Lord: O monstrous beast! how like a swine he lies! Grim death, how foul and loathsome is thine image! Sirs, I will practise on this drunken man. What think you, if he convey’d to bed, And brave attendants near him when he wakes Would not the beggar then forget himself? First Hunter: Believe me, lord, I think he cannot choose. Second Hunter: It would seem strange unto him when he walked. Lord: Even as a flattering dream or worthless fancy. Then take him up and manage well jest: Carry him gently to my fairest chamber And hang it round with all wanton pictures: Balm his foul head in warm distilled waters And burns sweet wood to make the lodging sweet: Procure me music ready when he wakes, To make dulcet and a heavenly sound; And if he chance to speak, be ready straight And with a low submissive reverence Say “What is it your honour will command?” (Lord, 2)
In the very beginning of this passage shakespeare uses smile to engage the reader while also displaying class variation and foreshadowing the role of class in this play. The page starts with the Lord shouting, “O monstrous beast! how like a swine he lies!” which shows how he feels it is funny to make ill of this drunk mans economic status. He decides to torment this man simply because of his social status, and precedes to devise an intricate plan to meddle with his life. The complete disregard for anyone's plight but his own creates a stark and hostile contrast between the classes. The Lord exclaims that, ”Balm his foul head in warm distilled waters and burns sweet wood to make the lodging sweet:” (Lord, 2) The fact that this man would go to the length to create not only an illusion with words but with the senses is truly cruel in nature. He is creating an environment artificially to purely amuse himself in a time of low. Furthermore the characters used in this Introduction are not seen throughout the rest of the play. Therefore it seems these characters are being used to hint at the importance of class and harsh reality of life, in a world where we are merely products of the environment around us. This happens to be the message seemly portrayed by the dialogue between these men.
Your analysis of this dialogue brings up some interesting points. I agree that Shakespeare the introduction to stress the importance of social class in “Taming of the Shrew”. In the trick others stay in their same positions as hunters and servants while the Page is forced to act as the wife. Since women were seen as unequal, weak, and sometimes useless compared to men, forcing the Page to act as a woman is another way of showing the cruel nature of the Lord and his disdain for the lower classes. This is not only present here in the introduction. Petruchio is also very cruel to his servant Grumio, Katherine after their marriage, and those of lower classes. Shakespeare uses the introduction and various actions throughout the play to portray the importance of social class.
Your analysis is very interesting but I had slightly different take on the meaning of the passage above. I believe the passage is mean it hint to asserting dominance and forcing others to change. The Lord feels as if he better than the Sly in the same way that Petruchio feels he is better than Katherine. The Lords feelings of dominance prompts him to change Sly as a joke. While Petruchio's reasons behind changing Katherine differ from The lord's he still feels superior to Katherine. This prompts both Katharine and Christopher Sly to act in the way that pleases the Petruchio and the Lord respectively, an obedient housewife and a wealthy lord. While it could be said that Katherine doesn't change in the same way the Sly does and doesn't actually believe what she says, Petruchio still receives the same pleasure that the Lord did in knowing he succeeded because she acts the way he wants her to.
The introduction of “Taming of the Shrew” by William Shakespeare introduces numerous ideas and themes present throughout the play. The First Huntsman replies “Believe me, Lord, I think he cannot choose” to the trick being played on Christopher Sly. This could also be foreshadowing Katherine’s life being controlled by Baptista and Petruchio. She is forced to become a calm obedient wife, which she detests. This trick the Lord is playing on Sly is seen as humorous and playful. Similarly, it suggests that Katherine, like Sly, is just a play thing for Petruchio. Another motif presented is deception. Sly is deceived by the disguises and plays right into the trick. This also foreshadows the use of disguises by various characters to deceive for their benefit. In act one scene one Lucentio and Tranio formulate a plan in which Tranio becomes Lucentio and Lucentio becomes a teacher. This is a way for Lucentio to secretly court Bianca while Tranio openly bargains with Baptista, aiding Lucentio in courting Bianca. Again, disguise and deception are used for personal benefit. Shakespeare uses this introduction to bring up the role of marriage in the play. Sly refuses to fall for the Lord’s trick until they mention his wife. Sly takes advantage of the fact he is “married” and says “Madam, undress you and come now to bed”. People use marriage to benefit themselves. Petruchio marries Katherine not out of love, but for the money and the challenge of taming her. Here, gender and social and marital status are perceptions the characters manipulate for their personal gain. William Shakespeare utilizes the introduction of “Taming of the Shrew” to foreshadow and emphasize the themes of marriage and deception.
I thought your analyzation was rather interesting and I enjoyed the way you talked about the various themes within the play. I especially liked your thoughts on how shakespeare used the wife to aid in conveying a theme about lust. I could clearly see what you were talking about in that part when I went back and followed along. Overall your analyzation was exceptional.
Induction "Y'are a baggage, the Slys are no rogues. Look in the chronicles—we came in with Richard Conqueror. Therefore paucas pallabris: let the world slide. Sessa!" (3-6) "Go to thy cold bed and warm thee" (10) "Ay, it stands so that I may hardly tarry so long" (125) " Is not a comonty a Christmas gambold or a tumbling-trick?" (137-138) In the Induction of The Taming of the Shrew, William Shakespeare characterizes Sly as an uneducated, rude man through diction. Beginning with his inebriated speech in which he refers to his impressive ancestors, the footnotes make a reference to the erroneous name used in the allusion to this relation with high class. Assuming the first King of England is common knowledge, this allusion is a sign of the ignorance and lack of education Sly possesses, due to his ill-informed state of widespread and expected awareness. His inebriated behaviour is a sign that he is not a man of class, especially after telling the hostess of an alehouse to "Go to thy cold bed and warm thee" (10). This is an implied insult, making his character less prudent in his speech, advising the hostess to 'go play with herself' due to her wanting to expel him from her premises. His phallic reference when speaking to his 'wife' also reflects upon his lack of respect and knowledge of the acceptability of phrasing and speech in the noble class. The brashness with which he speaks, and the sexual connotation surrounding it, is not judicious. His sudden turn to pleasing these impulses with no previous knowledge of his 'life' and the events surrounding it, and feeling downtrodden when being denied this request further the rudeness exhibited by this character. Malapropism is also known for being used with Shakespeare in order to distinguish between educated and non educated citizens in his place. In this instance, the misspelling and therefore implied mispronunciation imply the lack of knowledge that Sly has on the certain genre of entertainment presented to him. This is supported by the mocking tone the Lord used with the performers when explaining the bizarre behaviour of the expected audience of their play. Through the Induction, Shakespeare juxtaposes the life of high and low class. While it may seem through this blog post that only negative commentary was made through the lower class, the mocking tones used by the lord and the elaborately cruel prank played by him is also a social commentary on how the higher class finds the people not in relation to them as subservient and worthy of use as entertainment.
“Pet. Thou hast hit it: come, sit on me. Kath. Asses are made to bear, and so are you. Pet. Women are made to bear, and so are you. Kath. No such jade as you, if me you mean. Pet. Alas, good Kate, I will not burden thee! For, knowing thee be but young and light, - Kath. Too light for such a swain as you to catch; And yet as heavy as my weight should be” (Shakespeare 34).
In this passage, Petruchio is attempting to convince Katharina to marry him. Although it is obvious with Katharina’s rude comments, that she does not wish to be his wife. Petruchio is persistent nevertheless, and still insists that she is a beautiful women that he wishes to be his wife despite the vulgar comments she has already said to him. A quote from this passage that made me pause to reflect on what this shows about this time period that this play is set in (and the time period that William Shakespeare was in as well) is, “Women are made to bear, and so are you” (Shakespeare 34). This sentence implies that Petruchio is infact marrying her not because he truly loves her, but rather because he wishes to have a wife and to use her to have children. This shows the time period that these characters are in when it was common for men to marry, just to marry and to also have children. Women during this time were seen more as objects that men wished to acquire and posses. They were considered not equal to men and were expected to keep their husbands happy and to raise their children. Perhaps this is one of William Shakespeare’s reasons to write this play, as he wanted to show his audience the objectifying of women in his society and to hint at what his views are on this matter by including this. This might be why he likes to include strong independent women in his plays like Katharina, that divert from the cultural norm, and pave a path for their own either other people like it or not. For me it also can possibly foreshadow the problems that are to come with Lucentio’s quest for Bianca’s love, as he loves her for only her looks, and not for any other meaningful reasons.
Your analysis is excellent. I also noticed that Petruchio only agreed to court and marry Katherina if Baptista promised a high dowry. This fits into the themes I mentioned in my analysis. Marriage was an action taken to gain economical and social benefit. This implies that women are simply objects to be bargained for, won, or lost. Another example of this is the competition between Hortensio, Lucentio, and Gremio for Bianca. She is not really going to get to choose who she marries because in the end, it will come down to how much fortune each individual suitor is able to offer Baptista in return for his compliance. I agree that a possible reason for writing this play is to portray his views on the objectification and inequality of women in his society. Overall, your reasoning about the passage and the possible purpose for writing the play are explained well.
I totally agree with the statements made in your analyzation. The fact that women were objectified at this time, is quite obvious, but the question whether Shakespeare was trying to point out this disparity between men or if he was simply writing about this type of thing because it was just apart of the culture at the time, is very well put in your look at this passage. I agree with you and do strongly think that Shakespeare was progressive for his time. It seems that such an intellectual mastermind, would have to think this way. I think that Katherine is a strong woman character and that the attitude she has in the lines you looked at help distinguish her and aid your argument.
Gremio: To cart her rather: she’s too rough for me. There, there, Hortensio, will you any wife? Katherina: I pray you, sir, is it your will To make a stale of me amongst these mates? Hortensio: Mates, maid! how mean you that? no mates for you, Unless you were of gentler, milder mould. Katherina: I’ faith, sir, you shall never need to fear: I wis it is not half way to her heart; But if it were, doubt not her care should be To comb your noodle with a three-legg’d stool And paint your face and use you like a fool. Hortensio: From all such devils, good Lord deliver us! Gremio: And me too, good Lord. Tranio: Husht, master! here’s some good pastime toward: That wench is stark mad or wonderful forward. Lucentio: But in the other’s silence do I see Maid’s mild behaviour and sobriety. Peace, Tranio! (I.i.13)
In this passage, Shakespeare uses multiple puns to portray the brutality of Katherine, which connects to the themes of marriage for an economical and financial benefit and the role of women during that time period. Before Gremio starts speaking Baptista says “If either of you both love Katherina, Because I know you well and love you well, Leave shall you have to court her at your pleasure” he uses the word court, which Gremio uses as a play on words to imply the brutality of Katerina (I.i.12-13). He is implying that she deserves to be punished for her personality rather than rewarding her with a husband. When Katherina uses the word “mates” she means it as rude, coarse, boorish men. Hortensio replies to her using mates meaning suitors for Katherina. This pun involving the word mates implies that they believe Katerina is not meant to be married until she learns to become more temperate, passive, and submissive like Bianca. It also hints at marrying solely for benefits and discarding true love. When Hortensio says mates, he also implies that no man in his right mind would marry Katherina out of love. The only type of people willing to subject themselves to Katherina were those who wished to wed her for her dowry. Katherina makes her disdain for marriage, Hortensio, and the Bianca’s other suitors clear through her next clever remark. While this quarrel between Katherina, Gremio, and Hortensio is taking place, Tranio and Lucentio are nearby watching the scene unfold. This is when Lucentio first sees Bianca and decides to compete for her heart. The first thing he notices about Bianca is that her actions are the polar opposite of Katerina’s. This makes her a desirable woman because she is compliant, passive, and submissive to her father’s will. In this time period women were considered the lesser gender and were only values if they possessed these traits. William Shakespeare portrays this as well as the theme of for benefits through his use of puns to show Katerina’s aggressive personality compared to the passive personality of Bianca.
“Signor 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 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 it wealthily in Padua; If wealthily, then happily in Padua.” (I.ii.62-73)
In the above in Act I of Taming of the Shrew, Shakespeare uses allusions and similes to describe Petruchio. Petruchio is introduced in the passage as a wealthy man looking to marry an even wealthier woman, regardless of looks or personality. In today’s vernacular one would call Petruchio a “gold digger.” Shakespeare gives several different suitors for Katherina and Bianca with different outlooks on marriage. These different ideas and outlooks are the some of the main motifs of the play. Petruchio looks at marriage as an sort of economic plan, like his wife is an investment. This idea is emphasized in this passage when he says several similes relating to real life allusions. For example, Shakespeare writes, “Be she as foul as was Florentius’ love” (66). Florentius was a knight who sought to marry an old woman to solve a riddle and gain knowledge, just like Petruchio is looking to marry Katharina to gain wealth. Both of these people are accepting the “challenge” of marrying someone so imperfect that it could be considered a game. Petruchio continues to describe that he doesn’t care what a girl looks like, saying, “As old as Sibyl, and as curst and shrewd/As Socrates’ Xanthippe” (67-68). Shakespeare uses the allusion to Sibyl, who gave Apollo many years of life, to describe truly how old a lady could be. But in Petruchio’s case, if she has money, he is into her. Xanthippe was Socrates's wife, who bore him three sons. Xanthippe was claimed to be as much as 40 years younger than Socrates. This is showing that as long as a wife has purpose, other traits about her don’t matter.The last two lines of the passage really sums up what his real intention is in Padua, which is “to wive it wealthily in Padua;/If wealthily, then happily in Padua” (72-73) He compares “wealth” to “happiness”, again emphasizing the fact that he just wants to marry a girl for her money. Petruchio’s thoughts are clouded by the idea of gaining wealth.
You analysis is great, and goes along with what I wrote in my blog post as well. It’s interesting to compare and contrast the view of marriage that Shakespeare’s time had with today’s society, and see how drastically different they seem to be. Many today would most likely be appalled at what these marriages back then were really about, as they were for economical and societal gain rather than love. I found myself thinking repeatedly when reading the play about how they were going to live with each other in happiness, if the whole point of their relationship is to feed off each other rather than support each other. It was more of a contract in that time that was used for benefit more times than not. At the same time though there must be some marriages that happened because both man and woman loved each other. This leads me to believe that maybe Lucentio will truly love Bianca and not care for the wealth and power that he will receive upon being her husband, we can only make assumptions though as of now.
Your analysis on the contrast between love in marriage and other benefits in marriage is great, I had some of the same thoughts while reading through that passage. I would have to disagree with Karim though, for it seems that Petruchio's desire to marry a wealthy woman was an abnormality even in these Olden English times. Katherine and Bianca seem to be foils of each other, for as seen in Act I, scene i, several men are fighting over Bianca, in order that they may win her love. These men are attempting to marry her not only for her beauty, but for her kind heartedness and talents as well. Katherine, however, seems to be unwanted save for her dowry, and not even then, for as Hortensio nicely stated, "Her only fault, and that is faults enough, is that she is intolerable curst ... I would not wed her for a mine of gold" (85-89). Petruchio is the only one willing to wed her, and the suffering he will go through because of this, plus the way everyone else sees it as a favour to them, such as Gremio's willingness to pay him for any expenses spared on the courtship, writes this off as a strange happening.
LUCENTIO Tranio, since for the great desire I had To see fair Padua, nursery of arts, I am arrived for fruitful Lombardy, The pleasant garden of great Italy, And by my father’s love and leave am armed With his goodwill and thy good company. My trusty servant, well approved in all, Here let us breathe and haply institute A course of learning and ingenious studies. Pisa, renownèd for grave citizens, Gave me my being and my father first, A merchant of great traffic through the world, Vincentio, come of the Bentivolio. Vincentio’s son, brought up in Florence, It shall become to serve all hopes conceived To deck his fortune with his virtuous deeds. And therefore, Tranio, for the time I study Virtue, and that part of philosophy Will I apply that treats of happiness By virtue specially to be achieved. Tell me thy mind, for I have Pisa left And am to Padua come, as he that leaves A shallow plash to plunge him in the deep And with satiety seeks to quench his thirst.
