, Shakespeare also uses confident language to show Petruchio’s character in the play. In the excerpt, Petruchio says “One rich enough to be Petruchio’s wife - / As wealth is burthen of my wooing dance” (66-67), which shows his confident, almost arrogant self-image. Petruchio says that his wife must be very rich in order to be worthy of his “wooing dance”. Also, at the end of the passage, Petruchio goes on to say how he comes “to wive it wealthily in Padua” (74), further displaying his confidence and determination about his plans.
In the induction of “Taming of the Shrew” by William Shakespeare, he uses sexual references to objectify women. Throughout the entire induction, women are described by little more than their looks. Lord says, “We’ll show thee Io as she was a maid And how she was beguiled and surprised, As lively painted as the deed was done.” Io is one of Jove’s mistresses and Lord describes her being charmed, in a most likely deceptive way, and used by a man. Lord describes her “as lively painted”. Paintings are often 2d works of art that physically lack depth. The reason Lord describes her that way is because she is nothing more than something to look at and use for the men. Sly also objectifies and belittles his wife Page when he says “Madam wife, they say that I have dream’d And slept above some fifteen year or more.” Sly mentions the idea of him and his wife sleeping together, not an unusual idea because they are married. However, he says that he has “slept above” her. In general, this quote leads the reader to believe that they sleep together but the word “above” suggests that he is on a sort of pedestal and is of higher value than she is. The reason Shakespeare specifically said sleeps above is because women were sexually objectified and other than for that purpose, wives were seen as having little to no value to the men.
ReplyDeleteIn the induction of “Taming of the Shrew” by William Shakespeare, repetition and personification to show that Sly accepts that he is a Lord because it is what he has always dreamed. Being a beggar, Christopher Sly has never had much to his name, but to wake up being called “Lord” must be something in his wildest dreams. It was so easy for Sly to be convinced by his servants because he was waking up to a great life instead of the disappointing life he left behind. When describing what Sly could do today, Lord uses repetition in the words “wilt thou…” to show how many options that Sly can have now that he is in a higher class (6). By suggesting activities such as listening to music, napping, taking a walk, riding horses, and hunting, Lord shows Sly the wealth that he has. When Sly hears of all the things he can now do, it makes it more believable to him because he wants to believe that this life is real. If you want something bad enough, it is easy to persuade yourself that is has actually happened. Second, Lord uses personification when describing the bed he will sleep on as “lustful” (6). The bed is described as lustful because it is so inviting and “begs” to be laid on. By describing the bed this way, Shakespeare makes Sly’s new life seem more inviting and increases his wishes for wealth. His refusal to believe the Lord’s story would most likely result in becoming a beggar again. Even after they say these things, Sly thinks “Or do I dream? or have I dream’d till now? I do not sleep: I see, I hear, I speak; I smell sweet savours and I feel soft things. Upon my life, I am a Lord indeed” (7). As a reader, this makes me believe that Sly mostly believed Lord because he was surrounding by tempting wealth and wanted to be a part of the upper class.
ReplyDeleteIn the play, “Taming of the Shrew,” by William Shakespeare, the play begins with an induction that uses realism and personification to set a dominant effect of a separation between each character and the class rank difference between each. Sly degrades the servant by commanding her to her “cold bed” (7-8). By using the realism of the fact that her bed literally contains no warmth, it implies that she is impoverished and is not able to pay for something so basic and simple like a warm bed. It is ideal for every person or child to at least have a bed to sleep in at night, but the servant does not, showing she is part of such a low class that she can not even afford an object many people in the society consider a necessity for living. As the story of the induction moves on, the Lord describes the Sly and compares him to animal or “O monstrous beast, how like a swine he lies!”(30). An animal is not even a human what so ever and the ideal animal has no poise, manners, class, nor money compared to the human race. Since Sly is being compared to an animal it implies that he has all of the bad qualities of a “beast” not obtaining any human qualities. In the Lord’s eyes, Sly is a spitting image of an animal proving that he is the lowest of all economic classes.
ReplyDeleteOn lines forty one through forty four, the Lord states, “Then take him up and manage well the jest. / Carry him gently to my fairest chamber, / And hand it round with all my wanton pictures.”
When the Lord states “manage well the jest,” this means to carry out the ‘joke’ in style. The Lord is referring to the Sly as a joke, not a human worth his time, not worth anyone’s time which shows that Sly is no real person, has no money, no valued qualities and is therefor at the bottom of all classes. Although, when the Lord talks of himself, he adds far more poise, elegance, and class to the conversation because of his economical ranking within society. Within this quote he states the phrase “to my fairest chamber” referring to his “best bedroom.” Since the Lord is giving the option of his best bedroom he clearly has far more within his household since he is so rich and can pay for each. Finally implying that the Lord is at the top of the economical classes. Similarly to the quote used above, on lines fifty three through fifty five, the Lord says, “And say, ‘Will ‘t please your Lordship cool your hands?’ / Someone be ready with a costly suit, / And ask him what apparel he will wear.” First, ‘Lordship’ is capitalized in the middle of the sentence and only nouns are capitalized within the middle of sentences. This implies that the Lord is above each and every social and economical class since his ‘name’ or status is important enough to be capitalized. Also, on the last line, Shakespeare states “apparel” showing the fact and idea that he has a large selection of clothes that only the richest would be able to pay for proving the separation of the classes and that the Lord is above all.
"Am I a lord, and have I such a lady? Or do I dream? Or have I dreamed till now? I do not sleep: I see, I hear, I speak. I smell sweet savors and I feel soft things. Upon my life, I am a lord indeed And not a tinker, nor Christopher Sly. Well, bring our lady hither to our sight, And once again, a pot o' the smallest ale." (Scene II. Lines 53-60).
ReplyDeleteIn the induction, Shakespeare is writing about how a Lord plays a trick on Christopher Sly, and he is doing this because he wants to convince Sly that he is suffering from madness and he doesn't believe the servants until they mention a wife. I really thought this line was and creative because he is using this prank to set the tone as humorous for the comedy that is about to take place regarding this poem. Shakespeare creates this induction to actually foreshadow a different aspect the play will actually focus on. Some examples would include the class system and social status, and how people react to one another or how they act according to how they are treated, and lastly as well as the aspect of deception and disguise as well as how people are treated differently according to looks. An example of the class system and social status taking place in lines 3-4 of the induction where Sly yells “Y’ are a baggage: the Slys are no rogues; look in the chronicles; we came in with Richard Conqueror.” This line showcases how Sly is using the word “baggage” to actually mean the word “whore” and how she doesn’t seem to know anything at all because she is a woman. Men usually have complete power in their family, so with the constant insults that the woman is receiving she must be able to cope with it and can’t voice her opinions at all.
Excerpt from Act I Scene II (Page 25)
ReplyDeleteGRU: Will he woo her? Ay, or I’ll hang her.
PET: Why came I hither but to that intent?
Think you a little din can daunt mine ears?
Have I not in my time heard lions roar?
Have I not heard the sea puff’d up with winds
Rage like an angry boar chafed with sweat?
Have I not heard great ordnance in the field
And heaven’s artillery thunder in the skies?
Have I not in a pitched battle heard
Loud ‘larums, neighing steeds, and trumpets’ clang?
And do you tell me of a woman’s tongue,
That gives not half so great a blow to hear
As will a chestnut in a farmer’s fire?
Tush, tush! Fear boys with bugs.
GRU: For he fears none.
In this excerpt, Shakespeare characterizes Petruchio as a man with high self-confidence and machismo through the use of rhetorical questions, auditory imagery, and battle diction. Petruchio compares what he has heard about Katharina—that she is an “irksome, brawling scold” (I, ii, 24)—to other unpleasant experiences that he has supposedly endured during his lifetime. He asks rhetorical questions such as “Think you a little din can daunt mine ears? / Have I not in my time heard lions roar?” to emphasize that he does not fear anything so insignificant as “a woman’s tongue.” Shakespeare uses these rhetorical questions to emphasize Petruchio’s self-confidence; Petruchio speaks as if he were daring someone to contradict him while knowing that no one will. Petruchio shows his machismo through his use of auditory imagery such as “lions roar,” “rage like an angry boar,” “heaven’s artillery thunder,” and “Loud ‘larums, neighing steeds, and trumpets’ clang.” This imagery, suggestive of battle and danger, contrasts with the imagery used to describe the sound of Katharina’s tongue, which “gives not half so great a blow to hear / As will a chestnut in a farmer’s fire.” It is evident that Petruchio does not believe a woman can pose a threat to his comfort and well-being. He even suggests that the other men’s aversion to Katharina makes them weak when he says “Tush, tush! Fear boys with bugs.” Despite Petruchio’s macho attitude, the reader is forced to question whether he has actually experienced battle as he claims. Earlier in Act I, Petruchio states that he has come to “seek [his] fortunes farther than at home, / Where small experience grows” (I, ii, 20), suggesting that Petruchio has had little worldly experience. The implication that Petruchio is fabricating stories of his past deeds is reinforced when his servant Grumio says, “For he fears none.” The reader can infer that Grumio’s comment is sarcastic due to Shakespeare’s previous characterization of Grumio as an incompliant prankster. This excerpt implies that Petruchio has an inflated sense of self-assurance.
I agree with your idea that Petruchio boasts self-confidence. Another example that supports your idea is when he says that he is looking for a wife “rich enough to be Petruchio's wife,” (I. ii. 68). Petruchio’s sole requirement for his wife is to be rich. However, she cannot only be rich, but she must be rich “enough” for Petruchio. The fact that he says the word “enough” shows that any other woman is not good enough for him. He clearly places himself above all others, and his cocky and arrogant attitude seems unappealing, However, I think it is interesting that Shakespeare uses his attitude as a humorous and comedic effect. If fact, throughout the play, his cocky attitude is what brings laughs from the audience as he wreaks havoc in Kathrine’s life until she is finally “tamed.”
DeleteIn the induction of “Taming of the Shrew” by William Shakespeare, the author uses three different types of language – rough, eloquent, and demeaning – to convey the disparity between the rich and the poor classes. In the induction, a beggar named Sly is taken in by the Lord and is tricked into thinking that he is actually the Lord.
ReplyDeleteIn the first few lines of the Induction, we can see examples of rough language spoken by Sly. In line 6, Sly says, “Sessa!”, which when translated means “scram” or “shut up”. This is an example of rough language used by Sly to characterize his lower class behavior. Later, Sly then says, “I’ll not budge an inch, boy” (Ind., i, 14). In this context, “boy” actually means “wretch”, and the use of this rough language characterizes Sly as a coarse and rugged personality.