TRANIO Mi perdonato, gentle master mine. I am in all affected as yourself, Glad that you thus continue your resolve To suck the sweets of sweet philosophy. Only, good master, while we do admire This virtue and this moral discipline, Let’s be no stoics nor no stocks, I pray, Or so devote to Aristotle’s checks As Ovid be an outcast quite abjured. Balk logic with acquaintance that you have, And practice rhetoric in your common talk; Music and poesy use to quicken you; The mathematics and the metaphysics— Fall to them as you find your stomach serves you. No profit grows where is no pleasure ta'en. In brief, sir, study what you most affect. (I.i.1-2) This passage catches the reader's attention immediately, with the characterization of Tranio and Lucentio. These two are therefore contrasted in a matter of seconds into the story. Lucentio uses bright colorful language to excite the reader and create a fresh tone to start the story off. The use of words such as, “nursery” (2) and “fruitful” (3), add to the exciting new tone Shakespeare creates. Lucentio uses these words to help explain the value of this new chapter in his life. The university is prepared to offer him new knowledge and Lucentio is excited to take that opportunity. He come off as passionate about his studies with the line, “My trusty servant, well approved in all // Here let us breathe and haply institute // A course of learning and ingenious studies” (8-9). This passion could tell us a lot about Lucentio’s character, by showing us he is one to dive head first into new adventures, and possibly tends to be over excitable. Shortly after Lucentio seems to to talk about his father's success in school and where it brought him in life, making Lucentio seem very ambitious, hopeful, and maybe even perpetuate that he feels unyielding. On the other hand Tranio, is portrayed as someone who will stand back and carefully go about things. In his lines he suggests to Lucentio that they try to not get so caught up in success and try to learn about what they really care about. He acts as an emotional check for Lucentio, helping him think clearly. From this more well thought more considerate look at the situation, it seems Lucentio is being put off more by the author and the text seems to point at Tranio is more of the main character.
In "The Taming of the Shrew", Grumio is introduced as the comic relief. Starting with his persiflage with Petruchio at their arrival in Padua, it is seen that Grumio uses unintended puns to provide a double meaning and twist around some of his master's words. When Petruchio asks Grumio to knock on the gate, so that they may be greeted by Hortensio, Grumio retorts as if mishearing his command: "Knock you here, sir? Why sir, what am I sir, that I should knock you here sir?" (9-10). The banter continues for a few lines, with Grumio reluctant to do the act he assumes was asked of him, and ends with a violent twisting of the ears by Petruchio. The repetition of 'sir' combined with the disinclination to knock his master characterizes Grumio as a loyal and subservient person. He makes it known to himself that he is below the ranks of Petruchio by constantly addressing him with words of authority, much like one would do in the army. Although the name Grumio sounds Italian, Shakespeare expands on the inferiority of his character by having him mistake the tongue spoken by both his master and Hortensio. As they greet each other in Italian, it is unbeknownst to Grumio what they are saying prompting his line: "Nay, 'tis no matter, sir, what he 'leges in Latin" (27). This ignorance of culture is used by Shakespeare to distinguish him as lower class. This was similarly done with Sly's malapropism instances in the induction, leading to the assumption that Shakespeare uses sophisticated language, such as rhetoric, for the higher class and other literary devices, such as malapropism, and in Grumio's case, misinterpretation, in order to mark them as illiterate. Grumio also practices the act of speaking directly to the audience. As seen in the instance where the men are gathered at Baptista's dwelling, Grumio dawdles by mocking the other suitors, directing his comments at the people watching: "(aside) O this woodcock, what an ass it is!" (156). Referencing an earlier comment made about his master, and what a great lover he was, he modifies this statement sarcastically, calling a man trying to get ahead in courting Bianca through the (unbeknownst to him, disguised) tutor, as being foolish, asinine. In reality, this is the same thing that Lucentio is attempting to do, so the commentary by Grumio helps convey his thoughts on the matter of wooing Bianca.
“Keth. Of all thy suitors, here I charge thee, tell Whom thou lovest best: see thou dissemble not. Bian. Believe me, sister, of all the men alive I never yet beheld that special face Which I could fancy more than any other. Kath. Minion, thou liest. Is’t not Hortensio? Bian. If you affect him, sister, here I swear I’ll plead for you myself, but you shall have him. Kath. O then, belike, you fancy riches more: You will have Gremio to keep you fair. Bian. Is it for him you do envy me so? Nay then you jest, and now I well perceive You have but jested with me all this while: I prithee, sister Kate, untie my hands. Kath. If that be jest, then all the rest was so.” (Shakespeare 28)
In this passage located in the beginning of the second act, Katharina has Bianca tied up and is attempting to force her sister to reveal which of her suitors she likes best. Bianca being the selfless sister she was, didn't admit to favoring one, but rather asked her sister who she was fond of and promised that she would try to get that man to marry her instead of herself. This scene itself shows what kind of person Bianca is, and how much she loves her sister. Binaca knew that if she even showed signs of having affection towards any of those men, that her sister would become more upset. Instead of doing so, she would rather have her sister physically abuse her out of spite, then to upset her sister any more than she already is. It seems to me that Bianca wants her sister to be happy more than anything, and that seeing Katharina being jealous of the men that want to marry her is making her upset as well. This passage also gives us the readers an idea of just how jealous Katharina is of her sister. To be so worked up about something that you end up tying up your own sister, shows that maybe her jealousy may have been a problem that she has had for a long time. Perhaps her father has always favored Bianca over her while they were growing up, and so when he announced that she had to be marry before her sister, that had already so many men wanting her to be their wife, it angered her inside that her father had just started to care about her now. Hopefully as we read more of his play, Shakespeare will tell us more about the origin of Katharina’s anger and jealousy.
Although you support your points with good evidence, I disagree with your characterization of Bianca as being good towards her sister. Bianca is actually showing herself to be a manipulative jerk. She is basically bragging about the number of suitors she has to Katherine, offering her any from the number of ones she has. She is, in a very mocking tone, exerting her rage on Katherine for the lack of the compromise in her marriage. Bianca knows she is the favoured sister in the family, and so she pushes Katherine to the limits by ridiculing her, parading her suitors around her, even the prospects she has with riches. Instead of caring for her sister, I think Bianca is blaming her, and being a nasty character in this scene, in which both characters have a contrast in implicit behaviour to what is expected of them.
PETRUCHIO O slow-winged turtle, shall a buzzard take thee? KATHERINE Ay, for a turtle, as he takes a buzzard. PETRUCHIO Come, come, you wasp. I' faith, you are too angry. KATHERINE If I be waspish, best beware my sting. PETRUCHIO My remedy is then to pluck it out. KATHERINE Ay, if the fool could find it where it lies. PETRUCHIO Who knows not where a wasp does wear his sting? In his tail. KATHERINE In his tongue. PETRUCHIO Whose tongue? KATHERINE Yours, if you talk of tales. And so farewell. PETRUCHIO What, with my tongue in your tail? Nay, come again, Good Kate. I am a gentleman. KATHERINE That I’ll try. PETRUCHIO I swear I’ll cuff you if you strike again. KATHERINE So may you lose your arms. If you strike me, you are no gentleman; And if no gentleman, why then no arms. PETRUCHIO A herald, Kate? Oh, put me in thy books! KATHERINE What is your crest? A coxcomb? PETRUCHIO A combless cock, so Kate will be my hen. KATHERINE No cock of mine. You crow too like a craven. PETRUCHIO Nay, come, Kate, come. You must not look so sour.
KATHERINE It is my fashion, when I see a crab. PETRUCHIO Why, here’s no crab, and therefore look not sour. KATHERINE There is, there is. (Act II.i.10-11)
The passage blocked out here contains examples of Shakespeare’s use of sexual puns, symbolism and metaphors in order to convey a larger message about the harsh reality of the relationships of men and women. Throughout these lines Petruchio and Katherine exchange playful banter. It seems as though Petruchio has something else on his mind during the conversation. Specific examples that display Shakespeare's puns include lines such as, “Whose tongue?// Yours, if you talk of tales.// And so farewell.// What, with my tongue in your tail?” (209-211) In these lines it seems to be implied that Petruchio is taking her words and twisting them into a reference towards oral stimulation. The gawl Petruchio has to speak so crudely to a person, shows how men feel entitled to sexual fulfillment and the fact that he would say something such as this means he feels Katherine will without a doubt be ‘his’. The only thing that seems to interest him is her sex appeal and it comes through when the play continues on to, “What is your crest? A coxcomb?// A combless cock, so Kate will be my hen.// No cock of mine. You crow too like a craven” (218-220). Katherine refuses Petruchio’s sexual advances, claiming he is not an adequate romantic partner for her. This brings the issue to the attention of the reader, as Petruchio is almost verbally molesting her. He calls her a Turtle dove, which implies fragility furthering a stereotype that women are petite delicate flowers. He mentions how he wishes to tame her by explaining he will pluck the stinger from her, alluding to him quieting her and making her his wife.
I also noticed Shakespeare’s use of sexual puns to portray this theme of how women should act in comparison to the men. The beginning of Petruchio and Katharina’s relationship starts off harsh and verbally abusive. Each statement spoken to each other in this dialogue meant to insult the other person. Petruchio diminishes her appearance in his attempt to tame her. Katharina tries to appear as strong, intelligent, and independent. Petruchio calling her fragile and petite is, again, showing the common theme of gender inequality. His way of plucking her stinger is acting putting her in her supposed place as the lesser person in their relationship. His attempts at taming her not only show what role women are suppose to have because it implies how the men are suppose to act, treat the women, and be treated by the women.
Act II of The Taming of the Shrew portrays how Katherine truly feels about traditional female roles and marriage. This contrasts with the way her sister, Bianca is portrayed. The scene begins when Katherine teases Bianca by tying her hands up and asking her which suitor she likes the best. Kate says “Oh all thy suitors, here I charge thee, tell whom thou lovest best: see thou dissemble not,” (Act II, Scene I). When Bianca tells kate that she desires none of them, Kate does not believe her and then decides to hit her. This shows Katherine's hated towards Bianca in the sense that she exemplifies everything a man would want in the Elizabethan era. Bianca is obedient, beautiful, and a valuable bride. Though on the inside, Kate must not dislike her sister, she just dislikes the image of which her sister fits so perfectly into. Kate can be characterized as unruly and loud, and therefore not attractive to many suitors. Later in the act, Petruchio begins to show interest in Katherine, but only for her money. Petruchio will not marry Kate unless she “yields” to him, which angers Katherine even more. When Katherine interacts with Hortensio, another suitor, the conversation ends with Katherine slapping him in his face. This shows that unlike many traditional women during her time, Katherine was not afraid of using physical violence against a man. Baptista’s only motive is to marry Katherine off, whether she has fond feelings for the suitor or not. In the end, Katherine leaves through a different door than Petruchio. This is a mere act of defiance against him.
I found your analyzes to be intriguing. The contrast between the two dominant women characters was a great new way to take this symbol theme about women's role in society, a bit further. I think many people repeat a lot of what is already said about that subject, and I’d say I would be guilty. Your analyzation on the other hand was a refreshing incite.
Katharina: Moved! in good time let him that moved you hither Remove you hence: I knew you at the first You were a moveable. Petruchio: Why, what’s a moveable? Katharina: A join’d stool. Petruchio: Thou hast hit it: come, sit on me. Katharina: Asses are made to bear, and so are you. Petruchio: Women are made to bear, and so are you. Katharina: No such jade as you, if you mean me. Petruchio: Alas, good Kate, I will not burden thee! For, knowing thee to be but young and light,- Katharina: Too light for such a swain as you to catch; And yet as heavy as my weight should be. (II.I.34)
In this section of dialogue, William Shakespeare uses puns and Petruchio’s and Katharina’s quick wits to portray the supposed role of women during this time period. Petruchio outright states that he believes a woman’s purpose is to bear children and therefore, it is also Katharina’s purpose. It is also a sexual pun for how women are meant to bear the weight of the man during intercourse. Again gender roles are clearly shown throughout the play through Petruchio’s actions and treatment of Katharina. Attractive women in that time period were submissive, married, cared for their children, and were homemakers. Katharina is known as a shrew for going directly against the societal views. Shakespeare’s intention of Petruchio’s character can be slightly overlooked because Katharina’s extreme resistance shown towards the social norms for women. In all encounters with the various characters, Petruchio is portrayed as self absorbed and arrogant. He decides that he will say the opposite of Katharina to attempt to tame her. In this conversation between them, he is trying to tame her while courting her. She is more repulsed by him than she is to the others because of his pompous actions, but learns to become submissive to survive their relationship. Shakespeare shows the importance placed on the role of both genders to emphasize the inequality and possibly show his personal opinion on this topic. He could relate to Petruchio and feel the roles of women is lesser than the roles of men.
You have a very interesting analysis of the passage! When you were talking about Katharina being known as a shrew for going against the social norms, I couldn’t help but think about all the other various people that did what Katharina did throughout history and challenged the basis of the social structure of their time. People such as Martin Luther King, Rosa Parks, and Nelson Mandela all went against what society taught them to do. These individuals were all later viewed as leaders that did good for humanity. Having to fear to openly express what she feels, Katharina seems like she is in a very similar position to what these famous progressives were once in. Perhaps this is to hint readers on what is to come, or maybe I might be going a little over the top. Either way it’s going to be interesting to see how Katharina develops as we go further into the play.
(Since my pal Grumio wasn't in this Act, I grabbed his most similar phonetically sounding friend, Gremio.)
Act 2 Character Analysis: Gremio
In Act 2, Gremio was shown to be a rich, yet pompous and self-absorbed man when presenting his dower to Baptista. His monologue explaining his offer to Baptista, and all the goods he owns and could offer to Bianca, whom he is courting. He uses elaborate diction, and after describing his material riches, he ends with "...[I own] all things that belong / To house or housekeeping ... And if I die tomorrow, this is hers, / If whilst I live she will be only mine" (2.1, 351-358). Here, Gremio is proving himself to be ostentatious, bragging about all he owns, although this is what he was asked to do, he need not to pontificate, yet he does. He then proceeds to display the standards believed by men and women, albeit with a twist. He admits that in the event of his death, Bianca would have ownership of everything he owned. This was rare, as widows, in that time, usually only got enough to live, and their sons, if they had any, got the rest of the money, due to the patriarchal views of society Another male-dominated thought that Gremio displays is the ownership of a woman. He describes Bianca as having no free will, and that those tasks and proimises will only be carried out if Bianca 'is his'. This removes the element of choice and free will that a human being should have, and instead, converts it to a subtle form of slavery, with the man controlling the woman in the relationship. Nowadays, this kind of thing would be seen as unhealthy, but in Olden English times, this was seen as acceptable due to the ignorant state of knowledge that women were being kept in; not being taught philosophy, mathematics, or anything requiring higher level thinking, but treated as entertainers and being taught only the arts.
Marry, so I mean, sweet Katherine, in thy bed; And therefore, setting all this chat aside, Thus in plain terms: your father hath consented That you shall be my wife; your dowry ‘greed on; And, will you, nill you, I will marry you. Now, Kate, I am a husband for your turn; For, by this light, whereby I see thy beauty, Thy beauty, doth make me like thee well, Thou must be married to no man but me; For I am he am born to tame you Kate, And bring you from a wild Kate to a Kate Conformable as other household Kates. Here comes your father never: never make denial; I must and will have Katherine to my wife. Act II, Scene 1 pg 36-37
This passage by William Shakespeare in Taming of the Shrew demonstrates the persistence and cunning of Petruchio. Prior to meeting Katharine, Petruchio had arranged to be married to her with her father “your father hath consented/ That you shall be my wife; your dowry ‘greed on”( Shakespeare, 35). Petruchio had already arranged to marry Katharine before meeting her as he was aware of her shrew personality. Petruchio wants to first ensure he achieved his goal, gaining Katharine’s wealth and becoming rich, before even setting sights on Katharine. Petruchio makes it a goal of his to tame make Katharine an obedient wife “thou must not be married to no man but me;/ For I am born to tame you Kate,/ A bring you from wild Jate to a Kate/ Conformable as other household Kates” (36). Petruchio desires to transform Kate from a shrew to a housewife, while he has just met her he makes his intentions for her clear. Petruchio has left Katharine with almost no options but to marry him, as refusing would upset her father, leaving her with little to no options. Petruchio’s cunning and persistent nature is touched upon in this passage by Shakespeare.
Your analysis was an interesting one. I agree with you on the demeanor of Petruchio, and how he basically informed Katharina that he was going to marry her, rather than ask her to marry him. Perhaps this is the way Petruchio thought up to go against Katharina’s fiery attitude, and it seemed to work. She even showed signs that she liked the way he was speaking to her, and that his attitude was kind of appealing. Katharina has a bold character, and it took another even larger character to entice her. It is almost humorous to think about how their day to day lives would be like, and how others would think of them as pure crazy! It shows that even with some serious parts to this play, Shakespeare still manages to include comedy that doesn’t seem forced in, to make the audience laugh.
Act 1, Scene 1 In the opening exchange between Lucentio and Tranio in Act 1, Scene 1 of Taming of the Shrew, Shakespeare gives a clear characterization of Tranio as Lucentio’s wise and trustworthy servant. Shakespeare first characterizes Lucentio as brash and straightforward with Tranio contrasting his behavior “I am in all affected as yourself To suck the sweets of sweet philosophy. Only, good master, while we do admire This virtue and this moral discipline, Let's not be no stocks nor no stocks, I pray; Or so devoted to Aristotle’s check”. While Lucentio would immediately jump into studying philosophy, Tranio looks at the other opportunities given at Padua as well. Tranio encourages Lucentio to make the most of his opportunities instead of being senseless and wasting them. Tranio advice is considered by Lucentio quickly “ Gramercies, Tranio, well foist advise”. Even with his status as a servant Tranio’s advise is quickly considered by Lucentio. Tranio’s importances to Lucentio is quickly made apparent.
In act III scene II of “Taming of the Shrew” portrays the theme of disguise and deception and gender roles. “No shame but mine: I must, forsooth, be forced To give my hand, opposed 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 behaviours” Shakespeare uses Petruchio’s absence to portray the theme of deception (III.ii.45). Both Baptista and Katharina believe that Petruchio has another reason for courting her so quickly. He uses deception to pose the question: can a person’s role be changed by putting on new clothes? This is shown through the questioning of Petruchio’s intentions with Katharina because they believe he did manipulate his appearance, in this case his personality and forwardness, to change his role, play a trick on Katharina. Later, when Petruchio finally comes to claim his bride, he is wearing awful apparel. This is another attempt to tame Katharina. This connects to the theme of gender roles. Throughout this play, Shakespeare makes this theme a more prominent and important one. “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” Petruchio states that Katharina is his property now that they are officially married (III.ii.52). Again, this shows that women are thought of as the inferior gender. Katharina goes against the social norms for that time period by being clever and assertive. Rebelling against these normalities causes the men to avoid her. They feel the need to constantly suppress her and remind her what the role of women are compared to the roles of men. When Petruchio finally come to the wedding and humiliated Katharina, she finally starts to accept her fate and submits to her natural role as the lesser gender.
I see that your analyzation is very well thought out. The theme of gender swapping and the swapping of other roles is relevant and quite prevalent in the story, as it is portrayed throughout these three acts in great quantity. The idea that we can transcend our predetermined roles in society is an idea that America was built off of. So this theme seems easily plausible to us, but during the course of this story the answer is questionable.
“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. Bian. Where left we last?” (Shakespeare 42-43)
In this passage of Taming of the Shrew, both Lucentio and Hortensio are giving Bianca lessons in Latin and the playing of musical instruments, all the while attempting to woo her with their flirting, carefully placed in hidden messages for Bianca. Bianca quickly notices what both individuals are doing, and reveals her knowledge to both without making the other suspicious. It is easy to realize that Bianca is fond of Lucentio more, as she repeatedly sends Hortensio off to tune so she could talk to Lucentio in private. It seems that Lucentio is making good progress with Bianca, and that his plan might work after all. What I am still uncertain about though, is her and her father’s reaction to Lucentio revealing himself to be Lucentio, and not Licio. Would they not care that he had lied to them of his real identity in order to secretly court Bianca, or would they become angered with Lucentio at the thought of his lucrative and deceiving ways. This is something that I believe Lucentio himself has yet to think about, as he is clouded by his love for Bianca, exerting all his efforts to win her heart but not thinking much about what would happen afterwards. How is Hortensio going to feel that Lucentio tricked him, and stole the woman he wanted to marry right under his nose? Is he going to want to get back at him? Right now Lucentio is playing with fire, in the sense that if he makes one false move, it can hurt him.
PETRUCHIO “I am content you shall entreat me stay, But yet not stay, entreat me how you can. KATHERINE Now, if you love me, stay. PETRUCHIO Grumio, my horse. GRUMIO Ay, sir, they be ready. The oats have eaten the horses. KATHERINE Nay, then, Do what thou canst, I will not go today, No, nor tomorrow, not till I please myself. The door is open, sir. There lies your way. You may be jogging whiles your boots are green. For me, I’ll not be gone till I please myself. 'Tis like you’ll prove a jolly surly groom, That take it on you at the first so roundly. PETRUCHIO O Kate, content thee. Prithee, be not angry. KATHERINE I will be angry. What hast thou to do?— Father, be quiet. He shall stay my leisure. GREMIO Ay, marry, sir, now it begins to work. KATHERINE Gentlemen, forward to the bridal dinner. I see a woman may be made a fool If she had not a spirit to resist. PETRUCHIO They shall go forward, Kate, at thy command.— Obey the bride, you that attend on her. Go to the feast, revel and domineer, Carouse full measure to her maidenhead, 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. I’ll bring mine action on the proudest he That stops my way in Padua.—Grumio, Draw forth thy weapon, we are beset with thieves. Rescue thy mistress if thou be a man.— Fear not, sweet wench, they shall not touch thee, Kate. I’ll buckler thee against a million” (Act III. ii.10)
During this contentious exchange between Petruchio and Katherine, the shrew takes a stand against her capture. Petruchio wishes to leave with her to his home. On the other hand, Kate wishes to stay in the comfort of her home. The characterization of Kate, creates yet another example of a strong female character in this story. She exclaims to her that, “Nay, then,// Do what thou canst, I will not go today,// No, nor tomorrow, not till I please myself. //The door is //open, sir. There lies your way.//You may be jogging whiles your boots are green.// For me, I’ll not be gone till I please //myself.//'Tis like you’ll prove a jolly surly groom,//That take it on you at the first so roundly” (180-187).” Here we see Kate leaving her role society has dumped upon her. The obedient wife expected of Katherine is not seen her. She directly defies her male ‘superior’ and challenges the role she has been given by birth. The mood seems to change in this insistence. Her character becomes dominant and commands the reader’s attention. Until, Petruchio responds with a long passage where he takes the attention away from her and destroys the upbeat progressive tone. Basically, he calls her property, and explains her role to her in a commanding tone. It kills the mood and makes the reader question whether or not the play is pushing progressive ideas on gender roles in society or if Shakespeare is merely writing as anyone would at the time.
Katharina’s personality and beliefs are completely opposite of Petruchio’s and this is to emphasize the importance of gender roles. Everything Katharina does is against her “natural role” and everything Petruchio does to Katharina is to “put her in place”. This is why Petruchio is constantly showing her what her role is. In the beginning she showed stronger resentment to conforming to this role, but since Petruchio has entered her life she has been forced to accept her natural role. I also noticed that in act III scene II the defiant tone set by Katharina is extinguished when Petruchio objectifies her by stating she is his property. It seems that Shakespeare is trying to show that he believes the natural role of a woman is less important and equal to that of a man. He portrays his view on this controversial topic by making Katharina slowly accepting this role as Petruchio’s tranquil, obedient wife.
In Act 3, Shakespeare shows a new side to Katharina’s character: a softer side that is beginning to fall for Petruchio and cares about what others think of her. The reader also begins to feel more sympathetic toward Kate as Petruchio humiliates her on their wedding day. Petruchio has not yet shown up, and the men are questioning if he even will. Katharine says before running off, weeping, “Would Katharine had never seen him though” (III. ii). In previous acts, Katharina is seen as an independent woman (Beyonce vibe anyone?), who has no need nor desire for a husband. However, when she is betrothed to Petruchio and he doesn’t show up, she shows deeper emotion for the first time. Katharina refers to herself in the third person to distance herself from the situation, because she doesn’t want to quite admit she was developing feelings for Petruchio.
Another instance of this softer side and caring about others’ opinions is after the wedding, Kate says, “Gentlemen, forward to the bridal dinner/ I see a woman may be made a fool/ If she had not a spirit to resist” (III.ii). The “spirit to resist” is alluding back to previous acts, where Kate had a spitfire tongue and attitude. She is angry with herself for opening her heart up, and is now feeling the consequences. Shakespeare uses the word ‘forward’ in this sentence, because it was used to describe both Petruchio and Katherine in earlier acts, and he wants to once again demonstrate the romance between the two. This is done to appeal to the public as the audience enjoys a love story, and to show how similar the two are.
In Act 3, Scene 2, Gremio is characterized as a judgmental and superficial person ,while also providing further character development for Petruchio. After he attended the wedding, he relays the events that occurred at the chapel, starting with a statement made about Petruchio: "A bridegroom, say you? 'Tis a groom indeed, / A grumbling groom, and that the girl shall find" (3.2.147-148). This is a use of wordplay, where Gremio compares the traditional word for a spouse; a groom, with the stable boys, also called grooms in this era. He's making a direct comparison of a higher class with those of a lower, serving class. Knowing the previous descriptors Shakespeare utilized for the lower class, as well as the assumptions made about them, Gremio is insinuating that Petruchio is an obnoxious and uneducated man, and goes on to describe these infamous actions performed at the wedding service. Some of the appalling words, dramatized by Gremio in an attempt to mock Petruchio, were the words uttered at the wedding vows. Petruchio, instead of being respectfully somber and serene, is described by Gremio to have done the following: "... when the priest / Should ask if Katherine should be his wife, / 'Ay, by gogs wouns!' quoth he..." (3.2.154-155). This is malapropism, as it is an indirect allusion to the profane oath of "by God's wounds". The pure blasphemy committed inside a religious building shocks Gremio, his old age and the period he lives in contributing to this characterization of a highly impressionable and politically correct man. His negative description of the new spouse is also indicative of the thoughts that he and everyone else seems to hold, later stated by one of the other characters: Katherine, in wit, personality, and character, has found her match, or even surpassed the expectations for this.
“This is a way to kill a wife with kindness, And thus I’ll curb her mad and headstrong humor. He that knows better how to tame a shrew, Now let him speak; ’tis charity to show.” (IV.i.144-147)
At the end of the first scene in the fourth act, Petrucio gives a soliloquy that expands on how he is going to “tame” Katherina. In his earlier monologue he explained his plan to tame Kate by doing the opposite of what she says and contradicting everything she says. In this monologue he gives more detail on the exact way he is going to break Kate into submission. He says how he has not fed her and is not planning on feeding her. He continuously makes up excuses to stop Kate from eating. Petruchio decides how he will keep Kate from getting a good night’s rest. He complains about how the bed is made and throws stuff angrily to keep her awake. And if on the odd chance that she falls asleep, he will shout and yell until she is awake again. He claims to be doing these things out of love for her. He disguises these terrible actions as “kindness” towards Kate because he truly believes that breaking her, and “taming the shrew” is the best thing for her.
Your analysis is excellent. I also noticed he uses this false kindness and caring to finally tame her. As you have mentioned, every time he withholds food or keeps her awake, he claims it is out of love or it is what is best for her. His statements contradict his actions. His method of taming her is harsh and abusive, yet he appears to be “helping her”. Egoism is portrayed through Petruchio’s character and his various actions. His main goal and motive for marrying Katharina is to tame her. Act four shows he genuinely believes that the way to tame her is to make his abuse appear as kindness and care. Shakespeare portrays the theme of disguise and deception through Petruchio’s plan of taming Katharina.
The analysis you provided was spot on. He plays to what he thinks is her weakness in order to tame her. The way marriage is portrayed in this play, shows the reader two things, that’s it’s all business and a little bit about the relationship between women and men at this time. The consistent comments on how he is going to tame her really is exemplified in this passage and you did a great job at talking about this. Overall good work!
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.57)
In this passage, Petruchio and Katharina have finally made it back to Petruchio’s home. Since he met and married Katharina, his method of taming her is showing his dominance, and as a more extreme version of her. His treatment of the servants is very abusive and harsh, but he appears to treat Katharina the opposite way. To her, he acts like he cares for her and how she is doing. In reality he is not concerned with her wellbeing, but is more concerned with asserting his dominance and taming her. This is shown when he decides a good way to tame her is starving her. He says the food prepared is not good enough and refuses to allow Katharina and himself to eat it. This way, he appears to care for her while benefiting his alternative motives. His plan is to deprive her of the basic necessities a human relies on to survive. Petruchio’s relationship with Katharina is very different from that of Lucentio and Bianca. Bianca is considered the good temperate sister. Lucentio shows genuine care and love for her and towards her. He has no alternative motive or agenda. Petruchio is very egoistic character. Though there might be some chemistry between him and Katharina, he appears to only wed her for her dowry and the challenge of taming her. He shows her kindness instead of treating her the same as he treats his servants because of the slight chemistry between them. It suggests that when Katharina is finally tamed, they might have a real relationship, instead of proving he can tame even the worst shrew. However, it could turn out just the opposite because that small bit of chemistry was formed when they both thought they met their match. When Petruchio finally tames her, that attraction could be lost because she is no longer his match.
TRANIO (as LUCENTIO) Is ’t possible, friend Litio, that mistress Bianca Doth fancy any other but Lucentio? I tell you, sir, she bears me fair in hand. HORTENSIO (as LITIO) Sir, to satisfy you in what I have said, Stand by and mark the manner of his teaching. They stand aside Enter BIANCA and LUCENTIO as CAMBIO LUCENTIO (as CAMBIO) Now, mistress, profit you in what you read? BIANCA What, master, read you? First resolve me that LUCENTIO (as CAMBIO) I read that I profess, The Art to Love. BIANCA And may you prove, sir, master of your art. LUCENTIO (as CAMBIO) While you, sweet dear, prove mistress of my heart! HORTENSIO (as LITIO) Quick proceeders, marry! Now, tell me, I pray, You that durst swear that your mistress Bianca Loved none in the world so well as Lucentio. TRANIO (as LUCENTIO) O despiteful love! Unconstant womankind! I tell thee, Litio, this is wonderful!
In this passage Tranio sneakily plays an angry Lucentio in order to lure Hortensio into giving up in his pursual of Bianca, to aid his master Lucentio. Here Hortensio points out the chemistry between Bianca and Cambio, who is really Lucentio in disguise. This scene is a stark contrast to the relationship depicted between Petruchio and Katherine. The exchanges often examined between Petruchio and Kate are vicious and the content of the interaction, sometimes uncomfortable to think about. In this passage Lucentio’s and bianca’s dialogue is sincere. They flirt with each other in a way that is not sexual suggestive. Lucentio playful and harmlessly exclaims that he is a master in the art of love, and goes further by talking Bianca up. The conversation is the first real exchange of true love in this story. It was a a lot easier to see such a contrast after doing the foil activity done in class, and because of this it has become apparent that this was intended by shakespeare. He wants to make a distinction between reality and and fantasy. The fantasy being true love, because Lucentio is pretending to be someone else. While Petruchio and Kate are doing no such thing. Shakespeare most likely does this so he can further his commentary on his realist view about love in the society he lived in. He wants to evoke a dominant effect of betrayal, and how love can be false in the greedy and male dominated society he is present in.