Shakespeare also uses eloquent language to characterize the Lord and his servants. An example of this eloquent language is when the Lord says, “Thou art a fool. If Echo were as fleet, / I would esteem him worth a dozen such. / But sup them well and look unto them all. / Tomorrow I intend to hunt again” (Ind., i, 26-29). The Lord speaks in a very formal manner with eloquent language, further showing his high status and class.
In addition, the author uses demeaning language to convey the Lord’s view of Sly when Sly is passed out. The Lord says, “O monstrous beast, how like a swine he lies! / Grim death, how foul and loathsome is thine image! / Sirs, I will practice on this drunken man” (Ind., i, 34-36). The Lord is displaying his disgust with Sly’s appearance and manner by using phrases like “like a swine he lies” and “foul and loathsome is thine image” to describe a poor and filthy character, which is how the Lord thinks of Sly.
Excerpt from Act I Scene I, lines 75-93 (Pages 13-14)
ReplyDeleteBAP: Gentlemen, that I may soon make good
What I have said, Bianca, get you in:
And let it not displease thee, good Bianca,
For I will love thee ne'er the less, my girl.
KATH: A pretty peat! it is best
Put finger in the eye, an she knew why.
BIAN: Sister, content you in my discontent.
Sir, to your pleasure humbly I subscribe:
My books and instruments shall be my company,
On them to took and practise by myself.
LUC: Hark, Tranio! thou may'st hear Minerva speak.
HOR: Signior Baptista, will you be so strange?
Sorry am I that our good will effects
Bianca's grief.
GRE: Why will you mew her up,
Signior Baptista, for this fiend of hell,
And make her bear the penance of her tongue?
BAP: Gentlemen, content ye; I am resolved:
Go in, Bianca:
In this excerpt, Shakespeare contrasts Bianca’s and Kathrine’s personalities using both indirect and direct characterization as well as an allusion to Roman mythology. This passage begins with Baptista Molina, the sisters’ father, ordering Bianca to get into their house. He addresses her sweetly with words of love and comfort when he says “And let it not displease thee, good Bianca, / For I will love thee ne’er the less, my girl” (I. i. 77-78). It is obvious by Baptista’s tone that he adores Bianca, and when Bianca replies to her father with “Sir, to your pleasure humbly I subscribe” (I. i. 82), readers can infer that Bianca and her father have a pleasant relationship and that Bianca is very sweet and obedient- the antithesis of Kathrine. In fact, Shakespeare uses indirect characterization again when Kathrine spitefully exclaims “A pretty peat! it is best / Put finger in the eye, an she knew why” (I. i. 79-80). Kathrine’s hateful tone and her coarse language show her hot temper and harsh tongue. Her exclamations are contrasted immediately with Bianca’s dialogue filled with tranquility and obedience such as “Sister, content you in my discontent” and “My books and instruments shall be my company.” Unlike Kathrine, Bianca does not easily get riled up and maintains her composure. Shakespeare also uses direct characterization to describe Kathrine’s shrew-like personality when Gremio calls Kathrine a “fiend of hell” (I. i. 90). In the Shakespearian era, women of wealth and high status were treated with respect, and the fact that Gremio insults Kathrine shows that her personality is so contemptible that it has caused her to lose her respect. Whereas Gremio Kathrine is called a “fiend of hell,” Lucentio uses an allusion to Roman mythology to compare Bianca to “Minerva” (I. i. 85). Minerva, or Athena in Greek form, is the Roman goddess of wisdom. Through this divine allusion, Lucentio not only showers Bianca with praise, but he also places Bianca as equal to a goddess because she is the epitome of the ideal woman: beautiful, smart, and obedient.
I really liked your comments about the allusion in this act. I had not noticed the allusion to Athena in this part of the play, and I like how you related this to the foil. Your analysis made me understand how foils work, especially with Katharina and Bianca. Another piece of evidence that supports this is in the dialogue between Katharina and Bianca. Katharina first says “ A pretty peat! it is best/ Put finger in the eye, and she knew why” and then Bianca responds “Sister content you in my discontent” (I. i. 79-81). This shows how the girls are opposites in speech, with Katharina having a fiery tongue and Bianca being very calm and serene. Katharina insists that Bianca will be a pet, but Bianca seems to be happy to have a husband soon.
DeleteYour analysis is very in depth and well done. The explanation you gave about the allusions in this excerpt clearly relate to the characterization of these two characters. I also find it interesting that Shakespeare would juxtapose them in this way because they are related. Since they are sisters, one might assume that their upbringing was very similar and therefore they will have similar character traits. The irony of two women raised in the same home by the same people ending up as opposites furthers their juxtaposition.
Delete“Petruchio
ReplyDeleteSignior Hortensio, ‘twixt such friends as we
Few words suffice; and therefore, if thou know
One rich enough to be Petruchio’s wife,
As wealth is burden of my wooing dance,
Be she as foul as a Florentius’s love,*
As old as Sibyl,* and as curst and shrewd
As Socrates’ Xanthippe,* or a worse,
She moves me not, or not removes at least
Affection’s edge in me, where she as rough
As are the swelling Adriatic seas.
I come to wive it wealthily in Padua.”
(I.ii.62-73)
Within Act one, Shakespeare begins to introduce Petruchio with the use of metaphors, talking in first person, and similes to show how strongly he cares for and desires the materialistic world and how highly he thinks of himself. Within the third line, Petruchio already starts off describing “one rich enough to be Petruchio’s wife,” meaning a women would not even come close to that position unless she had enough money to be his wife. Also, by him using first person to describe this, Shakespeare creates a tone in the reader that Petruchio feels as if he would be doing a women the honor be him even letting them have the chance to marry him. Since he speaks of himself in first person one can easily tell he thinks very highly of himself as well. When describing a women though that could possibly be his wife, the first quality they must acquire is being “rich” rather having true and raw beauty or a heart that can heal all souls. This proves and shows how much Petruchio cares and values the materialistic world and that world only.
From lines 66-73 Petruchio then compares this women to many horrible, ugly things, with the use of similes, and says that none of those qualities would matter as long as the women had money. Even if she were “As are the swelling Adriatic seas,” in other words, as stormy as the Adriatic seas, describing her personality; it still would have no emotional or negative impact on whether or not he would marry such a woman.
I totally agree with your analysis of the portrayal of Petruchio in this passage. However, I also believe that Shakespeare uses allusion to characterize women in this play. The frequent allusions to unpleasant characters and objects such as “Florentius’ love”, “Sibyl”, “Xanthippe”, and the Adriatic seas characterize women – in this case, Kate - in a bad manner. All of these allusions are not positive ideas. This establishes women as people who must be controlled or “tamed”, hence the title of the play. This is a great example of Shakespeare making social commentary through his plays, something he does frequently.
DeleteExcerpt from 1.i.339-349
ReplyDeleteBap Gentlemen, importune me no farther,
For how I firmly am resolved to know you;
That is, not to bestow my youngest daughter
Before I have a husband for the elder:
If either of you both love Katharina,
Because I know you well and love you well,
Leave shall you have to court her at your pleasure.
Gre. To cart her rather: she’s too rough for me.
There, there, Hortensio, will you any wife?
Kath. I pray you, sir, is it your will
To make a stale of me amongst these mates?
In this scene from William Shakespeare’s play, Taming of the Shrew he uses irony to characterize the male characters in his play. Throughout the play, Shakespeare characterizes women as weak, unintelligent people, and at points as possessions. Katharina, however is none of these things. She is loud and opinionated which was considered very impolite for a lady in this time period. In this scene particularly, Shakespeare flips this stereotype on men. It is not Katharina that is weak and afraid in this scene, but instead, the men. They are disappointed when Baptista informs them he will not marry his youngest daughter until Katharina has wed. This is because the men are scared of Katharina. In a time when men were supposed to be brave and strong, they are only willing to marry someone weak that is easily controlled. Despite Katharina’s unique characteristics, she is still treated as a possession, most notably by her own father. The men speak about her as if she a good that must be sold before she goes stale. She, in her unique way, calls them out for speaking about her this way and is greatly offended by their unwillingness to marry her. In a society in which men are supposedly strong and women weak, Shakespeare characterizes his male leads as weak for their unwillingness to wed anyone that is not easily controlled.
One passage that intrigued me was the first one in Act I, Scene II where it first begins with Petruchio and Grumio, the servant, outside of Hortensio’s, their friend,house. In the conversation between Petruchio and Grumio they seem to play with words without thinking about what they were exactly going to say. This is shown here when Petruchio tells Grumio to knock.”(I.ii.5) Then Grumio replies back with “Knock, sir! whom should I knock? is there any man has rebused your worship?”(I.ii.6-7) I found that a lot of punctuation marks take place between the conversion and I believe it is used to create a tone of unnecessary confusion that is used to actually used to annoy Petruchio in order to amuse Grumio. Continuing with the conversation Grumio is still searching for who he should “knock”(I.ii.9,13) and Petruchio starts to get extremely impatient by naming him “villain”(I.ii.8,11,19) and begins to threaten to hit him by saying, “Villain, I say, knock me at this gate And rap me well, or I’ll knock your knave’s plate.”(I.ii.11-12). Grumio still refuses to give up his search on what to “knock and tired by this nonsense Petruchio uses his own knowledge and strength to put an end to the foolish game by saying; “Faith, sirrah, an you’ll not knock, I’ll ring it; I’ll try how you can sol, fa, and sing it”(I.ii.16-17). Petruchio uses his knowledge by using a heroic couplet to end the quarrel, which is exactly the way a poet would end their own poems. In order to show his strength Petruchio is able to make Grumio sing sol” and “fa.”(I.ii.17) From this passage I was able to determine that Petruchio,despite him being smart, he also appears short tempered and never wants to be outdone by another person who he believes is in a lower class than he is.
ReplyDelete“GRE. “To cart her, rather. She’s too rough for me.—
ReplyDeleteThere, there, Hortensio, will you any wife? ,
KATH. I pray you, sir, is it your will
To make a stale of me amongst these mates?