Character Analysis: Grumio (because my favourite servant came back, yay!)
Grumio, in the few instances that he has appeared, has presented himself as comic relief, a servant that acts as an intelligent jester. He uses constant double entendre, in order to twist back the words that are spoken to him, give an essence of misunderstanding, and create vocal puns. One of these such examples is when he is inquired as to the state of the world. He begins with a seemingly profound answer, then progresses to his humorous antics: "A cold world, Curtis, in every office but thine, and / therefore, fire!" (IV.i.27-28). Grumio's first response is as if he had reflected upon the state of the world, friendless and unmerciful, yet with the later context, is found to be speaking literally. He reprimands Curtis for conversing in place of making preparations for the arrival of the newlyweds, and does it in his usual fashion. As shown with the last quote, his use of literal meaning of words instead of the implied figurative language is another mark of his syntax. Grumio, when gossiping, strikes Curtis, relaying the 'sensitive news' he lived. Curtis, adamantly complaining about his actions, receives a retort from his counterpart "And therefore 'tis called a sensible tale. And this cuff was / but to knock your ear and beseech list'ning" (IV.i.49-50). Grumio continues to make subservient the character of his fellow servant. Lampooning his earlier conversations with the comment of checking if there was anyone listening to his tale, Grumio makes the implication to the reader that he is intellectually superior to Curtis. Lastly, Grumio is devious, manipulating people as he pleases. After the scene with the servants burning the food, and Petruchio deeming it useless as alleviation for hunger, Kate declares she's starved, and a prospective meal ensues out of Grumio. He tells her of gross sounding foods in order to try to invoke her shrewlike personality. When she assents to each one, with no problem at all, he proclaims they will make her choleric, and Kate ends with "Go, get thee gone, thou false deluding slave, / That feed’st me with the very name of meat. / Sorrow on thee and all the pack of you / That triumph thus upon my misery" (IV.iii.30-34). This is included to show the extent to which Grumio will go to in order to obtain some humour in his life. His malicious ways are highlighted here, and they're not seen in that light by the audience, since the true antagonist, if there was one, is Katharina in this play.
What say you to a neat’s foot? ‘T is good passing: I prithee let me have it I fear is too choleric a meat. How you say to a fat tripe finely broil’d? I like it well: good Grumio, fetch it for me. I cannot tell; I fear ‘t is choleric What say you to a piece of beef and mustard? A dish that I do love to feed upon. Ay, but the mustard is too hot a little. Why then, the beef, and let the mustard rest. Nay then, I will not: you shall have the mustard, or else you get no beef of Grumio. Then both, or one, or anything thou wilt. Why then, the mustard without the beef. Go, get thee gone, thou false deluding slave, That feed’st me with the very name of meat: Sorrow on the all the lack of you That triumph upon my misery! Go, get thee gone, I say. (Act IV, Scene III)
In the passage above containing the exchange between Katharine and Grumio, Shakespeare characterizes the former and latter. Grumio retains his role as Petruchio’s loyal servant and the play's comedic relief. Grumio, knowing Katharine has been starved of food offers her various dishes yet makes various excuses for not serving her. Grumio is continuing Katharine’s “taming” as directed Petruchio, by keeping her deprived of food. Despite her pleading Grumio use various excuses to avoid serving her, they are meant to entertain the reader or audience, as they are aware of her plight. Grumio final line in the exchange suggesting that Katharine eat mustard is meant to be the punchline of the joke, he further degrades her by offering her something he previously used as an excuse while it also offers little to no sustenance. Katherine retains characterization as a strong and stubborn woman, yet it's apparent that she is being broken down by Petruchio. Katharine previously pleaded to Grumio to bring her food, something the strong willed Katharine most likely wouldn't do. Katherine becomes more desperate as she is denied food. Katharine does retain her strong will, after Grumio offers her mustard she realizes she's being played and shoos him away not wanting to be degraded anymore.
I really enjoyed reading your analysis Dan, and have to agree with what you said. Shakespeare includes some entertaining comedy in this play of his, even though the situations that these characters are in such as Katharina, is dark. It feels almost inappropriate to smile at jokes such as the mustard joke while I’m reading The Taming of the Shrew, as these characters are struggling with situations that are close to their hearts. But then again, aren’t a lot of jokes and things that we find funny based around other people’s misery? Whether it’s people slipping on a banana peel and falling, to pranks on youtube that targets an unsuspecting person that the video creator knows well, and pulls off a fake armed robbery to make them fear for their life, just to see how they would react. It all involves at least one person, ending up drawing the short straw to make others laugh.
“Pet. How fares my Kate? What, sweeting, all amort? Hor. Mistress, what cheer? Kath. Faith, as cold as can be. Pet. Pluck up thy spirits; look cheerfully upon me. Here, love; thou see’st how diligent I am To dress thy meat myself and bring it thee: I am sure, sweet Kate, this kindness merits thanks. What, not a word? Nay, then thou lovest it not; And all my pains is sorted to no proof. Here, take away this dish. Kath. I pray you, let it stand. Pet. The poorest service is repaid with thanks; And so shall mine, before you touch the meat. Kath. I thank you, sir” (Shakespeare 64).
In this passage located in act IV of The Taming of the Shrew, Petruchio has prepared some food for his newly wedded wife Katharina, but almost decides to not give it to her when she doesn’t thank him in return. It is almost certain that Katharina is starving at this moment (as she has had little sleep and food for several days now) and is wanting food very badly, as she says, “I pray you, let it stand” (Shakespeare 64). The thought of Petruchio not giving his spouse food if she does not obey his demands, is going into the territory of abuse. In a marriage you are supposed to help each other to the best of your abilities, and letting your wife starve because she isn’t pleasing you enough is disturbing, considering that they have just gotten married. The logical question to ask yourself is why is petruchio treating Katharina this way? The answer to that would be, he is trying to “tame” Katharina as he said he would do before their marriage, which ties the story back to the title of the play. But does he really think that by practically making Katharina a slave, and trying to reprogram her into what he thinks is a good wife going to work? Surely his plan will backfire as Katharina being Katharina, will not let herself be broken by a man that promised her a life filled with love and happiness, but gives her this directly after they start their relationship.
“Taming of the Shrew” act V portrays that the happiness of a society is very dependent on everyone filling their natural roles. This is show through the transformation of Katharina when she finally succumbs to her social role as the subordinate gender, the obedient wife and daughter. She chastises Bianca and the Widow for acting disobedient, much like she once did. “Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign: one that cares for thee” here it seems that she has accepted her new life and is actually grateful for Petruchio (V.ii.85). She has become devoted to him and feels as though she owes her life to him. Katharina fulfills her new social role as a wife because she knows that she will be more content submitting and conforming than she was living as a shrew, always disliked by everyone. She sees this as an opportunity to be at peace with her role. This belief that happiness is found in satisfying the natural role in society is not only portrayed through Katharina’s transformation, it is also shown through Lucentio’s marriage to Bianca and Hortensio’s marriage to the Widow. In Petruchio’s last few lines he reveals a key observation relating to social roles and happiness. “We three are married, but you two are sped” (V.ii.86). Bianca and the Widow refuse to accept and fill their “proper role” as the wife by being disobedient and insubordinate to Lucentio and Hortensio, which will only end with an unhappy marriage. Lucentio’s relationship with Bianca when they were single was false and deceitful. Lucentio sees Bianca’s true nature when he says “But a harsh hearing, when women are forward” (V.ii.86). She deceptively acted submissive, obedient, temperate, but marriage has brought out her defiance and refusal to fulfill her new social position as a wife. Shakespeare utilizes this theme in “Taming of the Shrew” to portray his position on gender roles and the effects of social roles on happiness. He approvals and advocates for the traditional social hierarchy and discourages strong willed women by showing that happiness is attained by conforming to their given gender roles and social positions.
“PETRUCHIO The fouler fortune mine, and there an end. Enter KATHERINE BAPTISTA Now, by my holidam, here comes Katherina! KATHERINE What is your will, sir, that you send for me? PETRUCHIO Where is your sister, and Hortensio’s wife? KATHERINE They sit conferring by the parlor fire. PETRUCHIO Go fetch them hither. If they deny to come, Swinge me them soundly forth unto their husbands. Away, I say, and bring them hither straight. Exit KATHERINE” (Act 5.ii.107-114) The background for this passage is important to know, because it sets up this scene. A little before this scene, the married men make a bet on who’s wife is the most obedient. Hortensio’s wife and Lucentio’s wife both disregard the request to come to their husbands. Katherine however, enters within a timely fashion. This is in contrast to her normal behavior around Petruchio and it seems that he has finally proven his methods to taming the shrew. She even replies to many of his requests, with either a short confirmation, or immediate action. As seen here Petruchio asks, “Where is your sister, and Hortensio’s wife?” (Shakspeare, 110). Without asking so much as to why he needs to know, she simply responds with, “They sit conferring by the parlor fire” (Shakespeare, 109). Katherine seems to have degraded into what she had fought so furiously not to become, an obedient wife. Her independent spirit has seemingly been grinded to a pulp from the mistreatment garnered by Petruchio and it’s sad to see such a strong woman character be so drained of what once made her unique and special. Shakespeare in this moment doesn’t seem to be the progressive frequently made out to be. Katherine’s molding implies a message that women can be rid of a individualistic spirit, almost encouraging men to oppress such character. It’s a dark way to end things for Katherine, who was backed by most readers who love the fire she brings to this story. Sadly though, the flame seen in the beginning of this story is put out by the oppressive hand of Petruchio.
I agree with your analysis, I also believe that the feminism that Katherine brought to this play by combating the 'taming' and refusing to give in to the acceptance of subservience is lost in this last scene. Especially with the speech that Kate was compelled by Petruchio to give at the end, where she directly mentions women being the weak gender contradicts everything she has had to say so far. It is understandable, however, that Shakespeare did not want to cause any controversy. Now that we are in the 21st century, we obviously know (but still don't fully integrate) the idea that women and men are equal, and deserve equality throughout all facets of life. In the time Shakespeare was alive, however, the English people were a very biblical and conservative group. These Christian beliefs, led by the bible, dictated that wives should live to serve their husbands, for the husband is the power in a family structure. These archaic thoughts are probably what fueled Shakespeare's mind, when creating this hastily-written-seeming Act, undoing all the progressive stances he had taken previously. What I did consider, though, is the last line, uttered by Lucentio: "'Tis a wonder, by your leave, she will be tamed so" (V.ii.198). He makes me wonder, was Kate really tamed, or did she allow Petruchio to tame her, given her earlier behaviour?
Gremio ends this play, The Taming of the Shrew, on a bitter note. All the other characters in this play seemed to have attained their redemption, however unlikely in the form it appeared. Gremio, since the beginning, attempted to attain Bianca's love, and was made a fool of in several instances. He rivaled two young men, yet was essentially tricked into paying for a tutour who would then gain her love. This is why, in Act 5, he argues for Tranio to being the real Lucentio after encountering Vicentio: "Yes, I know thee to be Signior Lucentio" (V.i.89). His confidence in Vicentio's adamant claims to his true persona are contradictory to the opinions of everyone else. Since Vicentio is the catalyst to the reveal of disguise in the play, and no one wants to admit the devious actions they have been performing, everyone keeps the ruse going, accusing the newly-arrived traveller to be a madman. Gremio seems to be caught in the middle of this, for he believes some of both sides, showing him for the fool he truly is, optimistic and thinking the best of everyone, not doubting them for one second to consider that things may not be as they seem. He is foolish, not knowing why exactly he is the outcast in this situation, but tries to play into a younger role of himself. It is only at the end, in the feast held to celebrate the weddings that Gremio finally realises that he was not as fortunate as it seemed; he was taken advantage of all along. When everyone admitted to the mockery of each other performed, Gremio proclaims "My cake is dough, but I'll share in among the rest, / Out of hope of all but my share of the feast" (V.ii.121-122). The use of metaphor expresses his disappointment at the futile attempts at attracting that whom he was fancying. The elaborate plans displayed by everyone but himself reveal him to be the only one that did not get anything they wanted, only disappointment at the end of their efforts.
I thought the analyzation that you provided was exceptional. The point you make about Grumio being a optimistic fool is one I have found to be something of a pattern in Shakespeare's writing. He consistently points at the faults in humanity. He enjoys being a little on the negative side, and doesn’t seem too hopeful about the future of humanity. He puts things bluntly and never seems to censor opinions on social issues without actually revealing his own opinion. Overall well articulated thoughts!
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 labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe, And craves no other tribute at thy hands But love, fair looks, and true obedience, Too little payment for so great a debt. . . . 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. Then vail your stomachs, for it is no boot, And place your hands below your husband’s foot, In token of which duty, if he please, My hand is ready, may it do him ease. (V.ii.140–183)
First of all, this speech is creepy as heck. Katherina presents this monologue at the end of the show. This is the final part of her character arc from wild “shrew” to demure wife. At the beginning of the play, Kate had such a fire driving her character, she had a mind of her own, unlike how most of the female characters are portrayed in the show. By this time, Petruchio has starved and sleep deprived her into submission. One could almost see this speech as a symptom of Stockholm Syndrome. Kate has been held captive so long that she now sympathizes and has feelings for her captor. The words she says in her monologue are completely the opposite of what she would have said in Act I. Katherina is Shakespeare’s best example of a dynamic character. Shakespeare writes, “Thy husband is thy lord, thy life, thy keeper,” (V. ii). Talking about a husband in this makes a wife seems like a piece of property, a slave, something that is owned. This is a very old world concept of marriage, like what would considered normal in Shakespeare’s time. Katherina talked about “placing your hands below your husband’s foot” (V. ii). This gives the image that the wife should be on her hands at knees, almost (or maybe) kissing the ground her husband is walking on. This ending monologue completes Kate’s dynamic change from a shrew to tame shows the misogyny in the world of Taming of the Shrew.
Your analysis was very similar to what I thought when I read this part of act five as well. I was very surprised at the 180 degree turn around that Katharina had done in just one act, especially since in my act four analysis, I stated that she was most likely not going to give into Petruchio, but she most certainly did! It is as if she was brainwashed, as she obeyed everything command her husband gave her, something the act one Katharina would not have done at all. I found her speech creepy and frightening as well, and made me fear Petruchio, seeing how he can easily change a person’s character into what he wants. with relative ease.
“Luc. I’ll have no halves; I’ll bear it all myself. How now! what news? Bion. Sir, my mistress sends you word That she is busy, and she cannot come. Pet. How! she is busy, and she cannot come! Is that an answer? Gre. Ay, and a kind one too: Pray God, sir, your wife send you not a worse” (V.ii.83)
In the second scene of the fifth act, Lucentio Petruchio and Hortensio decide to test their wives by requesting to come see them, to see which of the three is the most obedient wife. To make things more interesting for the men, as they all seem confident that their wife is the most obedient, they place a large bet of a hundred crowns. Lucentio is the first of the three to call for his wife, and as seen in the passage I have taken out from the play, he is thoroughly surprised and angered that Bianca said she was busy and therefore cannot come. This is a reasonable response by him, being that they have just recently become married, and she fails to simply see Lucentio to see what he wants. This already shows some flaw in their relationship, and shows readers how Bianca is most likely going to behave like with Lucentio for the entirety of their marriage. What if he urgently needed his wife’s aid and she ignores him like what has happened here? What if it’s only going to get worse from here? These are questions that are most likely running in Lucentio’s mind, as he struggles to comprehend Bianca not coming to see him, and him subsequently losing the bet and test. Lucentio is also most likely embarrassed by Bianca’s response, as it shows him having the weaker hand in the relationship in front of his father in-law, and friends.