HOR. “Mates,” maid? How mean you that? No mates for you,
Unless you were of gentler, milder mold” (I. i. 55-62)
In Act I in “Taming of the Shrew” Shakespeare uses metaphors and archaic diction to show the audience that men believe that women need to fit certain standards to be seen as desirable. I thought that this was very apparent in the treatment of Katherine, the daughter of Baptista. She is seen as the “shrew” of the story, meaning that she has a very violent temper and speech. The men in the play are very attracted to Bianca, who is a very calm and humble. While speaking to Baptista, Gremio says that he would rather “cart” Katherine than to marry her. Shakespeare uses the archaic diction of “cart”, which is a way of public punishment, to show how Katherine is undesirable. Because Katherine does not fit society’s standards of how a woman should be, she is seen as an unsatisfactory would be wife. A metaphor is used when Hortensio says that Katherine would be courted if she was of a “gentler, milder mould”. A preferred wife is one that will stay quiet and is not a strong or opinionated woman like Katherine is. If Katherine fit a different “mould” she would be courted. Especially in this time period, men want a housewife, who will bend to their will and is not an equal in the relationship. Societal standards and sexism make Katherine seem like she is unfitting to be a wife, while her sister is the perfect example of someone who would be desirable. Because the girls are such polar opposites, Katherine’s bad characteristics stand out more, making suitors see her sister as perfect and her as damaged.
I realized that in Act II we learned a new perspective to Kate and I began to ponder the title that Kate is referred to as “Kate the crust.”(I.ii.122) Kate shows us throughout the act that she actually cares about her father’s opinions of her, and doesn’t appreciate how the father is giving all his love to her sister. “What will you not suffer me? Nay, now I see She is your treasure, she must have a husband.” (II.i.32-32) I thought this line seemed like she is speaking in a tone that feels like her heart has been broken and that she has been betrayed by someone that was close to her. Her father on the other hand feels no pity at all for her even though her emotions show that she is being rejected and unloved because she is always compared to her sister. Her father thinks that he is actually doing Kate a favor because he is saving her from having to “dance barefoot”(II.i.33), “lead apes in hell,”(II.i.34) and any other punishments that an unwed woman would face. Kate however believes that her being forced to marry means that her father would give up on the chance that she could the “perfect man”. With her not being able to find the “perfect man” she begins to feel hurt and her interaction with her father causes her to have a strong hatred for other men. This is described by her taking “revenge”(II.i.36) on her father by rejecting all other men from marriage. These lines 32-36 really illustrate that Kate is just as complex and emotional as any other ordinary human being.
ReplyDeleteI completely agreed with your analysis of this act of the play. I thought it was interesting that you brought up that Katherine was angry at her father for forcing her to marry a man that she may not want to. I thought that she may be jealous of Bianca more than she is angry at her father. Her comments such as “her silence flouts me” and “she is your treasure” made me think that she felt resentful towards Bianca because of her desirable traits (II. i. 31, 34). Also, she has her father’s love and is the “favorite” child. Katherine wants to be like her sister in that she has the qualities that men look for in a wife, unlike herself.
DeletePET. You lie, in faith, for you are called plain
ReplyDeleteKate,
And bonny Kate, and sometimes Kate the curst.
But Kate, the prettiest Kate in Christendom,
Kate of Kate Hall, my super-dainty Kate,
For dainties are all Kates, and therefore, Kate,
Take this of me, Kate of my consolation.
Hearing thy mildness praised in every town,
Thy virtues spoke of, and thy beauty sounded –
Yet not so deeply as to thee belongs –
Myself am moved to woo thee for my wife.
KAT. Moved! In good time, let him that moved you
hither
Remove you hence. I knew you at the first
You were a movable.
PET. Why, what’s a movable?
KAT. A joint stool.
PET. Thou hast hit it; come sit on me.
KAT. Asses are made to bear and so are you.
PET. Women are made to bear and so are you.
KAT. No such jade as you, if me you mean.
(II.i.184-201)
In this excerpt of William Shakespeare’s play “Taming of the Shrew”, we can see the first encounter between Petruchio and Kate, in which we can specifically see Petruchio’s attempts to woo Kate and Kate’s termagant behavior. In this passage, the author uses praising language, repetition, and condescending language to describe Petruchio and Kate’s first encounter together.
In the beginning of the passage, we can see Shakespeare’s use of praising language to show Petruchio’s affection towards Kate and what he has previously heard of her. The author writes “the prettiest Kate in Christendom” (line 187) and “Thy virtues spoke of, and thy beauty sounded” (192). These lines show the praise and admiration that Petruchio has for Kate in his attempts to woo her. Later, Petruchio also says “Myself am moved to woo thee for my wife” (194), which shows his desire to wed Kate.
In addition, the author also uses repetition with the word “Kate” to convey Petruchio’s admiration of Kate and to put emphasis on Petruchio’s thoughts about Kate. We can see this technique being used throughout lines 185 to 190.
In the later part of the excerpt, Shakespeare uses condescending language coming from Kate to convey her shrewlike qualities. In line 194, Kate immediately starts to insult Petruchio, calling him a “movable” or a piece of furniture. Petruchio is confused by this statement and is further attacked with more insults. Kate then says “Asses are made to bear and so are you” (199) and “No such jade as you, if me you mean.” (201). Kate called Petruchio an “ass” and a “sorry horse”, insulting the shocked Petruchio.
I agree with your idea that Shakespeare uses condescending language to show Kathrine’s shrew-like qualities. I also think that Shakespeare uses a lot of metaphors, puns, and repetition in the interchange between Kathrine and Petruchio to show Kathrine’s temperament, stubbornness and intelligence- qualities that were undesirable and discouraged within women at the time. For example, the play on words they have with the “buzzard,” “wasp,” “stinger,” and “tail” shows Kathrine’s knowledge and advanced control of speaking poetically and cleverly. I think it is interesting that Shakespeare puts all these “manly” or “masculine” qualities in Kathrine to show the power struggle Kathrine and Petruchio have, and also the social difference between genders at the time. Petruchio clearly wants power in the form of wealth and submission from Kathrine while Kathrine desires to go against the standard norms of woman and superiority over other people in including her sister, father, and other men.
Delete“Petruchio
ReplyDeleteI pray you do. I will attend her here -
[Exit all but PETRUCHIO.]
And woo her with some spirit when she comes.
Say that she rail, why then I’ll tell her plain
She sings as sweetly as a nightingale.
Say that she frown, I’ll say she looks as clear
As morning roses newly wash’d with dew.
Say she be mute and will not speak a word,
Then I’ll commend her volubility,
And say she uttereth piercing eloquence.
If she do bid me pack, I’ll give her thanks,
As though she bid me stay by her a week.
If she deny to wed, I’ll crave the day
When I shall ask the banns* and when be married.
But here she comes-and now Petruchio, speak.
Enter KATHRINE
Good morrow, Kate, for that’s your name, I hear.”
(II.i.173-186)
Within the second act, Petruchio presents himself in a new way, and the audience sees him in a new light, as he meets and greets Kathrine for the first time before he marries her. Similarly discussed in my previous blog, Petruchio, is a very self centered man that thinks very highly of himself and believes that he is completely above every single person. Although, in this act, Petruchio shows some more sympathy and a caring side to his personality but it’s only a mask. He uses this “sympathetic” side as a mask to disguise his real motives and beliefs following this arranged marriage. Shakespeare shows this mask that Petruchio has with the use of visual and auditory imagery. Above shows a quote where Petruchio is talking to himself telling himself all the things he would say to her no matter her first reaction to seeing him. Petruchio has to plan out every reaction proving that no matter what she would say or do, he already had an idea as to what he would say proving it all fake. He would not be going off of his true feelings and rather he would be hiding behind this imaginary mask he has to show this fake love he has for her. Towards the end Petruchio speaks in first person showing that he still thinks very highly of himself as well. Right after he says that, and Katherine walks into the room, he doesn't even have the decency to ask her for her real name, rather he names her and gives her a nickname because he feels as if he has enough authority over her as well; bringing out another side to him, his self pride that enables him to feel as if he can degrade women.
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ReplyDelete
ReplyDeleteExcerpt from Act II, Scene I, lines 137-144 (Page 32)
PET: Why, that is nothing. For I tell you, father,
I am as peremptory as she proud-minded;
And where two raging fires meet together,
They do consume the thing that feeds their fury.
Though little fire grows great with little wind,
Yet extreme gusts will blow out fire and all.
So I to her and so she yields to me,
For I am rough and woo not like a babe.
In this excerpt, Shakespeare uses metaphors and audacious diction to represent Kathrine and Petruchio’s temperamental and stubborn personalities. Petruchio uses a metaphor to compare Kathrine and himself to “raging fires” (II. i. 140). This is fitting for Kathrine who is infamous for her fiery temperament and tongue, and she is often associated with the devil and hell (for example, “fiend of hell” (I. i. 90)). Petruchio also compares himself to a fire not only because of his own fickle and stubborn personality, but also because he believes himself to have power comparable to that of Kathrine’s; all the other men are cannot even fathom of being with Kathrine, but Petruchio seems to see her as a challenge that makes him superior to others. In fact, he uses another metaphor to compare himself to an “extreme gust” (II. i. 142) because he knows that with little wind only helps to fan a fire, or in other words, little or passive action will only cause Kathrine’s hellish personality to become worse. By becoming an “extreme gust,” he vows to extinguish her inner flame by radical and drastic actions until she “yields to” him (II. i. 143). Shakespeare also uses audacious language and diction to enhance Petruchio’s masculinity, a key symbol of power in the Shakespeare’s time. Petruchio always emphasizes his power and self-confidence whenever he speaks. For example, when he says to Baptista, “I am as peremptory as she [Kathrine] proud-minded” (II. i. 138), he seems to boasting authority by using the word “peremptory” as he seems confident to control Kathrine’s behavior. Also, he says, “For I am rough and woo not like a babe” (II. i. 144) to represent his masculinity with the word “rough” and maturity of age.
This dialogue stood out to me as well. It is really incredible to me that such beautiful language is used to describe a quest to rid someone of their personality. I find Petruchio admirable and I personally believe that his lack of respect for women is simply a product of the time period. The consistency of Shakespeare's comparison of fire and Kate amazes me because it portrays her personality so well. I am interested to see if the type of diction he uses to describe her will change after her and Petruchio have wed.
DeleteIn Act II of “Taming of the Shrew” by William Shakespeare, the author uses the transition between Katherine and Kate to convey the sudden turn in the plot of the play. Throughout all of Act I and the first half of Act II, Katherine was referred to by her full name. The description of her, given by the other characters, consisted of mainly negative remarks. She was indirectly characterized as hot headed and violent, both frowned upon characteristics of women of that time. She is also characterized by her violent behavior seen clearly in Act II when she strikes her sister Bianca and then strikes Hortensio during their music lesson. Her character is exposed in a whole new way when Petruchio enters her room. He greets her by saying, “Good morrow, Kate; for that’s your name I hear” (II.i.186). This is among the first times that Katherine is referred to as Kate. It is important that it is Petruchio's first meeting with her because this line serves as the beginning of a plot twist. This is also shown by the time of day, morning, because that is the beginning of the day. Petruchio changes Kate in a very unexpected way. He explains his plan to, “bring you from a wild Kate to a Kate / Conformable as other household Kates” (II.i.1135-1136). He wants to change her wild ways by wedding her. To the shock of the reader, she does not object to the proposal and remains silent for the end of the scene. The change of the name symbolizes the change in the character that is caused by Petruchio.
ReplyDeleteI think your analysis is very insightful. I agree that Petruchio’s use of the name “Kate” instead of “Katharine” is significant and is part of Petruchio’s greater theme of calling Katharine things that she is not accustomed to hearing, such as “the prettiest Kate in Christendom” and “sweet as spring-time flowers.” By calling her such names, Petruchio aims to make her into a different person. The shortening of her name can also be seen as representing the truncation of her character; Petruchio will eventually take away her contentious personality and make her into a “Kate Conformable as other household Kates.”
Delete“BAP: Why dost thou wrong her that did ne’er wrong thee?
ReplyDeleteWhen did she cross thee with a bitter word?
KATH: Her silence flouts me, and I’ll be revenged!
BAP: What, in my sight?—Bianca, get thee in.
KATH: What, will you not suffer me? Nay, now I see
She is your treasure, she must have a husband,
I must dance barefoot on her wedding day
And, for your love to her, lead apes in hell.
Talk not to me. I will go sit and weep
Till I can find occasion of revenge.” (II. i. 29-39)
In this act, readers can see a different side to Katherine, the sharp tongued daughter of Baptista. In the first act, Katherine is viewed as vulgar and undesirable and men often hurl insults at her. Her negative qualities stand out against her sister’s peaceful ones. In this section, Shakespeare uses proverbs and allusions to past beliefs to show readers that there are reasons for Katherine’s attitude and to evoke sympathy in the reader. First, Shakespeare uses the proverb “they that die maids, lead apes in hell”. Katherine refers to herself in this proverb because she is the one that would die without marrying someone, and would go to hell for it. She is jealous of her sister because she has so many suitors, and she has none because of her independent spirit. Even though she does not seem like she wants a husband, Katherine does not want to end up alone and a maid. When Katherine talks about having to dance barefoot on her sister’s wedding day, she is alluding to a popular belief at the time. The belief is that if your younger sister gets married before you, you have to dance barefoot at their wedding to prevent yourself from staying a spinster. Katherine has a fear of never marrying, and is jealous of her sister’s suitors. Also, she is angry that her father seems to favor Bianca over her. Readers can see this through Katherine’s comments about her father’s love for Bianca, and her obvious jealousy of her favorable traits.
Excerpt from ACT II, Scene I (Page 33)
ReplyDeletePET: Let specialties be therefore drawn between us,
That covenants may be kept on either hand.
BAP: Ay, when the special thing is well obtain’d,
That is, her love; for that is all in all.
PET: Why, that is nothing; for I tell you, father,
I am as peremptory as she proud-minded;
And where two raging fires meet together
They do consume the thing that feeds their fury:
Though little fire grows great with little wind,
Yet extreme gusts will blow out fire and all:
So I to her and so she yields to me;
For I am rough and woo not like a babe.
BAP: Well mayst thou woo, and happy be thy speed!
This excerpt, which describes an interesting interaction between Baptista and Petruchio, foreshadows events that will occur later in the play and indicates what little say Katharine has in deciding whether or not she will marry Petruchio. The organization that Shakespeare uses in this dialogue is significant in showing that Katharine’s love is not “all in all” as Baptista says, but rather a secondary concern. Though Petruchio has never met Katharine, Petruchio and Baptista’s topic of conversation immediately after meeting one another is the dowry that Petruchio will have when he marries Katharine. Baptista is excited about the prospect of meeting a man willing to marry his “curst” daughter – so much so that he nearly forgets to consider the fact that Katharine may be unwilling to marry Petruchio. Remembering his role as a father, he says, “Ay, when the special thing is well obtain’d, / That is her love; for that is all in all.” The brevity of this line, as well as the regretful “Ay” preceding it, shows that Baptista wishes that Katharine’s love were not a concern in the matter. It also suggests that the two men will get what they want (a marriage between Petruchio and Katharine) no matter how much opposition they receive from Katharine. The inevitability of the marriage is further demonstrated through Shakespeare’s use of foreshadowing. When Petruchio describes how “two raging fires meet” and “consume the thing that feeds their fury,” he foreshadows how his abusive attitude towards Katharine will eventually be the thing to “blow out [her] fire” and tame her. Baptista, apparently oblivious to Petruchio’s threatening fire diction, wishes Petruchio good luck in winning over Katharine. By ignoring the threat of possible abuse towards his daughter, Baptista indicates the extent of his desire to be rid of Katharine.
In the third Act, Katherine and Petruchio are about to step foot in marriage but the day of the wedding, Petruchio shows late, in horrid clothing that is completely improper and inappropriate for this special occasion. With Petruchio arriving late, it gives the chance for other characters to share their piece of mind about Petruchio and his malicious ways, most importantly coming from Katherine and her views.
ReplyDelete“Katherine
No shame but mine. I must, forsooth, be forc’d
To give my hand oppos’d against my heart,
Unto a mad-brain rudesby full of spleen,
Who woo’d in haste and means to wed at leisure.
I told you, I, he was a frantic fool,
Hiding his bitter jests in blunt behaviour,
And, to be noted for a merry man,
He’ll woo a thousand, ‘point the day of marriage,
Make friends, invite, and proclaim the banns,
Yet never means to wed where he hath woo’d.
Now must the world point at poor Katherine,
And say, “Lo, there is mad Petruchio’s wife,
If it would please him come and marry her!’”
(III.ii.8-20)
Katherine is overwhelmed with the embarrassment she is feeling for herself at this moment. The one who is supposed to take her hand in marriage does not even have the decency to arrive on time. She is forced into this marriage, having no choice or say in this arrangement and Petruchio still decides and feels as if he may arrive late. By Shakespeare writing, “To give my hand oppos’d against my heart,” it shows how strongly Katherine is against this marriage since she feels and knows in her heart that he is not the one. By using the body part of the heart, the one that is consistently associated with love, supports and shows that Katherine is completely miserable with only the idea of this marriage and this all has to do with Petruchio’s actions of only caring for the materialistic world. This action displays and presents Petruchio with a horrible reputation and it shows everyone the type of man he is; one that has only a real care for what Katherine possess, money and power, rather her true qualities that she has. Although he tries to cover up his real, nasty feelings with a mask that presents himself in a far more gentleman like way. This theme of an imaginary mask that he possess proves that Petruchio may seem as if he cares, but deep down he has only one real care and that is his love for the materialistic world. By this description coming from Katherine, the one who is about to be the closest to Petruchio within his life, shows how real and easily found qualities he has to the world. If Petruchio actions do not already represent it far enough, than Katherine’s actions and descriptions of him are able to show them far more to the audience coming from another character.
Excerpt from Act III, Scene II, lines 159-185 (Pages 49-80)
ReplyDeleteGRE: Tut, she's a lamb, a dove, a fool to him!
I'll tell you, Sir Lucentio: when the priest
Should ask, if Katharina should be his wife,
'Ay, by gogs-wouns,' quoth he; and swore so loud,
That, all-amazed, the priest let fall the book;
And, as he stoop'd again to take it up,
The mad-brain'd bridegroom took him such a cuff
That down fell priest and book and book and priest:
'Now take them up,' quoth he, 'if any list.'
TRA: What said the wench when he rose again?
GRE: Trembled and shook; for why, he stamp'd and swore,
As if the vicar meant to cozen him.
But after many ceremonies done,
He calls for wine: 'A health!' quoth he, as if
He had been aboard, carousing to his mates
After a storm; quaff'd off the muscadel
And threw the sops all in the sexton's face;
Having no other reason
But that his beard grew thin and hungerly
And seem'd to ask him sops as he was drinking.
This done, he took the bride about the neck
And kiss'd her lips with such a clamorous smack
That at the parting all the church did echo:
And I seeing this came thence for very shame;
And after me, I know, the rout is coming.
Such a mad marriage never was before:
Hark, hark! I hear the minstrels play.
In this except, Shakespeare uses metaphors and visual imagery, and rough diction/language to portray Petruchio’s shocking crude behavior and its effects to the other characters in the play. Previously, Katherine was always associated with the devil and hell, and people pitied Petruchio for getting married to her. However, now Katherine is now compared to a “lamb, a dove, and a fool to him” (III. ii. 159). Katherine, the once vicious shrew, is now as harmless and even peaceful in comparison to the boorish Petruchio. This sudden and stark contrast really shows Petruchio’s true nature is worse than Katherine’s, and readers may get the sense that Kathrine has met her rival for power, and this time, she may not have the upper hand. Shakespeare also uses visual imagery to directly show the cringe-worthy visual of Petruchio’s crude behavior and its effect to the audience. For example, when he hits the priest for dropping his book, Shakespeare writes, “The mad-brain'd bridegroom took him such a cuff / That down fell priest and book and book and priest” (III. ii. 165-166) which is almost immediately followed by Katherine’s reaction of being “trembled and shook” (III. ii. 169). This is shocking for the readers because the great Katherine, infamous for her sharp and biting tongue and fiery temper, has been shaken by Petruchio’s appalling actions. More examples of visual imagery showing the damaging nature of Petruchio’s actions include “he stamp'd and swore” (III, ii. 169), “He calls for wine: 'A health!' quoth he, as if / He had been aboard, carousing to his mates / After a storm” (III. ii. 172-174), “And threw the sops all in the sexton's face” (III. ii. 175), and “This done, he took the bride about the neck And kiss'd her lips with such a clamorous smack” (III. ii. 180-181). The use of rough diction/language such as “stamp’d and swore,” “carousing to his mates,” “storm,” “threw,” and “took the bride about the neck” really depicts the disastrous wedding scene. Furthermore, when the kiss was described to have a “a clamorous smack / That at the parting all the church did echo” (III. ii. 180-181), Shakespeare inputs another meaning in those lines to show that not only is Katherine’s humiliation so mortifying that it has an impact like that of a clamorous smack, but also the “echo” represents the lasting effect of the humiliation in the future because echoes always rebound many times until it eventually fades, just as villager’s latest gossips and rumors do.