This is an excellent analysis of act V scene II. I also noticed this major flaw in their relationship. It foreshadows what their future marriage will be like. It will be an unhappy marriage because it fails to follow the traditional social hierarchy. Bianca and Lucentio are shown as equals with mutual respect for each other throughout the play, but now we see that marriage has changed her countenance. Lucentio might also feel less attracted to her than he did when he first saw her. He noticed how she remained calm, collected, and quiet while Katharina when on verbally fighting Hortensio and Gremio. Now that the roles have switched, he could fall out of love with her. This portrays that love at first sight does not always end well for those who supposedly find it. He put his plan of deception into action because he thought they were a good match together, he the kind and dominant husband, she the submissive and caring wife. She showed him that he was quite wrong. Naturally he would be very embarrassed about her actions because he would have wanted to impress his friends, father-in-law, and actual father.
LUC.LUCENTIO That will I. Go, Biondello, bid your mistress come to me. BION.BIONDELLO I go. Exit. BAP.BAPTISTA Son, I’ll be your half, Bianca comes. LUC.LUCENTIO I’ll have no halves; I’ll bear it all myself. Enter Biondello. How now, what news? BION.BIONDELLO Sir, my mistress sends you word That she is busy, and she cannot come. PET.PETRUCHIO How? She is busy, and she cannot come! Is that an answer? GRE.GREMIO Ay, and a kind one too. Pray God, sir, your wife send you not a worse. PET.PETRUCHIO I hope better. HOR.HORTENSIO Sirrah Biondello, go and entreat my wife To come to me forthwith. Exit Biondello. PET.PETRUCHIO O ho, entreat her! Nay then she must needs come. HOR.HORTENSIO I am afraid, sir, Do what you can, yours will not be entreated. Enter Biondello. Now, where’s my wife? BION. She says you have some goodly jest in hand. She will not come; she nods you to come to her.
In the passage above from Act V Scene 2 of Taming of the Shrew, Shakespeare speaks to the audience about different types of relationships and how most men can't “tame” women like Petruchio. Lucentio, Petruchio, and Hortensio entered a bet to see who's wife, Bianca, Katharine, and the Widow, would respond to their summons. Bianca and the Widow refused their summons while Katharine would later go to Petruchio. The relationships Lucentio and Hortensio had previously established with their wives differ from Petruchio and Katharine’s. Lucentio’s relationship with Bianca was based on mutual love and adoration for one another. Bianca and Lucentio were closer to equals, so once she was called Bianca felt she had the right to refuse as Lucentio's equal. On the other hand Hortensio’s relationship with widow is one where the wife is dominant. The widow is willing to lambast Hortensio in public if she sees fit. When called she refuses because she believes she is the greater of the two halves and views Hortensio’s call as a joke, if anyone would be doing the calling it would be her. These two relationships contrasts that of Petruchio, who has absolute power in his relationship. Hortensio attempted to tame the Widow after shadowing Petruchio’s taming of Katherine yet utterly fails. Hortensio acts as a reminder to men reading or watching the play that “taming” a shrew ,who were very prevalent in the Elizabethan era, wasn't possible in the way the over the top Petruchio and that there were many types of relationships.
Lord: O monstrous beast! how like a swine he lies!
ReplyDeleteGrim death, how foul and loathsome is thine image!
Sirs, I will practise on this drunken man.
What think you, if he convey’d to bed, And brave attendants near him when he wakes
Would not the beggar then forget himself?
First Hunter: Believe me, lord, I think he cannot choose.
Second Hunter: It would seem strange unto him when he walked.
Lord: Even as a flattering dream or worthless fancy.
Then take him up and manage well jest:
Carry him gently to my fairest chamber
And hang it round with all wanton pictures:
Balm his foul head in warm distilled waters
And burns sweet wood to make the lodging sweet:
Procure me music ready when he wakes,
To make dulcet and a heavenly sound;
And if he chance to speak, be ready straight
And with a low submissive reverence
Say “What is it your honour will command?” (Lord, 2)
In the very beginning of this passage shakespeare uses smile to engage the reader while also displaying class variation and foreshadowing the role of class in this play. The page starts with the Lord shouting, “O monstrous beast! how like a swine he lies!” which shows how he feels it is funny to make ill of this drunk mans economic status. He decides to torment this man simply because of his social status, and precedes to devise an intricate plan to meddle with his life. The complete disregard for anyone's plight but his own creates a stark and hostile contrast between the classes. The Lord exclaims that, ”Balm his foul head in warm distilled waters and burns sweet wood to make the lodging sweet:” (Lord, 2) The fact that this man would go to the length to create not only an illusion with words but with the senses is truly cruel in nature. He is creating an environment artificially to purely amuse himself in a time of low. Furthermore the characters used in this Introduction are not seen throughout the rest of the play. Therefore it seems these characters are being used to hint at the importance of class and harsh reality of life, in a world where we are merely products of the environment around us. This happens to be the message seemly portrayed by the dialogue between these men.
Your analysis of this dialogue brings up some interesting points. I agree that Shakespeare the introduction to stress the importance of social class in “Taming of the Shrew”. In the trick others stay in their same positions as hunters and servants while the Page is forced to act as the wife. Since women were seen as unequal, weak, and sometimes useless compared to men, forcing the Page to act as a woman is another way of showing the cruel nature of the Lord and his disdain for the lower classes. This is not only present here in the introduction. Petruchio is also very cruel to his servant Grumio, Katherine after their marriage, and those of lower classes. Shakespeare uses the introduction and various actions throughout the play to portray the importance of social class.
DeleteYour analysis is very interesting but I had slightly different take on the meaning of the passage above. I believe the passage is mean it hint to asserting dominance and forcing others to change. The Lord feels as if he better than the Sly in the same way that Petruchio feels he is better than Katherine. The Lords feelings of dominance prompts him to change Sly as a joke. While Petruchio's reasons behind changing Katherine differ from The lord's he still feels superior to Katherine. This prompts both Katharine and Christopher Sly to act in the way that pleases the Petruchio and the Lord respectively, an obedient housewife and a wealthy lord. While it could be said that Katherine doesn't change in the same way the Sly does and doesn't actually believe what she says, Petruchio still receives the same pleasure that the Lord did in knowing he succeeded because she acts the way he wants her to.
DeleteThe introduction of “Taming of the Shrew” by William Shakespeare introduces numerous ideas and themes present throughout the play. The First Huntsman replies “Believe me, Lord, I think he cannot choose” to the trick being played on Christopher Sly. This could also be foreshadowing Katherine’s life being controlled by Baptista and Petruchio. She is forced to become a calm obedient wife, which she detests. This trick the Lord is playing on Sly is seen as humorous and playful. Similarly, it suggests that Katherine, like Sly, is just a play thing for Petruchio. Another motif presented is deception. Sly is deceived by the disguises and plays right into the trick. This also foreshadows the use of disguises by various characters to deceive for their benefit. In act one scene one Lucentio and Tranio formulate a plan in which Tranio becomes Lucentio and Lucentio becomes a teacher. This is a way for Lucentio to secretly court Bianca while Tranio openly bargains with Baptista, aiding Lucentio in courting Bianca. Again, disguise and deception are used for personal benefit. Shakespeare uses this introduction to bring up the role of marriage in the play. Sly refuses to fall for the Lord’s trick until they mention his wife. Sly takes advantage of the fact he is “married” and says “Madam, undress you and come now to bed”. People use marriage to benefit themselves. Petruchio marries Katherine not out of love, but for the money and the challenge of taming her. Here, gender and social and marital status are perceptions the characters manipulate for their personal gain. William Shakespeare utilizes the introduction of “Taming of the Shrew” to foreshadow and emphasize the themes of marriage and deception.
ReplyDeleteI thought your analyzation was rather interesting and I enjoyed the way you talked about the various themes within the play. I especially liked your thoughts on how shakespeare used the wife to aid in conveying a theme about lust. I could clearly see what you were talking about in that part when I went back and followed along. Overall your analyzation was exceptional.
DeleteInduction
ReplyDelete"Y'are a baggage, the Slys are no rogues. Look in the chronicles—we came in with Richard Conqueror. Therefore paucas pallabris: let the world slide. Sessa!" (3-6)
"Go to thy cold bed and warm thee" (10)
"Ay, it stands so that I may hardly tarry so long" (125)
" Is not a comonty a Christmas gambold or a tumbling-trick?" (137-138)
In the Induction of The Taming of the Shrew, William Shakespeare characterizes Sly as an uneducated, rude man through diction.
Beginning with his inebriated speech in which he refers to his impressive ancestors, the footnotes make a reference to the erroneous name used in the allusion to this relation with high class. Assuming the first King of England is common knowledge, this allusion is a sign of the ignorance and lack of education Sly possesses, due to his ill-informed state of widespread and expected awareness. His inebriated behaviour is a sign that he is not a man of class, especially after telling the hostess of an alehouse to "Go to thy cold bed and warm thee" (10). This is an implied insult, making his character less prudent in his speech, advising the hostess to 'go play with herself' due to her wanting to expel him from her premises. His phallic reference when speaking to his 'wife' also reflects upon his lack of respect and knowledge of the acceptability of phrasing and speech in the noble class. The brashness with which he speaks, and the sexual connotation surrounding it, is not judicious. His sudden turn to pleasing these impulses with no previous knowledge of his 'life' and the events surrounding it, and feeling downtrodden when being denied this request further the rudeness exhibited by this character. Malapropism is also known for being used with Shakespeare in order to distinguish between educated and non educated citizens in his place. In this instance, the misspelling and therefore implied mispronunciation imply the lack of knowledge that Sly has on the certain genre of entertainment presented to him. This is supported by the mocking tone the Lord used with the performers when explaining the bizarre behaviour of the expected audience of their play.
Through the Induction, Shakespeare juxtaposes the life of high and low class. While it may seem through this blog post that only negative commentary was made through the lower class, the mocking tones used by the lord and the elaborately cruel prank played by him is also a social commentary on how the higher class finds the people not in relation to them as subservient and worthy of use as entertainment.
“Pet. Thou hast hit it: come, sit on me.
ReplyDeleteKath. Asses are made to bear, and so are you.
Pet. Women are made to bear, and so are you.
Kath. No such jade as you, if me you mean.
Pet. Alas, good Kate, I will not burden thee!
For, knowing thee be but young and light, -
Kath. Too light for such a swain as you to catch;
And yet as heavy as my weight should be” (Shakespeare 34).
In this passage, Petruchio is attempting to convince Katharina to marry him. Although it is obvious with Katharina’s rude comments, that she does not wish to be his wife. Petruchio is persistent nevertheless, and still insists that she is a beautiful women that he wishes to be his wife despite the vulgar comments she has already said to him. A quote from this passage that made me pause to reflect on what this shows about this time period that this play is set in (and the time period that William Shakespeare was in as well) is, “Women are made to bear, and so are you” (Shakespeare 34). This sentence implies that Petruchio is infact marrying her not because he truly loves her, but rather because he wishes to have a wife and to use her to have children. This shows the time period that these characters are in when it was common for men to marry, just to marry and to also have children. Women during this time were seen more as objects that men wished to acquire and posses. They were considered not equal to men and were expected to keep their husbands happy and to raise their children. Perhaps this is one of William Shakespeare’s reasons to write this play, as he wanted to show his audience the objectifying of women in his society and to hint at what his views are on this matter by including this. This might be why he likes to include strong independent women in his plays like Katharina, that divert from the cultural norm, and pave a path for their own either other people like it or not. For me it also can possibly foreshadow the problems that are to come with Lucentio’s quest for Bianca’s love, as he loves her for only her looks, and not for any other meaningful reasons.
Your analysis is excellent. I also noticed that Petruchio only agreed to court and marry Katherina if Baptista promised a high dowry. This fits into the themes I mentioned in my analysis. Marriage was an action taken to gain economical and social benefit. This implies that women are simply objects to be bargained for, won, or lost. Another example of this is the competition between Hortensio, Lucentio, and Gremio for Bianca. She is not really going to get to choose who she marries because in the end, it will come down to how much fortune each individual suitor is able to offer Baptista in return for his compliance. I agree that a possible reason for writing this play is to portray his views on the objectification and inequality of women in his society. Overall, your reasoning about the passage and the possible purpose for writing the play are explained well.
DeleteI totally agree with the statements made in your analyzation. The fact that women were objectified at this time, is quite obvious, but the question whether Shakespeare was trying to point out this disparity between men or if he was simply writing about this type of thing because it was just apart of the culture at the time, is very well put in your look at this passage. I agree with you and do strongly think that Shakespeare was progressive for his time. It seems that such an intellectual mastermind, would have to think this way. I think that Katherine is a strong woman character and that the attitude she has in the lines you looked at help distinguish her and aid your argument.
DeleteGremio:
ReplyDeleteTo cart her rather: she’s too rough for me. There, there, Hortensio, will you any wife?
Katherina:
I pray you, sir, is it your will To make a stale of me amongst these mates?
Hortensio:
Mates, maid! how mean you that? no mates for you, Unless you were of gentler, milder mould.
Katherina:
I’ faith, sir, you shall never need to fear: I wis it is not half way to her heart; But if it were, doubt not her care should be To comb your noodle with a three-legg’d stool And paint your face and use you like a fool.
Hortensio:
From all such devils, good Lord deliver us!
Gremio:
And me too, good Lord.
Tranio:
Husht, master! here’s some good pastime toward: That wench is stark mad or wonderful forward.
Lucentio:
But in the other’s silence do I see Maid’s mild behaviour and sobriety. Peace, Tranio!
(I.i.13)
In this passage, Shakespeare uses multiple puns to portray the brutality of Katherine, which connects to the themes of marriage for an economical and financial benefit and the role of women during that time period. Before Gremio starts speaking Baptista says “If either of you both love Katherina, Because I know you well and love you well, Leave shall you have to court her at your pleasure” he uses the word court, which Gremio uses as a play on words to imply the brutality of Katerina (I.i.12-13). He is implying that she deserves to be punished for her personality rather than rewarding her with a husband. When Katherina uses the word “mates” she means it as rude, coarse, boorish men. Hortensio replies to her using mates meaning suitors for Katherina. This pun involving the word mates implies that they believe Katerina is not meant to be married until she learns to become more temperate, passive, and submissive like Bianca. It also hints at marrying solely for benefits and discarding true love. When Hortensio says mates, he also implies that no man in his right mind would marry Katherina out of love. The only type of people willing to subject themselves to Katherina were those who wished to wed her for her dowry. Katherina makes her disdain for marriage, Hortensio, and the Bianca’s other suitors clear through her next clever remark. While this quarrel between Katherina, Gremio, and Hortensio is taking place, Tranio and Lucentio are nearby watching the scene unfold. This is when Lucentio first sees Bianca and decides to compete for her heart. The first thing he notices about Bianca is that her actions are the polar opposite of Katerina’s. This makes her a desirable woman because she is compliant, passive, and submissive to her father’s will. In this time period women were considered the lesser gender and were only values if they possessed these traits. William Shakespeare portrays this as well as the theme of for benefits through his use of puns to show Katerina’s aggressive personality compared to the passive personality of Bianca.
ACT UNO!!!