I think your analysis is very insightful. I definitely agree that Shakespeare’s diction contributes to creating the image of Katharine’s mortification and also evoking the reader’s sympathy. I think that Petruchio’s behavior is a calculated scheme to “tame” Katharine by giving her a taste of her own medicine. This newfound personality of Petruchio’s may not be his true personality, but rather a reflection of her own.
DeleteExcerpt from Act III, scene ii, lines 1606-1614
ReplyDeleteBut for my bonny Kate, she must with me.
Nay, look not big, nor stamp, nor stare, nor fret;
I will be master of what is mine own.
She is my goods, my chattels; she is my house,
My household stuff, my field, my barn,
My horse, my ox, my ass, my anything.
And here she stands, touch her whoever dare.
I’ll bring mine action on the proudest he
That stops my way in Padua.
William Shakespeare uses several metaphors to compare Kate to household items in his play, “Taming of the Shrew”. During this scene, Petruchio is explaining that he must leave his wedding early before the bride is able to visit with her friends and family. Kate of course objects to this at first and so Petruchio begins his long explanation of how Kate is now his property. In the play it almost seems charming that he compares her to things that are actually quite valuable. Men pride themselves on their land and home. As the list goes on, however, it becomes less enchanting. He compares her to “my ass, my anything” (II.ii.1609). She seems less like a prize to be won and more like an animal needing to be controlled. Although,
he does follow this with a promise to protect her. These metaphors are used to compare his love as she is his pet and in a way, contrast the current view of love as an equally beneficial partnership.
I agree with your analysis of Petruchio’s portrayal of Kate in this excerpt of the play. However, I had something to add on to your analysis. In addition to your analysis of how Petruchio compares Kate to household items, I also saw this excerpt as a characterization of Petruchio and how he is asserting his dominance in this situation. 1 line before this excerpt, Petruchio says, “Be mad and merry, or go hang yourselves.”. I think that this line shows his lack of care for what other people think about what he is doing, and this emphasizes his confidence and dominance.
DeleteKAT. No shame but mine. I must, forsooth, be forced
ReplyDeleteTo give my hand opposed against my heart
Unto a mad-brain rudesby, full of spleen,
Who wooed in haste and means to wed at leisure.
I told you, I, he was a frantic fool,
Hiding his bitter jests in blunt behavior.
And to be noted for a merry man,
He’ll woo a thousand, ‘point the day of marriage,
Make friends, invite, and proclaim the banns,
Yet never means to wed where he hath wooed.
Now must the world point at poor Katherine
And say, “Lo, there is mad Petruchio’s wife,
If it would please him come and marry her.”
(III.ii.8-20)
In this excerpt from William Shakespeare’s “Taming of the Shrew”, the author uses distraught and regretful language and descriptive diction to describe Kate’s despair when she realized that Petruchio might not show up to their wedding. She begins regretting ever agreeing to marry him. Soon after this excerpt, Kate storms out of the wedding party weeping.
We can see the use of regretful language in the lines such as “I told you, I, he was a frantic fool,” (line 12) and “Yet never means to wed where he hath wooed.” (17). These lines describe Kate’s regrets for even thinking about marrying Petruchio. She also describes how Petruchio woos many women, only to leave them without marriage. In line 11, Kate also says “Who wooed in hast and means to wed at leisure.” which also shows Petruchio’s apparent apprehension to wed.
Also, the author uses descriptive diction to convey Kate’s view of Petruchio, and how she is disappointed and mad at him. Kate uses words and phrases like “mad-brain rudesby” (10), “full of spleen” (10), and “frantic fool” to describe her feelings for Petruchio, and how he is an unpredictable “fool”. In addition, we can see how Kate characterizes herself in this situation. In lines 18 and 19, the author writes “poor Katherine” and “mad Petruchio’s wife”, respectively, to show how Kate characterizes herself as a sad person because of what Petruchio has done to her, as well as how she thinks other people will view her. Kate believes that other people will see her as a “mad” person for marrying someone as unpredictable as Petruchio.
I agree with your analysis of Katherine and her actions at the beginning of this act. One thing that I thought about was that maybe Katherine is so upset because she actually has feelings for Petruchio and wants to marry him. She puts up a facade that she wants to be independent at the beginning of the book, but when she meets Petruchio she does not say anything when he tells her father that they are getting married. I thought it was interesting that she had not agreed to marry Petruchio, but went along with his plans anyways. This may have been because of her attraction to Petruchio and their persiflage. In the third act, I was not surprised that Katherine was so upset that Petruchio was late because she actually cares for him. Plus, she wants to get married and there are not many men that would like to marry her. Her fears of ending up alone also drive her panic in the beginning of the act.
DeleteI agree with your idea that Shakespeare uses descriptive diction to show Kate disappointment and anger with Petruchio. I think that it is interesting to see Kathrine weep and be so upset with Petruchio not showing up at the wedding. Previously, she has always been so harsh and short-tempered, but now we can see that underneath her constant anger, she still has feminine qualities by her being upset of being abandoned and rejected. She’s always been associated with the “devil’s dam” and “fiend of hell” by other men, but by exposing her inner feelings, Shakespeare shows that despite her bitter exterior, she is still a woman who can be hurt. This leads me to think about how hurt she must have been by the constant rejecting, disparaging, and blatant ignoring of people including her own father, but she covers it up by building a wall. I also think that she has a genuine interest in Petruchio because he was the one who finally spoke to and acknowledged her, so she is even more hurt by his “abandoning.”
Delete“Be mad and merry, or go hang yourselves.
ReplyDeleteBut for my bonny Kate, she must with me.
Nay, look not big, nor stamp, nor stare, nor fret;
I will be master of what is mine own.
She is my goods, my chattels; she is my house,
My household stuff, my field, my barn,
My horse, my ox, my ass, my anything.
And here she stands, touch her whoever dare” (III. ii. 231-239).
In this act of the play, Katherine and Petruchio get married, and Petruchio insists on leaving right after the wedding. He intends to take Katherine with him, and not allowing her to celebrate with her family. Shakespeare uses metaphors and repetition to show Katherine as a possession and not a person. This is common theme throughout the book, as men see women as prizes to be won and objects. Gremio and Hortensio see Bianca this way, because they want to have the perfect wife, and do not care as much about Bianca herself. Once men are married in this time period, the men believe that they can control their wives and that their sole purpose is to serve them. Petruchio is no exception of this perspective. When he describes Katherine as “his goods” he objectifies her and makes her seem no more than all of the things that he lists like “ox”, “ass”, and “barn”. He shows the audience that Katherine is not a person anymore, but an item that he will use. In the beginning of this excerpt, when Petruchio says “be mad and merry, or go hang yourselves” he makes it clear to the party that he does not care what they think or do after he is gone (III. ii. 231). Also, when he speaks as if he has gained a new possession, the audience knows that Petruchio is far from taming Katherine. He is persistent in making her leave, even though she puts up a fight. By claiming Katherine as a possession, Shakespeare foreshadows to the audience the events to come and portrays an important theme throughout the time period.
Excerpt from Act III, Scene I (Page 42)
ReplyDeleteBIAN: Why, gentlemen, you do me double wrong,
To strive for that which resteth in my choice:
I am no breeching scholar in the schools;
I’ll not be tied to hours nor ’pointed times,
But learn my lessons as I please myself.
And, to cut off all strife, here sit we down:
Take you your instrument, play you the whiles;
His lecture will be done ere you have tuned.
HOR: You’ll leave his lecture when I am in tune?
LUC: That will be never: tune your instrument.
This excerpt shows an interesting new side of Bianca. Instead of acting obedient and modest as she does in the presence of her father and suitors, Bianca reprimands her “teachers” for their quarreling and takes command over her studies. She creates an indignant tone when she says, “I am no breeching scholar in the schools; / I’ll not be tied to hours nor ’pointed times.” Bianca has become vexed at Lucentio and Hortensio for their obvious competition over her attention. Shakespeare implies that Bianca feels a similar irritation in the presence of her many suitors, but is unwilling to express herself due to the need to maintain her modest and acquiescent reputation in the presence of upper-class gentlemen. However, when Bianca believes that Hortensio and Lucentio are only teachers, she is willing to scold them for their quarreling and demand that they stop their foolish behavior: “To cut off all strife, here sit we down: / Take you your instrument, play you the whiles.” Shakespeare uses this dialogue to demonstrate that Bianca, like her father and suitors as well as the characters in the induction, places much importance on the distinction of class. Her submissive behavior may only be a façade used to secure her a lasting place in the aristocracy into which she was raised. In fact, once Bianca is married to Lucentio, we see that she is no longer the dutiful girl she was before. In Act V, Bianca responds to being summoned by her husband by saying “Fie, what a foolish duty call you this?” (V, II, 84). In contrast, Katharine comes obediently at Petruchio’s call. By the end of the play, Katharine has learned to sincerely become what Bianca only ever pretended to be.
In Act III Scene II we witness an extremely grumpy Baptista and Katharina and the reasoning behind is that Petruchio, who is supposed to marry Katharina today, is nowhere to be found. I noticed that Shakespeare uses negative or depressing diction to explain the state of mind that Katharina is in as well as how people view her. Some negative terms that Shakespeare uses is words like “shame,” “forced” showcase both the situation she is in as well as how people view her. Shakespeare uses the word “shame” to not only make Katharina embarrassed that Petruchio was late to the wedding, but also to incorporate how people viewed her because she is referred to as the shrew, and also her sister is viewed higher than her and that she hasn’t accomplished anything in her life. I also found it interesting that we learn more about the characterization of Katharina. When she insults Petruchio using the words “Mad-brain,” and “rudesby” it is extremely shocking as it wasn’t common for rude comments to be targeted at a man like Petruchio. These words show that she is short-tempered and that she isn’t afraid to say anything to even a highly respectable man in Petruchio.
ReplyDeletePET. Where be these knaves? What, no man at
ReplyDeleteDoor
To hold my stirrup nor to take my horse?
Where is Nathaniel, Gregory, Philip?
ALL SERV. Here, here, sir, here, sir.
PET. Here, sir, here, sir, here, sir, here, sir!
You loggerheaded and unpolished grooms!
What, no attendance? No regard? No duty?
Where is the foolish knave I sent before?
GRU. Here, sir, as foolish as I was before.
PET. You peasant swain! You whoreson malt-
horse drudge!
Did I not bid thee meet me in the park
And bring along these rascal knaves with thee?
(IV.i.113-125)
In this excerpt of William Shakespeare’s “Taming of the Shrew”, the author uses questions and condescending and disparaging diction to convey Petruchio’s disappointment and anger with all of his servants. This passage occurs at the beginning of Act 4 when Petruchio has just returned with Kate and is confronting his servants who have been preparing for his return.
The author uses condescending diction in words such as “knaves” (line 113), “loggerheaded” and “unpolished” (119), “swain” (123), and “whoreson malthorse drudge” (123-124) to convey his anger with his servants. “Swain” and “whoreson” translate to “bumpkin” and “bastardly”, respectively. The use of this condescending diction characterizes Petruchio’s view of his servants, especially in this situation, in which Petruchio appears to be more of a shrew than Kate. Also in this excerpt, we can see the use of condescending language by one of the servants himself: Grumio. In line 122, Grumio says, “Here, sir, as foolish as I was before.” This shows how he is condescending towards himself in the presence of his master by calling himself “foolish”.
In addition, another technique that Shakespeare uses to emphasize the discontent that Petruchio holds with his servants is the use of questions directed towards the servants, specifically, Grumio. We can most prominently see this this technique in line 120 where Petruchio says, “What, no attendance? No regard? No duty?”. He is directing these questions towards Grumio to show how he is disappointed because Grumio did not do what Petruchio had told him to do. We can also see the use of questioning in line 125 where Petruchio says, “And bring along these rascal knaves with thee?” The use of this technique not only expresses Petruchio’s frustration, but it also makes Grumio realize his mistakes by stimulating his own thoughts.
I think that your analysis of the language used in this passage is very accurate and definitely intentional. However, I believe that Grumio calling himself foolish was actually him mocking his master, not giving into him. I am under the impression that Grumio knows Petruchio well enough that he may be in on his plan to tame Kate. Making a joke about how foolish he is serves as evidence that he probably isn't afraid of Petruchio, as the other servants are.
DeleteI agree that Petruchio uses disparaging diction to show anger towards his servants. Petruchio does this in order to continue demonstrating to Katharine that he can be as strong-willed and shrewish as she is reputed to be. It is unlikely that Petruchio would act this way towards his servants if Katharine were not present. It is also notable that rather than being rude to Katharine, Petruchio berates his servants in the name of making everything perfect for her. This is a clever scheme because Katharine feels the effects of Petruchio’s actions (which cause her to go without food and nice clothing) but is unable to complain of any physical or verbal abuse.
DeleteHOR. Say as he says, or we shall never go.
ReplyDeleteKATH. Forward, I pray, since we have come so far,
And be it moon, or sun, or what you please:
And if you please to call it a rush-candle,
Henceforth I vow it shall be so for me.
PET. I say it is the moon.
KATH. I know it is the moon
PET. Nay, then you lie: it is the blessed sun.
(IV.v.2298-2305)
In Taming of the Shrew, William Shakespeare uses a sudden change in Kate’s diction to represent a turn in the plot. Late in Act IV, Kate is worn out by Petruchio’s constant outbursts and deprivation of sleep and food. Until this point in the play, Kate’s dialogue was angry and filled with both physical and verbal abuse. Even at the beginning of this scene, she argues with Petruchio when he makes the outrageous claim that the moon is brighter than the sun. With some encouragement from Hortensio, she quickly gives up this battle and accepts what Petruchio is telling her. She does not really accept it, however. She knows that he is telling her lies but has come to terms with the fact that arguing doesn’t help anyone. She takes on an agreeable tone through the rest of this scene which really goes to show how intelligent she is. She knows the only way she’ll ever get anything she needs is by accepting these new truths that are forced on her by Petruchio. He soon makes this situation a lose-lose for her when he calls her out for “believing” his mad remarks. This marks the beginning of Kate’s taming. The agreeable tone that was added to Kate’s diction in this scene represents the end of her wild ways and the beginning of a new tamed wife for Petruchio.
I agree with you about how this excerpt represents a turning point in the plot, especially with the progression of Kate’s “taming”. I also believe that this is a great example of William Shakespeare’s incorporation of social commentary, and in this case, commentary about gender stereotyping. In this excerpt, Kate must change herself in order to appease Petruchio. Even after that, however, Petruchio, as you mention, actually turns the tables again against Kate and calls her out for “believing” him in the first place. Although this kind of social commentary might be taken as an offensive remark in modern times, the way Shakespeare incorporates it into a comedic play transforms the idea into a more trivial, yet very real, issue.
DeleteExcerpt from Act IV, Scene V
ReplyDeletePET: Now, by my mother’s son, and that’s myself,
It shall be moon, or star, or what I list,
Or ere I journey to your father’s house.
Go on, fetch our horses back again.
Evermore cross’d and cross’d nothing but cross’d!
HOR: Say as he says, or we shall never go.
KATH: Forward, I pray, since we have come so far,
And be it moon, or sun, or what you please:
And if you please to call it a rush-candle,
Henceforth I vow it shall be so for me.
PET: I say it is the moon.
KATH: I know it is the moon.
PET: Nay, then you lie: it is the blessed sun.
KATH: Then, God be bless’d, it is the blessed sun:
But sun it is not, when you say it is not;
And the moon changes even as your mind.
What you will have it named, even that it is;
And so it shall be so for Katharine.
In this excerpt, Shakespeare illustrates the moment in which Katharine realizes that it is pointless to continue acting against Petruchio’s will. Shakespeare uses contrast between the moon and the sun to create an extreme situation in which Katharine can find no compromise between following her will and Petruchio’s. Petruchio swears “by my mother’s son, and that’s myself” that the sun is actually the moon. He uses this diction to compare himself to God, emphasizing what Katharine will later state in her monologue at the end of the play: “Thy husband is thy lord, thy life, they keeper” (V, II, 85). Petruchio’s choice of such an outlandish claim leaves no room for Katharine to compromise; she must choose to either to persist in defending what she knows to be true or to capitulate to Petruchio. Katharine has already endured an embarrassing wedding, lack of food, and demeaning clothing and wishes only to return to her father’s house. She finally decides to humor Petruchio because she realizes that it is the only way that she will be able to be moderately comfortable in her new life. However, Shakespeare emphasizes that although Kate’s words reflect submission to Petruchio, she has not been forced to give up her personal will. He does so through the use of the extreme example of the sun versus the moon and repetition. While Katharine humors Petruchio in saying, “I know it is the moon,” it is obvious that she still knows that it is the sun. When Petruchio says, “It is the blessed sun,” Katharine repeats his words by saying, “Then, God be bless’d it is the blessed sun.” This repetition shows that Katharine will reflect Petruchio’s views but that they are not her own. Katharine has found a way to compromise; outwardly she reflects Petruchio’s every inclination, but inwardly she retains her unique personality.
I like your analysis and how you mentioned that Petruchio's contrast of moon and sun leaves no room for Kate to find a compromise. Thus, do you think the moon and sun symbolizes anything to Kate? Since Kate speaks with confidence when describing the sun that she is only pretending to agree with Petruchio about everything? In a way would you consider Kate to be smarter than Petruchio in a sense that she's pretending, but doing it in order to survive (food, sleep, etc.)?
DeleteThose are really good questions! I would say that Kate is definitely becoming smarter in that she is learning how to live with Petruchio without being denied food, clothing, and other comforts. However, I wouldn’t say that Kate is smarter than Petruchio because he is as much aware of what is going on as she is. He knows that she cannot possibly believe that the sun is actually the moon; his intent is only to force Kate to accept his will and abandon her shrewish, contradictory personality. Once Kate is able to fully subjugate herself to Petruchio without complaint or sarcasm, Petruchio will drop his shrewish act and the two will be able to function well as a compromising couple. Shakespeare emphasizes that in order to reach a happy medium, it is first necessary to arrive at the extremes.
DeleteThroughout the whole play, Petruchio has possessed a strong desire and need to tame is now wife, Katherine, but has not been successful until this scene. His devious and evil plans to tame her into the women, more seen as an object he owns, into one exactly how he enjoys. Katherine has no freedom, no say, no choice within her everyday life due to Petruchio and he is only beginning to tame her. On pages 186 and 187 Petruchio speaks to Curtis and describes exactly what he will do in order to make Katharine into the ‘perfect’ woman.
ReplyDeletePetruchio
Thus have I politicly my reign,
And ‘tis my hope to end successfully
My falcon now is sharp and passing empty
And till she stoop she must not be full-gorg’d
For the she never looks upon her lure.
Another way I have to man my haggard,
To make her come and know her keeper’s call,
That is, to watch her, as we watch the kites
That bate and neat and will not be obedient.
She ate no meat today, nor none shall eat;
Last night she slept not, nor tonight she shall not;
I’ll find about the making of the bed;
And here I’ll fling the pillow, there the bolster,
This way the coverlet, another way the sheets.
Ay, and amid this hurly I intend
That all is done and reverend care of her.
And, in conclusion, she shall watch all night,
And if she chance to nod, I’ll rail and brawl,
This is a way to kill a wife with kindness,
And this I’ll curb her ad and headstrong humour,
He that knows better how to tame a shrew,
Now let him speak; ‘tis charity to shrew.
(IV.i.187)
Within this whole speech that Petruchio has, he mentions many subtle ways that he will tame Kate, for example; “And till she stoop she must not be full-gorg’d,” and “Last night she slept not, nor tonight she shall not; I’ll find about the making of the bed.” Petruchio is keeping her from eating a sleeping and he has tricked her into believing that there is consistently something wrong with the food or the bed causing her to not be able to sleep nor eat. He is taming her this way by manipulating her, making her feel and believe that he knows best and that she must always listen to what Petruchio has to say, although many times what he says is not the truth. Petruchio knows what he is doing is harmful to her but that it is the only way for him to receive what he wants out of this. Petruchio states, “This is a way to kill a wife with kindness,” meaning, by making excuses for the little things, it is far less dramatic and makes it seem as if Petruchio is really looking out for Kate rather taming her. By using “kill with kindness,” it shows that Petruchio is theoretically killing Kate and all her normal ways in order to make her into what he wants. Although he is doing that with ‘kindness’ by making it seem as if the way he manipulates her is only for her good, in reality it’s for the good of him.