ReplyDelete“Signor 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 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 it wealthily in Padua;
If wealthily, then happily in Padua.” (I.ii.62-73)
In the above in Act I of Taming of the Shrew, Shakespeare uses allusions and similes to describe Petruchio. Petruchio is introduced in the passage as a wealthy man looking to marry an even wealthier woman, regardless of looks or personality. In today’s vernacular one would call Petruchio a “gold digger.” Shakespeare gives several different suitors for Katherina and Bianca with different outlooks on marriage. These different ideas and outlooks are the some of the main motifs of the play. Petruchio looks at marriage as an sort of economic plan, like his wife is an investment. This idea is emphasized in this passage when he says several similes relating to real life allusions. For example, Shakespeare writes, “Be she as foul as was Florentius’ love” (66). Florentius was a knight who sought to marry an old woman to solve a riddle and gain knowledge, just like Petruchio is looking to marry Katharina to gain wealth. Both of these people are accepting the “challenge” of marrying someone so imperfect that it could be considered a game. Petruchio continues to describe that he doesn’t care what a girl looks like, saying, “As old as Sibyl, and as curst and shrewd/As Socrates’ Xanthippe” (67-68). Shakespeare uses the allusion to Sibyl, who gave Apollo many years of life, to describe truly how old a lady could be. But in Petruchio’s case, if she has money, he is into her. Xanthippe was Socrates's wife, who bore him three sons. Xanthippe was claimed to be as much as 40 years younger than Socrates. This is showing that as long as a wife has purpose, other traits about her don’t matter.The last two lines of the passage really sums up what his real intention is in Padua, which is “to wive it wealthily in Padua;/If wealthily, then happily in Padua” (72-73) He compares “wealth” to “happiness”, again emphasizing the fact that he just wants to marry a girl for her money. Petruchio’s thoughts are clouded by the idea of gaining wealth.
You analysis is great, and goes along with what I wrote in my blog post as well. It’s interesting to compare and contrast the view of marriage that Shakespeare’s time had with today’s society, and see how drastically different they seem to be. Many today would most likely be appalled at what these marriages back then were really about, as they were for economical and societal gain rather than love. I found myself thinking repeatedly when reading the play about how they were going to live with each other in happiness, if the whole point of their relationship is to feed off each other rather than support each other. It was more of a contract in that time that was used for benefit more times than not. At the same time though there must be some marriages that happened because both man and woman loved each other. This leads me to believe that maybe Lucentio will truly love Bianca and not care for the wealth and power that he will receive upon being her husband, we can only make assumptions though as of now.
DeleteYour analysis on the contrast between love in marriage and other benefits in marriage is great, I had some of the same thoughts while reading through that passage. I would have to disagree with Karim though, for it seems that Petruchio's desire to marry a wealthy woman was an abnormality even in these Olden English times. Katherine and Bianca seem to be foils of each other, for as seen in Act I, scene i, several men are fighting over Bianca, in order that they may win her love. These men are attempting to marry her not only for her beauty, but for her kind heartedness and talents as well. Katherine, however, seems to be unwanted save for her dowry, and not even then, for as Hortensio nicely stated, "Her only fault, and that is faults enough, is that she is intolerable curst ... I would not wed her for a mine of gold" (85-89). Petruchio is the only one willing to wed her, and the suffering he will go through because of this, plus the way everyone else sees it as a favour to them, such as Gremio's willingness to pay him for any expenses spared on the courtship, writes this off as a strange happening.
Delete
ReplyDeleteLUCENTIO
Tranio, since for the great desire I had
To see fair Padua, nursery of arts,
I am arrived for fruitful Lombardy,
The pleasant garden of great Italy,
And by my father’s love and leave am armed
With his goodwill and thy good company.
My trusty servant, well approved in all,
Here let us breathe and haply institute
A course of learning and ingenious studies.
Pisa, renownèd for grave citizens,
Gave me my being and my father first,
A merchant of great traffic through the world,
Vincentio, come of the Bentivolio.
Vincentio’s son, brought up in Florence,
It shall become to serve all hopes conceived
To deck his fortune with his virtuous deeds.
And therefore, Tranio, for the time I study
Virtue, and that part of philosophy
Will I apply that treats of happiness
By virtue specially to be achieved.
Tell me thy mind, for I have Pisa left
And am to Padua come, as he that leaves
A shallow plash to plunge him in the deep
And with satiety seeks to quench his thirst.
TRANIO
Mi perdonato, gentle master mine.
I am in all affected as yourself,
Glad that you thus continue your resolve
To suck the sweets of sweet philosophy.
Only, good master, while we do admire
This virtue and this moral discipline,
Let’s be no stoics nor no stocks, I pray,
Or so devote to Aristotle’s checks
As Ovid be an outcast quite abjured.
Balk logic with acquaintance that you have,
And practice rhetoric in your common talk;
Music and poesy use to quicken you;
The mathematics and the metaphysics—
Fall to them as you find your stomach serves you.
No profit grows where is no pleasure ta'en.
In brief, sir, study what you most affect. (I.i.1-2)
This passage catches the reader's attention immediately, with the characterization of Tranio and Lucentio. These two are therefore contrasted in a matter of seconds into the story. Lucentio uses bright colorful language to excite the reader and create a fresh tone to start the story off. The use of words such as, “nursery” (2) and “fruitful” (3), add to the exciting new tone Shakespeare creates. Lucentio uses these words to help explain the value of this new chapter in his life. The university is prepared to offer him new knowledge and Lucentio is excited to take that opportunity. He come off as passionate about his studies with the line, “My trusty servant, well approved in all // Here let us breathe and haply institute // A course of learning and ingenious studies” (8-9). This passion could tell us a lot about Lucentio’s character, by showing us he is one to dive head first into new adventures, and possibly tends to be over excitable. Shortly after Lucentio seems to to talk about his father's success in school and where it brought him in life, making Lucentio seem very ambitious, hopeful, and maybe even perpetuate that he feels unyielding. On the other hand Tranio, is portrayed as someone who will stand back and carefully go about things. In his lines he suggests to Lucentio that they try to not get so caught up in success and try to learn about what they really care about. He acts as an emotional check for Lucentio, helping him think clearly. From this more well thought more considerate look at the situation, it seems Lucentio is being put off more by the author and the text seems to point at Tranio is more of the main character.
Act I, Scene ii
ReplyDeleteCharacter analysis: Grumio
In "The Taming of the Shrew", Grumio is introduced as the comic relief. Starting with his persiflage with Petruchio at their arrival in Padua, it is seen that Grumio uses unintended puns to provide a double meaning and twist around some of his master's words. When Petruchio asks Grumio to knock on the gate, so that they may be greeted by Hortensio, Grumio retorts as if mishearing his command: "Knock you here, sir? Why sir, what am I sir, that I should knock you here sir?" (9-10). The banter continues for a few lines, with Grumio reluctant to do the act he assumes was asked of him, and ends with a violent twisting of the ears by Petruchio. The repetition of 'sir' combined with the disinclination to knock his master characterizes Grumio as a loyal and subservient person. He makes it known to himself that he is below the ranks of Petruchio by constantly addressing him with words of authority, much like one would do in the army.
Although the name Grumio sounds Italian, Shakespeare expands on the inferiority of his character by having him mistake the tongue spoken by both his master and Hortensio. As they greet each other in Italian, it is unbeknownst to Grumio what they are saying prompting his line: "Nay, 'tis no matter, sir, what he 'leges in Latin" (27). This ignorance of culture is used by Shakespeare to distinguish him as lower class. This was similarly done with Sly's malapropism instances in the induction, leading to the assumption that Shakespeare uses sophisticated language, such as rhetoric, for the higher class and other literary devices, such as malapropism, and in Grumio's case, misinterpretation, in order to mark them as illiterate.
Grumio also practices the act of speaking directly to the audience. As seen in the instance where the men are gathered at Baptista's dwelling, Grumio dawdles by mocking the other suitors, directing his comments at the people watching: "(aside) O this woodcock, what an ass it is!" (156). Referencing an earlier comment made about his master, and what a great lover he was, he modifies this statement sarcastically, calling a man trying to get ahead in courting Bianca through the (unbeknownst to him, disguised) tutor, as being foolish, asinine. In reality, this is the same thing that Lucentio is attempting to do, so the commentary by Grumio helps convey his thoughts on the matter of wooing Bianca.
“Keth. Of all thy suitors, here I charge thee, tell
ReplyDeleteWhom thou lovest best: see thou dissemble not.
Bian. Believe me, sister, of all the men alive
I never yet beheld that special face
Which I could fancy more than any other.
Kath. Minion, thou liest. Is’t not Hortensio?
Bian. If you affect him, sister, here I swear
I’ll plead for you myself, but you shall have him.
Kath. O then, belike, you fancy riches more:
You will have Gremio to keep you fair.
Bian. Is it for him you do envy me so?
Nay then you jest, and now I well perceive
You have but jested with me all this while:
I prithee, sister Kate, untie my hands.
Kath. If that be jest, then all the rest was so.” (Shakespeare 28)
In this passage located in the beginning of the second act, Katharina has Bianca tied up and is attempting to force her sister to reveal which of her suitors she likes best. Bianca being the selfless sister she was, didn't admit to favoring one, but rather asked her sister who she was fond of and promised that she would try to get that man to marry her instead of herself. This scene itself shows what kind of person Bianca is, and how much she loves her sister. Binaca knew that if she even showed signs of having affection towards any of those men, that her sister would become more upset. Instead of doing so, she would rather have her sister physically abuse her out of spite, then to upset her sister any more than she already is. It seems to me that Bianca wants her sister to be happy more than anything, and that seeing Katharina being jealous of the men that want to marry her is making her upset as well. This passage also gives us the readers an idea of just how jealous Katharina is of her sister. To be so worked up about something that you end up tying up your own sister, shows that maybe her jealousy may have been a problem that she has had for a long time. Perhaps her father has always favored Bianca over her while they were growing up, and so when he announced that she had to be marry before her sister, that had already so many men wanting her to be their wife, it angered her inside that her father had just started to care about her now. Hopefully as we read more of his play, Shakespeare will tell us more about the origin of Katharina’s anger and jealousy.
Although you support your points with good evidence, I disagree with your characterization of Bianca as being good towards her sister. Bianca is actually showing herself to be a manipulative jerk. She is basically bragging about the number of suitors she has to Katherine, offering her any from the number of ones she has. She is, in a very mocking tone, exerting her rage on Katherine for the lack of the compromise in her marriage. Bianca knows she is the favoured sister in the family, and so she pushes Katherine to the limits by ridiculing her, parading her suitors around her, even the prospects she has with riches. Instead of caring for her sister, I think Bianca is blaming her, and being a nasty character in this scene, in which both characters have a contrast in implicit behaviour to what is expected of them.
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ReplyDeletePETRUCHIO
ReplyDeleteO slow-winged turtle, shall a buzzard take thee?
KATHERINE
Ay, for a turtle, as he takes a buzzard.
PETRUCHIO
Come, come, you wasp. I' faith, you are too angry.
KATHERINE
If I be waspish, best beware my sting.
PETRUCHIO
My remedy is then to pluck it out.
KATHERINE
Ay, if the fool could find it where it lies.
PETRUCHIO
Who knows not where a wasp does wear his sting?
In his tail.
KATHERINE
In his tongue.
PETRUCHIO
Whose tongue?
KATHERINE
Yours, if you talk of tales. And so farewell.
PETRUCHIO
What, with my tongue in your tail? Nay, come again,
Good Kate. I am a gentleman.
KATHERINE
That I’ll try.
PETRUCHIO
I swear I’ll cuff you if you strike again.
KATHERINE
So may you lose your arms.
If you strike me, you are no gentleman;
And if no gentleman, why then no arms.
PETRUCHIO
A herald, Kate? Oh, put me in thy books!
KATHERINE
What is your crest? A coxcomb?
PETRUCHIO
A combless cock, so Kate will be my hen.
KATHERINE
No cock of mine. You crow too like a craven.
PETRUCHIO
Nay, come, Kate, come. You must not look so sour.
KATHERINE
It is my fashion, when I see a crab.
PETRUCHIO
Why, here’s no crab, and therefore look not sour.
KATHERINE
There is, there is. (Act II.i.10-11)
The passage blocked out here contains examples of Shakespeare’s use of sexual puns, symbolism and metaphors in order to convey a larger message about the harsh reality of the relationships of men and women. Throughout these lines Petruchio and Katherine exchange playful banter. It seems as though Petruchio has something else on his mind during the conversation. Specific examples that display Shakespeare's puns include lines such as, “Whose tongue?// Yours, if you talk of tales.// And so farewell.// What, with my tongue in your tail?” (209-211) In these lines it seems to be implied that Petruchio is taking her words and twisting them into a reference towards oral stimulation. The gawl Petruchio has to speak so crudely to a person, shows how men feel entitled to sexual fulfillment and the fact that he would say something such as this means he feels Katherine will without a doubt be ‘his’. The only thing that seems to interest him is her sex appeal and it comes through when the play continues on to, “What is your crest? A coxcomb?// A combless cock, so Kate will be my hen.// No cock of mine. You crow too like a craven” (218-220). Katherine refuses Petruchio’s sexual advances, claiming he is not an adequate romantic partner for her. This brings the issue to the attention of the reader, as Petruchio is almost verbally molesting her. He calls her a Turtle dove, which implies fragility furthering a stereotype that women are petite delicate flowers. He mentions how he wishes to tame her by explaining he will pluck the stinger from her, alluding to him quieting her and making her his wife.
I also noticed Shakespeare’s use of sexual puns to portray this theme of how women should act in comparison to the men. The beginning of Petruchio and Katharina’s relationship starts off harsh and verbally abusive. Each statement spoken to each other in this dialogue meant to insult the other person. Petruchio diminishes her appearance in his attempt to tame her. Katharina tries to appear as strong, intelligent, and independent. Petruchio calling her fragile and petite is, again, showing the common theme of gender inequality. His way of plucking her stinger is acting putting her in her supposed place as the lesser person in their relationship. His attempts at taming her not only show what role women are suppose to have because it implies how the men are suppose to act, treat the women, and be treated by the women.
DeleteAct II of The Taming of the Shrew portrays how Katherine truly feels about traditional female roles and marriage. This contrasts with the way her sister, Bianca is portrayed. The scene begins when Katherine teases Bianca by tying her hands up and asking her which suitor she likes the best. Kate says “Oh all thy suitors, here I charge thee, tell whom thou lovest best: see thou dissemble not,” (Act II, Scene I). When Bianca tells kate that she desires none of them, Kate does not believe her and then decides to hit her. This shows Katherine's hated towards Bianca in the sense that she exemplifies everything a man would want in the Elizabethan era. Bianca is obedient, beautiful, and a valuable bride. Though on the inside, Kate must not dislike her sister, she just dislikes the image of which her sister fits so perfectly into. Kate can be characterized as unruly and loud, and therefore not attractive to many suitors. Later in the act, Petruchio begins to show interest in Katherine, but only for her money. Petruchio will not marry Kate unless she “yields” to him, which angers Katherine even more. When Katherine interacts with Hortensio, another suitor, the conversation ends with Katherine slapping him in his face. This shows that unlike many traditional women during her time, Katherine was not afraid of using physical violence against a man. Baptista’s only motive is to marry Katherine off, whether she has fond feelings for the suitor or not. In the end, Katherine leaves through a different door than Petruchio. This is a mere act of defiance against him.
ReplyDeleteI found your analyzes to be intriguing. The contrast between the two dominant women characters was a great new way to take this symbol theme about women's role in society, a bit further. I think many people repeat a lot of what is already said about that subject, and I’d say I would be guilty. Your analyzation on the other hand was a refreshing incite.
DeleteKatharina:
ReplyDeleteMoved! in good time let him that moved you hither Remove you hence: I knew you at the first You were a moveable.
Petruchio:
Why, what’s a moveable?
Katharina:
A join’d stool.
Petruchio:
Thou hast hit it: come, sit on me.
Katharina:
Asses are made to bear, and so are you.
Petruchio:
Women are made to bear, and so are you.
Katharina:
No such jade as you, if you mean me.