I think your analysis is interesting, but I think there is more to the line “this is a way to kill a wife with kindness” (IV. i. 208). I think by Petruchio’s action of restraining and “taming” Kathrine (the killing) is actually to benefit Kathrine (with kindness) because previously, Kathrine’s fiery temper and shrewish personality did not allow her to get close to anyone and made her infamous throughout Padua. If Petruchio tames her, then people are more likely to be willing to befriend her and respect her. In fact, that is what exactly happens later in the play when she is the only wife to heed her husband’s order to attend to him. However, I also think this idea plays more along the lines of the modern interpretation of the Taming of the Shrew where Kathrine is not tamed to become an obedient housewife, but rather a smart and cunning lady who knows exactly what Petruchio is doing, and even wins a bet. By having Petruchio “tame” her, or rather teach her to control her tongue, Kathrine becomes a more approachable, amiable, and successful lady.
DeleteI mostly agreed with your analysis of this quote, but I had a couple of different ideas. One idea that differed from yours is that Katherine believes what Petruchio is telling her about the food. I think that Katherine knows exactly what Petruchio is doing. She is not tricked by Petruchio’s caring exterior, and can see what he is planning. There is an example of this when Petruchio, Katherine and Hortensio are returning to Padua, and Petruchio comments on the brightness of the moon. Katherine says that it is obviously the sun that is so bright, because it is day, but Hortensio warns her that she should agree with Petruchio after he stops them from continuing their journey until she agrees. She finally agrees because she is fed up with Petruchio, and can see what he is trying to do to her.
DeleteExcerpt from Act IV, Scene III, lines 117-124 (Pages 66-67)
ReplyDeletePET: O monstrous arrogance! Thou liest, thou thread, thou thimble,
Thou yard, three-quarters, half-yard, quarter, nail!
Thou flea, thou nit, thou winter cricket, thou!
Braved in mine own house with a skein of thread?
Away, thou rag, thou quantity, thou remnant,
Or I shall so be-mete thee with thy yard
As thou shalt think on prating whilst thou liv’st.
I tell thee, I, that thou hast marred her gown.
In this excerpt, Shakespeare uses animalistic and sewing diction in Petruchio’s rant toward the tailor who had just made a beautiful gown for Kate upon Petruchio’s request. In this scene, Petruchio intentionally berates the tailor to show Kate of his shrew-like persona. Petruchio uses many animalistic diction such as “monstrous arrogance” (IV. iii. 117) and “thou flea, thou louse, thou winter cricket, thou!” (IV. iii. 119). By comparing the tailor to a monster and to hideous insects, Petruchio dehumanizes the tailor to that of a pest. Although this is not Petruchio’s true intention, such comparison is made for Petruchio’s plot to tame Kathrine. By using sharp and bitter words to dehumanize other, Petruchio is revealing his inner-shrew to scare or rival that of Kathrine. He also uses sewing diction to disparage the tailor because using his profession against the tailor is very insulting. By using lines such as “Thou liest, thou thread, thou thimble, / Thou yard, three-quarters, half-yard, quarter, nail!” (IV. iii. 117), “Braved in mine own house with a skein of thread? / Away, thou rag, thou quantity, thou remnant, / Or I shall so be-mete thee with thy yard” (IV. iii. 120-122), Petruchio seems to be taunting the tailor. Through Petruchio’s rant, he shows that he is far more shrewish than Kathrine is, and his plan to fight fire with fire may actually work.
PET. Thus have I politicly begun my reign,
ReplyDeleteAnd’t is my hope to end successfully.
My falcon now is sharp and passing empty;
And till she stoop she must not be full-gorged,
For then she never looks upon her lure.
Another way I have to man my haggard,
To make her come and know her keeper’s call,
That is, to watch her, as we watch these kites
(4.1.181-189)
I noticed that in this passage Shakespeare is giving us a clear indication of the reasoning behind the title of his beloved play “The Taming of the Shrew.” In this passage Petruchio is coming up with a plan to cure her aggressive personality, and he uses the comparison of “taming” a falcon. This shows that Petruchio feels that he is superior to Katharina as he calls himself a tamer, and Katharina as a type of animal that he needs to control. Shakespeare not only showcases the significance of the title in this passage, but in another passage in Act IV. Petruchio in Scene III comes up with another plan which is to make Katharina starve and cause her to lose sleep in order to cure her aggressive personality. This is shown by the quote “Eat it up all, Hortensio, if thou lovest me. Much good do it unto thy gentle heart!” (4.3.49-50) This quote relates to the title because Petruchio is telling Hortensio to eat all of the meat so that there would be none left for Katarina, so that Petruchio could “tame” her. The reason behind why Petruchio is doing this act is to illustrate that he doesn’t consider Katarina just as his wife, but just another person that is he is superior to. I think that Shakespeare used the word “taming” in his title because the shrew, who is Katarina in the play, is not seen as an equal human being unlike the tamer, who is Petruchio, but is seen as an inferior living being.
“PETRUCHIO: A whoreson beetle-headed flap-eared knave!
ReplyDeleteCome, Kate, sit down. I know you have a stomach.
Will you give thanks, sweet Kate, or else shall I?
What’s this? Mutton?
FIRST SERVANT: Ay.
PETRUCHIO: Who brought it?
PETER: I.
PETRUCHIO: ’Tis burnt, and so is all the meat.
What dogs are these? Where is the rascal cook?
How durst you, villains, bring it from the dresser
And serve it thus to me that love it not?
There, take it to you, trenchers, cups, and all!
(Throws food and dishes at them.)
You heedless joltheads and unmannered slaves!
What, do you grumble? I’ll be with you straight.” (IV. i. 154-168)
When Petruchio and Katherine return to Petruchio’s home after the wedding, the audience can immediately see how Petruchio treats his servants. Katherine is tired and hungry, but Petruchio will not let her eat what the servants have prepared for them and is downright awful to the servants. He makes the excuse that he wants to please Katherine and wants everything to be perfect for her. He uses vicious and insulting diction such as “whoreson”, “knave”, “rascal” and “joltheads” to assert his dominance in the household. His treatment of the servants is juxtaposed with the appearance of the treatment of Katherine. However, Petruchio’s seemingly sweet attitude towards Katherine is false concern, because he does not do anything to better her wellbeing. While he acts as if he cares about her wellbeing and the fact that she is hungry, he does not let her eat, claiming that the meat is burnt. The audience then sees that this is all part of Petruchio’s plot to tame Katherine by making her vulnerable and depriving her of necessities. I thought something that was interesting about the way that Petruchio chooses to tame Katherine is that he has a pleasant demeanor. I think that he chooses to tame her while acting like he has concern for her because he does actually care for her, and if he used a negative attitude when taming her then he may never have the chance at a real relationship with her.
KATH. ...My mind hath been as big as one of yours,
ReplyDeleteMy heart as great, my reason haply more,
To bandy word for word and frown for frown;
But now I see our lances are but straws,
Our strength as weak, our weakness past compare,
That seeming to be most which we indeed least are.
(V.ii.2711-2716)
William Shakespeare uses powerful diction and metaphors to add irony to Kate’s speech in Act V. Near the end of the play, Kate delivers a long monologue about gender roles to the other two women. This speech is filled with powerful words and very intelligent language. This creates a tone of domination over the other women. This is fitting, however, because Kate and Petruchio have just won a large sum of money as a result of Kate’s intelligence. The ironic part is that Kate’s speech is all about how women should be submissive and grateful for their husbands. She uses a metaphor to describe that fighting the power of men is useless. Kate does mean that she has given up the fight, rather she is showing the other women that she has learned to play a sort game with the men. She acts submissive simply to get what she wants and then freely voices her opinion. She is also playing a game with her sister, Bianca. Kate was jealous of Bianca because her tame behavior won her favor from their father and many suitors. Now, Kate is showing off how submissive she can be. Not only does she get to beat her in this way, she also gets to spend her life with a man that may actually respect her in a few ways. Petruchio never really tames Kate, they figure out together that her energy can be better spent at the cost of others, so that both Petruchio and Kate can win at their games. This ironic speech is filled with powerful diction and metaphors to conclude that Kate and Petruchio have both been satisfied by the other.
Throughout the play as a whole, there has been a motif and theme of birds and falconry, but within the fifth act there is an abundant amount of references to that idea.
ReplyDeletePetruchio
To her, Kate!
Hortensio
To her, widow! (V.ii.35)
…
Bianca
Am I your bird? I mean to shift my bush,
And the pursue me as you draw your bow.-
You are welcome all. (V.ii.48)
During the time period before any form of technology was at hand for the common person, men would use falcons to send messages and to retrieve objects the man would need. Much like the men would use falcons, the husband in the play use their wives to retrieve and get what they need. Shakespeare uses personification and visual imagery to show the comparison between the two and to show this motif throughout the play. Within the first quote Petruchio and Hortensio are calling to their women in a demanding tone as a man would to their falcon if the needed a task done. This shows how much they have tamed each of their wives since they have the capability of yelling and calling for them in this way. Similarly a man would tame their falcon, the two husbands have tamed their wives. Within the second quote Bianca has caught on to the idea that the women and wives are thought of as birds and personally asks if people think of her as one although with a sarcastic tone. With the use of the sarcastic tone and following the question with the answer of “I mean to shift my bush,” it shows that Bianca realizes that she is being tamed much like a bird although she has no real power there is little she can do making her have to abide by her husband's commands. This is much like a falcon, they have no real power compared to a human being so they must abide and follow their owners commands.
I think your idea that Bianca realizes that she is being tamed like a bird. I think that it is interesting that the roles of Katherine and the other women (Bianca and the widow) have switched. Previously, Katherine was the shrewish and rebellious woman, but now she seems to be the tame one. Bianca and the widow, on the other hand, are rebellious. Although they may not be as shrewish or extreme as Kathrine used to be, Bianca uses sarcasm and directly confronts Lucentio with her question “Am I your bird?” (V. ii. 48). I think this is really interesting because the one difference between Kathrine and other women is her brilliance. I think Shakespeare purposely creates Kathrine as an intelligent character to make her the star of the play. Rather than being tamed by being broken as many people believe, Petruchio teaches her to control her temper and scathing tongue. In this scene, Katherine is aware of what is happening and plays along with Petruchio which makes them win the bet. Because Katherine is essentially the hero of the story, Shakespeare emphasizes the value of intelligence and control over beauty and misleading obedience.