Petruchio:
Alas, good Kate, I will not burden thee! For, knowing thee to be but young and light,-
Katharina:
Too light for such a swain as you to catch; And yet as heavy as my weight should be.
(II.I.34)
In this section of dialogue, William Shakespeare uses puns and Petruchio’s and Katharina’s quick wits to portray the supposed role of women during this time period. Petruchio outright states that he believes a woman’s purpose is to bear children and therefore, it is also Katharina’s purpose. It is also a sexual pun for how women are meant to bear the weight of the man during intercourse. Again gender roles are clearly shown throughout the play through Petruchio’s actions and treatment of Katharina. Attractive women in that time period were submissive, married, cared for their children, and were homemakers. Katharina is known as a shrew for going directly against the societal views. Shakespeare’s intention of Petruchio’s character can be slightly overlooked because Katharina’s extreme resistance shown towards the social norms for women. In all encounters with the various characters, Petruchio is portrayed as self absorbed and arrogant. He decides that he will say the opposite of Katharina to attempt to tame her. In this conversation between them, he is trying to tame her while courting her. She is more repulsed by him than she is to the others because of his pompous actions, but learns to become submissive to survive their relationship. Shakespeare shows the importance placed on the role of both genders to emphasize the inequality and possibly show his personal opinion on this topic. He could relate to Petruchio and feel the roles of women is lesser than the roles of men.
You have a very interesting analysis of the passage! When you were talking about Katharina being known as a shrew for going against the social norms, I couldn’t help but think about all the other various people that did what Katharina did throughout history and challenged the basis of the social structure of their time. People such as Martin Luther King, Rosa Parks, and Nelson Mandela all went against what society taught them to do. These individuals were all later viewed as leaders that did good for humanity. Having to fear to openly express what she feels, Katharina seems like she is in a very similar position to what these famous progressives were once in. Perhaps this is to hint readers on what is to come, or maybe I might be going a little over the top. Either way it’s going to be interesting to see how Katharina develops as we go further into the play.
Delete(Since my pal Grumio wasn't in this Act, I grabbed his most similar phonetically sounding friend, Gremio.)
ReplyDeleteAct 2
Character Analysis: Gremio
In Act 2, Gremio was shown to be a rich, yet pompous and self-absorbed man when presenting his dower to Baptista.
His monologue explaining his offer to Baptista, and all the goods he owns and could offer to Bianca, whom he is courting. He uses elaborate diction, and after describing his material riches, he ends with "...[I own] all things that belong / To house or housekeeping ... And if I die tomorrow, this is hers, / If whilst I live she will be only mine" (2.1, 351-358). Here, Gremio is proving himself to be ostentatious, bragging about all he owns, although this is what he was asked to do, he need not to pontificate, yet he does. He then proceeds to display the standards believed by men and women, albeit with a twist. He admits that in the event of his death, Bianca would have ownership of everything he owned. This was rare, as widows, in that time, usually only got enough to live, and their sons, if they had any, got the rest of the money, due to the patriarchal views of society Another male-dominated thought that Gremio displays is the ownership of a woman. He describes Bianca as having no free will, and that those tasks and proimises will only be carried out if Bianca 'is his'. This removes the element of choice and free will that a human being should have, and instead, converts it to a subtle form of slavery, with the man controlling the woman in the relationship. Nowadays, this kind of thing would be seen as unhealthy, but in Olden English times, this was seen as acceptable due to the ignorant state of knowledge that women were being kept in; not being taught philosophy, mathematics, or anything requiring higher level thinking, but treated as entertainers and being taught only the arts.
Marry, so I mean, sweet Katherine, in thy bed;
ReplyDeleteAnd therefore, setting all this chat aside,
Thus in plain terms: your father hath consented
That you shall be my wife; your dowry ‘greed on;
And, will you, nill you, I will marry you.
Now, Kate, I am a husband for your turn;
For, by this light, whereby I see thy beauty,
Thy beauty, doth make me like thee well,
Thou must be married to no man but me;
For I am he am born to tame you Kate,
And bring you from a wild Kate to a Kate
Conformable as other household Kates.
Here comes your father never: never make denial;
I must and will have Katherine to my wife.
Act II, Scene 1 pg 36-37
This passage by William Shakespeare in Taming of the Shrew demonstrates the persistence and cunning of Petruchio. Prior to meeting Katharine, Petruchio had arranged to be married to her with her father “your father hath consented/ That you shall be my wife; your dowry ‘greed on”( Shakespeare, 35). Petruchio had already arranged to marry Katharine before meeting her as he was aware of her shrew personality. Petruchio wants to first ensure he achieved his goal, gaining Katharine’s wealth and becoming rich, before even setting sights on Katharine. Petruchio makes it a goal of his to tame make Katharine an obedient wife “thou must not be married to no man but me;/ For I am born to tame you Kate,/ A bring you from wild Jate to a Kate/ Conformable as other household Kates” (36). Petruchio desires to transform Kate from a shrew to a housewife, while he has just met her he makes his intentions for her clear. Petruchio has left Katharine with almost no options but to marry him, as refusing would upset her father, leaving her with little to no options. Petruchio’s cunning and persistent nature is touched upon in this passage by Shakespeare.
Your analysis was an interesting one. I agree with you on the demeanor of Petruchio, and how he basically informed Katharina that he was going to marry her, rather than ask her to marry him. Perhaps this is the way Petruchio thought up to go against Katharina’s fiery attitude, and it seemed to work. She even showed signs that she liked the way he was speaking to her, and that his attitude was kind of appealing. Katharina has a bold character, and it took another even larger character to entice her. It is almost humorous to think about how their day to day lives would be like, and how others would think of them as pure crazy! It shows that even with some serious parts to this play, Shakespeare still manages to include comedy that doesn’t seem forced in, to make the audience laugh.
Delete
ReplyDeleteAct 1, Scene 1
In the opening exchange between Lucentio and Tranio in Act 1, Scene 1 of Taming of the Shrew, Shakespeare gives a clear characterization of Tranio as Lucentio’s wise and trustworthy servant. Shakespeare first characterizes Lucentio as brash and straightforward with Tranio contrasting his behavior “I am in all affected as yourself To suck the sweets of sweet philosophy. Only, good master, while we do admire This virtue and this moral discipline, Let's not be no stocks nor no stocks, I pray; Or so devoted to Aristotle’s check”. While Lucentio would immediately jump into studying philosophy, Tranio looks at the other opportunities given at Padua as well. Tranio encourages Lucentio to make the most of his opportunities instead of being senseless and wasting them. Tranio advice is considered by Lucentio quickly “ Gramercies, Tranio, well foist advise”. Even with his status as a servant Tranio’s advise is quickly considered by Lucentio. Tranio’s importances to Lucentio is quickly made apparent.
I talked to you about this Mrs. Murai
DeleteIn act III scene II of “Taming of the Shrew” portrays the theme of disguise and deception and gender roles. “No shame but mine: I must, forsooth, be forced To give my hand, opposed 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 behaviours” Shakespeare uses Petruchio’s absence to portray the theme of deception (III.ii.45). Both Baptista and Katharina believe that Petruchio has another reason for courting her so quickly. He uses deception to pose the question: can a person’s role be changed by putting on new clothes? This is shown through the questioning of Petruchio’s intentions with Katharina because they believe he did manipulate his appearance, in this case his personality and forwardness, to change his role, play a trick on Katharina. Later, when Petruchio finally comes to claim his bride, he is wearing awful apparel. This is another attempt to tame Katharina. This connects to the theme of gender roles. Throughout this play, Shakespeare makes this theme a more prominent and important one. “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” Petruchio states that Katharina is his property now that they are officially married (III.ii.52). Again, this shows that women are thought of as the inferior gender. Katharina goes against the social norms for that time period by being clever and assertive. Rebelling against these normalities causes the men to avoid her. They feel the need to constantly suppress her and remind her what the role of women are compared to the roles of men. When Petruchio finally come to the wedding and humiliated Katharina, she finally starts to accept her fate and submits to her natural role as the lesser gender.
ReplyDeleteI see that your analyzation is very well thought out. The theme of gender swapping and the swapping of other roles is relevant and quite prevalent in the story, as it is portrayed throughout these three acts in great quantity. The idea that we can transcend our predetermined roles in society is an idea that America was built off of. So this theme seems easily plausible to us, but during the course of this story the answer is questionable.
Delete“Bian. Why, gentlemen, you do me double wrong,
ReplyDeleteTo 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.
Bian. Where left we last?” (Shakespeare 42-43)
In this passage of Taming of the Shrew, both Lucentio and Hortensio are giving Bianca lessons in Latin and the playing of musical instruments, all the while attempting to woo her with their flirting, carefully placed in hidden messages for Bianca. Bianca quickly notices what both individuals are doing, and reveals her knowledge to both without making the other suspicious. It is easy to realize that Bianca is fond of Lucentio more, as she repeatedly sends Hortensio off to tune so she could talk to Lucentio in private. It seems that Lucentio is making good progress with Bianca, and that his plan might work after all. What I am still uncertain about though, is her and her father’s reaction to Lucentio revealing himself to be Lucentio, and not Licio. Would they not care that he had lied to them of his real identity in order to secretly court Bianca, or would they become angered with Lucentio at the thought of his lucrative and deceiving ways. This is something that I believe Lucentio himself has yet to think about, as he is clouded by his love for Bianca, exerting all his efforts to win her heart but not thinking much about what would happen afterwards. How is Hortensio going to feel that Lucentio tricked him, and stole the woman he wanted to marry right under his nose? Is he going to want to get back at him? Right now Lucentio is playing with fire, in the sense that if he makes one false move, it can hurt him.
PETRUCHIO
ReplyDelete“I am content you shall entreat me stay,
But yet not stay, entreat me how you can.
KATHERINE
Now, if you love me, stay.
PETRUCHIO
Grumio, my horse.
GRUMIO
Ay, sir, they be ready. The oats have eaten the horses.
KATHERINE
Nay, then,
Do what thou canst, I will not go today,
No, nor tomorrow, not till I please myself.
The door is open, sir. There lies your way.
You may be jogging whiles your boots are green.
For me, I’ll not be gone till I please myself.
'Tis like you’ll prove a jolly surly groom,
That take it on you at the first so roundly.
PETRUCHIO
O Kate, content thee. Prithee, be not angry.
KATHERINE
I will be angry. What hast thou to do?—
Father, be quiet. He shall stay my leisure.
GREMIO
Ay, marry, sir, now it begins to work.
KATHERINE
Gentlemen, forward to the bridal dinner.
I see a woman may be made a fool
If she had not a spirit to resist.
PETRUCHIO
They shall go forward, Kate, at thy command.—
Obey the bride, you that attend on her.
Go to the feast, revel and domineer,
Carouse full measure to her maidenhead,
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.
I’ll bring mine action on the proudest he
That stops my way in Padua.—Grumio,
Draw forth thy weapon, we are beset with thieves.
Rescue thy mistress if thou be a man.—
Fear not, sweet wench, they shall not touch thee, Kate.
I’ll buckler thee against a million” (Act III. ii.10)
During this contentious exchange between Petruchio and Katherine, the shrew takes a stand against her capture. Petruchio wishes to leave with her to his home. On the other hand, Kate wishes to stay in the comfort of her home. The characterization of Kate, creates yet another example of a strong female character in this story. She exclaims to her that, “Nay, then,// Do what thou canst, I will not go today,// No, nor tomorrow, not till I please myself. //The door is //open, sir. There lies your way.//You may be jogging whiles your boots are green.// For me, I’ll not be gone till I please //myself.//'Tis like you’ll prove a jolly surly groom,//That take it on you at the first so roundly” (180-187).” Here we see Kate leaving her role society has dumped upon her. The obedient wife expected of Katherine is not seen her. She directly defies her male ‘superior’ and challenges the role she has been given by birth. The mood seems to change in this insistence. Her character becomes dominant and commands the reader’s attention. Until, Petruchio responds with a long passage where he takes the attention away from her and destroys the upbeat progressive tone. Basically, he calls her property, and explains her role to her in a commanding tone. It kills the mood and makes the reader question whether or not the play is pushing progressive ideas on gender roles in society or if Shakespeare is merely writing as anyone would at the time.
Katharina’s personality and beliefs are completely opposite of Petruchio’s and this is to emphasize the importance of gender roles. Everything Katharina does is against her “natural role” and everything Petruchio does to Katharina is to “put her in place”. This is why Petruchio is constantly showing her what her role is. In the beginning she showed stronger resentment to conforming to this role, but since Petruchio has entered her life she has been forced to accept her natural role. I also noticed that in act III scene II the defiant tone set by Katharina is extinguished when Petruchio objectifies her by stating she is his property. It seems that Shakespeare is trying to show that he believes the natural role of a woman is less important and equal to that of a man. He portrays his view on this controversial topic by making Katharina slowly accepting this role as Petruchio’s tranquil, obedient wife.
DeleteThis comment has been removed by the author.
ReplyDeleteIn Act 3, Shakespeare shows a new side to Katharina’s character: a softer side that is beginning to fall for Petruchio and cares about what others think of her. The reader also begins to feel more sympathetic toward Kate as Petruchio humiliates her on their wedding day. Petruchio has not yet shown up, and the men are questioning if he even will. Katharine says before running off, weeping, “Would Katharine had never seen him though” (III. ii). In previous acts, Katharina is seen as an independent woman (Beyonce vibe anyone?), who has no need nor desire for a husband. However, when she is betrothed to Petruchio and he doesn’t show up, she shows deeper emotion for the first time. Katharina refers to herself in the third person to distance herself from the situation, because she doesn’t want to quite admit she was developing feelings for Petruchio.
ReplyDeleteAnother instance of this softer side and caring about others’ opinions is after the wedding, Kate says, “Gentlemen, forward to the bridal dinner/ I see a woman may be made a fool/ If she had not a spirit to resist” (III.ii). The “spirit to resist” is alluding back to previous acts, where Kate had a spitfire tongue and attitude. She is angry with herself for opening her heart up, and is now feeling the consequences. Shakespeare uses the word ‘forward’ in this sentence, because it was used to describe both Petruchio and Katherine in earlier acts, and he wants to once again demonstrate the romance between the two. This is done to appeal to the public as the audience enjoys a love story, and to show how similar the two are.
In Act 3, Scene 2, Gremio is characterized as a judgmental and superficial person ,while also providing further character development for Petruchio.
ReplyDeleteAfter he attended the wedding, he relays the events that occurred at the chapel, starting with a statement made about Petruchio: "A bridegroom, say you? 'Tis a groom indeed, / A grumbling groom, and that the girl shall find" (3.2.147-148). This is a use of wordplay, where Gremio compares the traditional word for a spouse; a groom, with the stable boys, also called grooms in this era. He's making a direct comparison of a higher class with those of a lower, serving class. Knowing the previous descriptors Shakespeare utilized for the lower class, as well as the assumptions made about them, Gremio is insinuating that Petruchio is an obnoxious and uneducated man, and goes on to describe these infamous actions performed at the wedding service.
Some of the appalling words, dramatized by Gremio in an attempt to mock Petruchio, were the words uttered at the wedding vows. Petruchio, instead of being respectfully somber and serene, is described by Gremio to have done the following: "... when the priest / Should ask if Katherine should be his wife, / 'Ay, by gogs wouns!' quoth he..." (3.2.154-155). This is malapropism, as it is an indirect allusion to the profane oath of "by God's wounds". The pure blasphemy committed inside a religious building shocks Gremio, his old age and the period he lives in contributing to this characterization of a highly impressionable and politically correct man. His negative description of the new spouse is also indicative of the thoughts that he and everyone else seems to hold, later stated by one of the other characters: Katherine, in wit, personality, and character, has found her match, or even surpassed the expectations for this.