DeleteExcerpt from Sct V, Scene II, lines 162-167 (Pages 85)
ReplyDeleteKAT: Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign, one that cares for thee,
And for thy maintenance commits his body
To painful labor both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe,
In this excerpt, Shakespeare uses irony in Katherine’s dialogue to show that Kate is not actually tamed to be the docile, obedient housewife as many believe her to be, but rather fully aware of her surroundings and actually plays along with Petruchio, which eventually leads them to win the bet. In Katherine’s speech, she criticizes the women for disrespecting their husbands. Immediately, there is an irony because Katherine used to be the most scathing woman to other men. Furthermore, she emphasizes the point that husbands work endlessly for their wives’ comfort in the lines: “thy maintenance commits his body / To painful labor both by sea and land, to watch the night in storms, the day in cold, / Whilst thou liest warm at home, secure and safe” (V. ii. 164-167). These lines are ironic because Petruchio may have been attracted to Kathrine, but he never actually committed actions that explicitly showed that he cared for Katherine. In fact, he made her life harder by being fickle, starving her, and showing anger tantrums. Also, it is ironic that she writes that husbands protect their wives while the wives lie warm and safe at home because in Act IV, scene II, Petruchio says, “Last night she slept not, nor to-night she shall not … And in conclusions she shall watch all night: / And if she chance to nod, I’ll rail and brawl, / And with the clamour keep her still awake” (IV. ii. 198-207). In these lines, Petruchio specifically plans to keep her awake and make her “watch all night.” When Kathrine extolls husbands and their superiority in her speech, she is actually using irony to express humor because the other characters except Petruchio do not know the truth, but the audience, Kathrine, and Petruchio do. Shakespeare purposely makes Kathrine create an dramatic speech of lies and irony to show that Katherine is not actually tamed and broken, but she actually still has the cunning brilliance as in the beginning. It is this brilliance that not only allows her and Petruchio to win the bet, but also gain the respect from the other characters. In the end, Katherine is the ultimate winner.
I like your idea about the irony of Katharine’s comments on the duty of the husband to keep his wife safe and comfortable. I agree that these comments can be related back to Petruchio’s actions in Act Four that were intended to make Katharine miserable. However, Katharine’s speech could reflect her realization that Petruchio’s actions were intended to tame her and make her realize her own duties as a wife. Kate now understands the meaning of compromise in marriage; she could not expect Petruchio to treat her well if she did not act kindly and respectfully towards him in return. While the speech does reflect outdated gender roles, I think it can be partially applied today in the sense that mutual respect and compromise are still requirements for a peaceful marriage. Now that Katharine and Petruchio have realized this important fact, they are able to work together to win the bet. Hopefully they will be able to live as equals in the future due to their newfound respect for one another.
DeleteExcerpt from Act V, Scene II (Page 81)
ReplyDeleteBAP: How likes Gremio these quick-witted folks?
GRE: Believe me, sir, they butt together well.
BIAN: Head, and butt! an hasty-witted body
Would say your head and butt were head and horn.
VIN: Ay, mistress bride, hath that awaken’d you?
BIAN: Ay, but not frighted me; therefore I’ll sleep again.
PET: Nay, that you shall not: since you have begun,
Have at you for a bitter jest or two!
BIAN: Am I your bird? I mean to shift my bush;
And then pursue me as you draw your bow.
You are welcome all. [Exeunt Bianca, Katharina, and Widow.]
PET: She hath prevented me. Here, Signior Tranio,
This bird you aim’d at, though you hit her not;
Therefore a health to all that shot and miss’d.
In the final scene of The Taming of the Shrew, Shakespeare reveals an aspect to Bianca’s character that has been hidden throughout the play. Bianca, who has always been a quiet, respectful, and modest girl, now joins in the insulting banter in a very Katharine-like manner when she says, “Head, and butt! an hasty-witted body would say your head and butt were head and horn.” Her unprovoked, insulting tone is far from her reputed politeness, demonstrating that Bianca’s good manners may have been only a façade intended to attract suitors, not an authentic character trait. The scene, in addition to revealing Bianca’s imperfections, displays Katharine’s newfound ability to act in complete deference to her husband. Shakespeare’s juxtaposition of Katharine and Bianca, as well as the fact that Katharine and Petruchio win a large sum of money from Bianca’s husband, demonstrates that Kate has beaten Bianca at her own game. Not only has Kate secured a husband and a good reputation, she has also achieved what Bianca may never achieve: her husband’s respect. Within this excerpt, Shakespeare subtly shows the respect that Petruchio has for Katharine’s wit and intelligence by describing an interaction between Petruchio and Bianca. Once Bianca enters into the general persiflage, Petruchio’s interest is stirred. However, Bianca quickly decides to leave the conversation. Petruchio tries to prevent this by saying, “Nay, that you shall not: since you have begun, have at you for a bitter jest or two!” Despite Petruchio’s attempts at engaging Bianca’s conversation, she exits the room, thus demonstrating her inability to hold her ground in the entertaining badinage that so intrigues Petruchio. Kate, on the other hand, attracted Petruchio from the start for her sharp tongue and quick wit. By contrasting Kate with her sister Bianca, Shakespeare demonstrates that Kate’s original character and her newfound ability to comply with others gives her great potential to achieve happiness in marriage.
I really enjoyed your blog post. I like how you mentioned that Katherine and Bianca have in a way switched places, because I was thinking the exact same thing. Bianca’s banter with Petruchio was very similar to Katherine’s at the beginning of the play. Now, Katherine has become the compliant one and Bianca is the one arguing. Also, I like how you added that Bianca could not keep up the persiflage like Katherine could, and this is what sets them apart. When Bianca loses the bet she even says “ the more fool you laying on my duty”(V. ii. 128). It surprised me that Bianca calls Lucentio a fool and didn’t have faith in her own willingness to follow duties. A more defiant side was shown of her when she didn’t believe that she should do everything Lucentio asked.
DeleteThis comment has been removed by the author.
ReplyDelete“I am ashamed that women are so simple
ReplyDeleteTo offer war where they should kneel for peace,
Or seek for rule, supremacy, and sway
When they are bound to serve, love, and obey.
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?”(V. ii. 161-169)
By the end of the play, most readers are disappointed to see Kate’s speech because she is seen as a strong young woman, and she finally gives into society’s standards. Situational irony, powerful and weak diction, and indirect characterization are used to reveal Kate’s changed views while promoting gender stereotypes. In this act, Petruchio makes a bet with the other men to see who has the most obedient wife. Kate is least favored to win the bet because of her shrewish tendencies. Situational irony is used when Kate wins the bet for Petruchio to show Kate’s development throughout the play. It is also ironic that the character who is the least willing to conform ends up being the one woman to comply. Powerful and weak diction contrast each other when Kate says words like “war”, “peace”, “rule”, “serve”, “soft” and “trouble”. By using contrasting words, Shakespeare enforces that women are lesser than men and should be docile in relationships. Kate describes the ideal woman to prove to the other women that she is now the ideal woman, because she is now compliant to Petruchio, when before her sister was seen as perfect. Indirect characterization is used when Kate makes her speech. Throughout the whole book, Kate resists meeting societal standards. Slowly, Petruchio’s thoughts drilled into her head and finally is seen as “tamed” after her speech. Shakespeare uses Kate’s speech as a way to end the play to prove to the audience and the other characters that Kate has developed into a compliant wife.
KATH: Even such a woman oweth to her husband
ReplyDeleteAnd when she is froward, peevish, sullen, sour,
And not obedient to his honest will,
What is she but a foul contending rebel.
And a graceless traitor to her loving lord?
I am ashamed that women are so simple
To offer war where they should kneel for peace;
Or seek for rule, supremacy and sway,
When they are bound to serve, love and obey.
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?
(V.ii.160-172)
This speech is delivered by Katharina when Petruchio commands Katharina to do a task in order to win a bet on which wife would obey the command. In this passage I noticed that she uses words like “lord”, “king”, “life”, “keeper”, and “head” to address her husband Petruchio. I found it ironic that at the beginning of the play we viewed Katharina as a woman who hated men and had an aggressive personality, but towards the end of the play she immediately obeys the command of her husband and is officially “tamed” of her aggressive personality. I also found this passage stereotyping women in which she uses the words “soft” and “weak” and she thinks that their personality should be tender to match their physique. I found it unique that Katharina allowed Petruchio to “tame” her by not feeding her and not letting her sleep and making her beg to the servant for food (Act IV), even she could have declined him many times. I thought that Katharina allowed Petruchio to do this because she found her marriage to give harmony in her life in an established social role, and that she find happiness and change her personality in the role that she is authorized to instead of enslave themselves to men.
I agree with your analysis of this passage. It is indeed one of the most important excerpts in the entire play, and it shows a lot about Kate after Petruchio’s “taming” process. Something else that I noticed is how some of the lines rhyme. We can see this in a line when Kate says, “Or seek for rule, supremacy, and sway, / When they are bound to serve, love, and obey” and “But that our soft conditions and our hearts / Should well agree with our external parts”. The use of rhyme here shows Kate’s intelligence and ability to rhyme, which is normally something that people of greater intellect can achieve.
DeletePET. A good swift simile but something currish.
ReplyDeleteTRA. ‘Tis well, sir, that you hunted for yourself;
‘Tis thought your deer does hold you at a bay.
BAP. O, O, Petruchio, Tranio hits you now.
LUC. I thank thee for that gird, good Tranio.
HOR. Confess, confess, hath he not hit you here?
PET. ‘A has a little galled me, I confess,
And as the jest did glance away from me,
‘Tis ten to one it maimed you two outright.
BAP. Now, in good sadness, son Petruchio,
I think though hast the veriest shrew of all.
PET. Well, I say no. And therefore, for assur-
ance,
Let’s each one send unto his wife,
And he whose wife is most obedient
To come at first when he doth send for her
Shall win the wager which we will propose.
(V.ii.54-68)
In this excerpt of William Shakespeare’s “Taming of the Shrew”, the men – Petruchio, Tranio, Lucentio, Hortensio, and Baptista – are arguing about whose wife is the most genuine. This excerpt occurs in Act V, scene 2. This scene also occurs after Kate and the Widow argue about Petruchio and Kate’s behaviors. The author uses persiflage and descriptive language in order to convey the banter occurring between the men and how they refer to their respective wives.
Throughout the whole passage, we can see examples of persiflage, or verbal banter. The characters are constantly bickering back and forth. We can see this quick banter between characters in lines 57-59, where Baptista, Lucentio, and Hortensio are edging Petruchio on. This later causes Petruchio to start up a wager between the men to see whose wife is the “veriest”, or most genuine, shrew of all.
In addition to the use of persiflage in this excerpt, the author also uses descriptive language in order to characterize and show the ways of how the men talk about their wives. In line 64, Petruchio uses the word “shrew” to describe the wives. He uses this word instead of calling them “wives” or “women”. The use of this shows how the men viewed their wives in a demeaning light. They recognize them as shrews instead of actual people, and this correlates to the overall theme of the book of gender stereotypes.