“This is a way to kill a wife with kindness,
ReplyDeleteAnd thus I’ll curb her mad and headstrong humor.
He that knows better how to tame a shrew,
Now let him speak; ’tis charity to show.” (IV.i.144-147)
At the end of the first scene in the fourth act, Petrucio gives a soliloquy that expands on how he is going to “tame” Katherina. In his earlier monologue he explained his plan to tame Kate by doing the opposite of what she says and contradicting everything she says. In this monologue he gives more detail on the exact way he is going to break Kate into submission. He says how he has not fed her and is not planning on feeding her. He continuously makes up excuses to stop Kate from eating. Petruchio decides how he will keep Kate from getting a good night’s rest. He complains about how the bed is made and throws stuff angrily to keep her awake. And if on the odd chance that she falls asleep, he will shout and yell until she is awake again. He claims to be doing these things out of love for her. He disguises these terrible actions as “kindness” towards Kate because he truly believes that breaking her, and “taming the shrew” is the best thing for her.
Your analysis is excellent. I also noticed he uses this false kindness and caring to finally tame her. As you have mentioned, every time he withholds food or keeps her awake, he claims it is out of love or it is what is best for her. His statements contradict his actions. His method of taming her is harsh and abusive, yet he appears to be “helping her”. Egoism is portrayed through Petruchio’s character and his various actions. His main goal and motive for marrying Katharina is to tame her. Act four shows he genuinely believes that the way to tame her is to make his abuse appear as kindness and care. Shakespeare portrays the theme of disguise and deception through Petruchio’s plan of taming Katharina.
DeleteThe analysis you provided was spot on. He plays to what he thinks is her weakness in order to tame her. The way marriage is portrayed in this play, shows the reader two things, that’s it’s all business and a little bit about the relationship between women and men at this time. The consistent comments on how he is going to tame her really is exemplified in this passage and you did a great job at talking about this. Overall good work!
DeletePetruchio:
ReplyDeleteA 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.57)
In this passage, Petruchio and Katharina have finally made it back to Petruchio’s home. Since he met and married Katharina, his method of taming her is showing his dominance, and as a more extreme version of her. His treatment of the servants is very abusive and harsh, but he appears to treat Katharina the opposite way. To her, he acts like he cares for her and how she is doing. In reality he is not concerned with her wellbeing, but is more concerned with asserting his dominance and taming her. This is shown when he decides a good way to tame her is starving her. He says the food prepared is not good enough and refuses to allow Katharina and himself to eat it. This way, he appears to care for her while benefiting his alternative motives. His plan is to deprive her of the basic necessities a human relies on to survive. Petruchio’s relationship with Katharina is very different from that of Lucentio and Bianca. Bianca is considered the good temperate sister. Lucentio shows genuine care and love for her and towards her. He has no alternative motive or agenda. Petruchio is very egoistic character. Though there might be some chemistry between him and Katharina, he appears to only wed her for her dowry and the challenge of taming her. He shows her kindness instead of treating her the same as he treats his servants because of the slight chemistry between them. It suggests that when Katharina is finally tamed, they might have a real relationship, instead of proving he can tame even the worst shrew. However, it could turn out just the opposite because that small bit of chemistry was formed when they both thought they met their match. When Petruchio finally tames her, that attraction could be lost because she is no longer his match.
TRANIO
ReplyDelete(as LUCENTIO)
Is ’t possible, friend Litio, that mistress Bianca
Doth fancy any other but Lucentio?
I tell you, sir, she bears me fair in hand.
HORTENSIO
(as LITIO) Sir, to satisfy you in what I have said,
Stand by and mark the manner of his teaching.
They stand aside
Enter BIANCA and LUCENTIO as CAMBIO
LUCENTIO
(as CAMBIO) Now, mistress, profit you in what you read?
BIANCA
What, master, read you? First resolve me that
LUCENTIO
(as CAMBIO) I read that I profess, The Art to Love.
BIANCA
And may you prove, sir, master of your art.
LUCENTIO
(as CAMBIO) While you, sweet dear, prove mistress of my heart!
HORTENSIO
(as LITIO) Quick proceeders, marry! Now, tell me, I pray,
You that durst swear that your mistress Bianca
Loved none in the world so well as Lucentio.
TRANIO
(as LUCENTIO) O despiteful love! Unconstant womankind!
I tell thee, Litio, this is wonderful!
In this passage Tranio sneakily plays an angry Lucentio in order to lure Hortensio into giving up in his pursual of Bianca, to aid his master Lucentio. Here Hortensio points out the chemistry between Bianca and Cambio, who is really Lucentio in disguise. This scene is a stark contrast to the relationship depicted between Petruchio and Katherine. The exchanges often examined between Petruchio and Kate are vicious and the content of the interaction, sometimes uncomfortable to think about. In this passage Lucentio’s and bianca’s dialogue is sincere. They flirt with each other in a way that is not sexual suggestive. Lucentio playful and harmlessly exclaims that he is a master in the art of love, and goes further by talking Bianca up. The conversation is the first real exchange of true love in this story. It was a a lot easier to see such a contrast after doing the foil activity done in class, and because of this it has become apparent that this was intended by shakespeare. He wants to make a distinction between reality and and fantasy. The fantasy being true love, because Lucentio is pretending to be someone else. While Petruchio and Kate are doing no such thing. Shakespeare most likely does this so he can further his commentary on his realist view about love in the society he lived in. He wants to evoke a dominant effect of betrayal, and how love can be false in the greedy and male dominated society he is present in.
Passage is... (Act IV.ii.1-19)
DeleteCharacter Analysis: Grumio (because my favourite servant came back, yay!)
ReplyDeleteGrumio, in the few instances that he has appeared, has presented himself as comic relief, a servant that acts as an intelligent jester.
He uses constant double entendre, in order to twist back the words that are spoken to him, give an essence of misunderstanding, and create vocal puns. One of these such examples is when he is inquired as to the state of the world. He begins with a seemingly profound answer, then progresses to his humorous antics: "A cold world, Curtis, in every office but thine, and / therefore, fire!" (IV.i.27-28). Grumio's first response is as if he had reflected upon the state of the world, friendless and unmerciful, yet with the later context, is found to be speaking literally. He reprimands Curtis for conversing in place of making preparations for the arrival of the newlyweds, and does it in his usual fashion.
As shown with the last quote, his use of literal meaning of words instead of the implied figurative language is another mark of his syntax. Grumio, when gossiping, strikes Curtis, relaying the 'sensitive news' he lived. Curtis, adamantly complaining about his actions, receives a retort from his counterpart "And therefore 'tis called a sensible tale. And this cuff was / but to knock your ear and beseech list'ning" (IV.i.49-50). Grumio continues to make subservient the character of his fellow servant. Lampooning his earlier conversations with the comment of checking if there was anyone listening to his tale, Grumio makes the implication to the reader that he is intellectually superior to Curtis.
Lastly, Grumio is devious, manipulating people as he pleases. After the scene with the servants burning the food, and Petruchio deeming it useless as alleviation for hunger, Kate declares she's starved, and a prospective meal ensues out of Grumio. He tells her of gross sounding foods in order to try to invoke her shrewlike personality. When she assents to each one, with no problem at all, he proclaims they will make her choleric, and Kate ends with "Go, get thee gone, thou false deluding slave, / That feed’st me with the very name of meat. / Sorrow on thee and all the pack of you / That triumph thus upon my misery" (IV.iii.30-34). This is included to show the extent to which Grumio will go to in order to obtain some humour in his life. His malicious ways are highlighted here, and they're not seen in that light by the audience, since the true antagonist, if there was one, is Katharina in this play.
What say you to a neat’s foot?
ReplyDelete‘T is good passing: I prithee let me have it
I fear is too choleric a meat.
How you say to a fat tripe finely broil’d?
I like it well: good Grumio, fetch it for me.
I cannot tell; I fear ‘t is choleric
What say you to a piece of beef and mustard?
A dish that I do love to feed upon.
Ay, but the mustard is too hot a little.
Why then, the beef, and let the mustard rest.
Nay then, I will not: you shall have the mustard, or else you get no beef of Grumio.
Then both, or one, or anything thou wilt.
Why then, the mustard without the beef.
Go, get thee gone, thou false deluding slave,
That feed’st me with the very name of meat:
Sorrow on the all the lack of you
That triumph upon my misery!
Go, get thee gone, I say.
(Act IV, Scene III)
In the passage above containing the exchange between Katharine and Grumio, Shakespeare characterizes the former and latter. Grumio retains his role as Petruchio’s loyal servant and the play's comedic relief. Grumio, knowing Katharine has been starved of food offers her various dishes yet makes various excuses for not serving her. Grumio is continuing Katharine’s “taming” as directed Petruchio, by keeping her deprived of food. Despite her pleading Grumio use various excuses to avoid serving her, they are meant to entertain the reader or audience, as they are aware of her plight. Grumio final line in the exchange suggesting that Katharine eat mustard is meant to be the punchline of the joke, he further degrades her by offering her something he previously used as an excuse while it also offers little to no sustenance. Katherine retains characterization as a strong and stubborn woman, yet it's apparent that she is being broken down by Petruchio. Katharine previously pleaded to Grumio to bring her food, something the strong willed Katharine most likely wouldn't do. Katherine becomes more desperate as she is denied food. Katharine does retain her strong will, after Grumio offers her mustard she realizes she's being played and shoos him away not wanting to be degraded anymore.
I really enjoyed reading your analysis Dan, and have to agree with what you said. Shakespeare includes some entertaining comedy in this play of his, even though the situations that these characters are in such as Katharina, is dark. It feels almost inappropriate to smile at jokes such as the mustard joke while I’m reading The Taming of the Shrew, as these characters are struggling with situations that are close to their hearts. But then again, aren’t a lot of jokes and things that we find funny based around other people’s misery? Whether it’s people slipping on a banana peel and falling, to pranks on youtube that targets an unsuspecting person that the video creator knows well, and pulls off a fake armed robbery to make them fear for their life, just to see how they would react. It all involves at least one person, ending up drawing the short straw to make others laugh.
Delete“Pet. How fares my Kate? What, sweeting, all amort?
ReplyDeleteHor. Mistress, what cheer?
Kath. Faith, as cold as can be.
Pet. Pluck up thy spirits; look cheerfully upon me.
Here, love; thou see’st how diligent I am
To dress thy meat myself and bring it thee:
I am sure, sweet Kate, this kindness merits thanks.
What, not a word? Nay, then thou lovest it not;
And all my pains is sorted to no proof.
Here, take away this dish.
Kath. I pray you, let it stand.
Pet. The poorest service is repaid with thanks;
And so shall mine, before you touch the meat.
Kath. I thank you, sir” (Shakespeare 64).
In this passage located in act IV of The Taming of the Shrew, Petruchio has prepared some food for his newly wedded wife Katharina, but almost decides to not give it to her when she doesn’t thank him in return. It is almost certain that Katharina is starving at this moment (as she has had little sleep and food for several days now) and is wanting food very badly, as she says, “I pray you, let it stand” (Shakespeare 64). The thought of Petruchio not giving his spouse food if she does not obey his demands, is going into the territory of abuse. In a marriage you are supposed to help each other to the best of your abilities, and letting your wife starve because she isn’t pleasing you enough is disturbing, considering that they have just gotten married. The logical question to ask yourself is why is petruchio treating Katharina this way? The answer to that would be, he is trying to “tame” Katharina as he said he would do before their marriage, which ties the story back to the title of the play. But does he really think that by practically making Katharina a slave, and trying to reprogram her into what he thinks is a good wife going to work? Surely his plan will backfire as Katharina being Katharina, will not let herself be broken by a man that promised her a life filled with love and happiness, but gives her this directly after they start their relationship.
“Taming of the Shrew” act V portrays that the happiness of a society is very dependent on everyone filling their natural roles. This is show through the transformation of Katharina when she finally succumbs to her social role as the subordinate gender, the obedient wife and daughter. She chastises Bianca and the Widow for acting disobedient, much like she once did. “Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign: one that cares for thee” here it seems that she has accepted her new life and is actually grateful for Petruchio (V.ii.85). She has become devoted to him and feels as though she owes her life to him. Katharina fulfills her new social role as a wife because she knows that she will be more content submitting and conforming than she was living as a shrew, always disliked by everyone. She sees this as an opportunity to be at peace with her role. This belief that happiness is found in satisfying the natural role in society is not only portrayed through Katharina’s transformation, it is also shown through Lucentio’s marriage to Bianca and Hortensio’s marriage to the Widow. In Petruchio’s last few lines he reveals a key observation relating to social roles and happiness. “We three are married, but you two are sped” (V.ii.86). Bianca and the Widow refuse to accept and fill their “proper role” as the wife by being disobedient and insubordinate to Lucentio and Hortensio, which will only end with an unhappy marriage. Lucentio’s relationship with Bianca when they were single was false and deceitful. Lucentio sees Bianca’s true nature when he says “But a harsh hearing, when women are forward” (V.ii.86). She deceptively acted submissive, obedient, temperate, but marriage has brought out her defiance and refusal to fulfill her new social position as a wife. Shakespeare utilizes this theme in “Taming of the Shrew” to portray his position on gender roles and the effects of social roles on happiness. He approvals and advocates for the traditional social hierarchy and discourages strong willed women by showing that happiness is attained by conforming to their given gender roles and social positions.
ReplyDelete“PETRUCHIO
ReplyDeleteThe fouler fortune mine, and there an end.
Enter KATHERINE
BAPTISTA
Now, by my holidam, here comes Katherina!
KATHERINE
What is your will, sir, that you send for me?
PETRUCHIO
Where is your sister, and Hortensio’s wife?
KATHERINE
They sit conferring by the parlor fire.
PETRUCHIO
Go fetch them hither. If they deny to come,
Swinge me them soundly forth unto their husbands.
Away, I say, and bring them hither straight.
Exit KATHERINE” (Act 5.ii.107-114)
The background for this passage is important to know, because it sets up this scene. A little before this scene, the married men make a bet on who’s wife is the most obedient. Hortensio’s wife and Lucentio’s wife both disregard the request to come to their husbands. Katherine however, enters within a timely fashion. This is in contrast to her normal behavior around Petruchio and it seems that he has finally proven his methods to taming the shrew. She even replies to many of his requests, with either a short confirmation, or immediate action. As seen here Petruchio asks, “Where is your sister, and Hortensio’s wife?” (Shakspeare, 110). Without asking so much as to why he needs to know, she simply responds with, “They sit conferring by the parlor fire” (Shakespeare, 109). Katherine seems to have degraded into what she had fought so furiously not to become, an obedient wife. Her independent spirit has seemingly been grinded to a pulp from the mistreatment garnered by Petruchio and it’s sad to see such a strong woman character be so drained of what once made her unique and special. Shakespeare in this moment doesn’t seem to be the progressive frequently made out to be. Katherine’s molding implies a message that women can be rid of a individualistic spirit, almost encouraging men to oppress such character. It’s a dark way to end things for Katherine, who was backed by most readers who love the fire she brings to this story. Sadly though, the flame seen in the beginning of this story is put out by the oppressive hand of Petruchio.
I agree with your analysis, I also believe that the feminism that Katherine brought to this play by combating the 'taming' and refusing to give in to the acceptance of subservience is lost in this last scene. Especially with the speech that Kate was compelled by Petruchio to give at the end, where she directly mentions women being the weak gender contradicts everything she has had to say so far. It is understandable, however, that Shakespeare did not want to cause any controversy. Now that we are in the 21st century, we obviously know (but still don't fully integrate) the idea that women and men are equal, and deserve equality throughout all facets of life. In the time Shakespeare was alive, however, the English people were a very biblical and conservative group. These Christian beliefs, led by the bible, dictated that wives should live to serve their husbands, for the husband is the power in a family structure. These archaic thoughts are probably what fueled Shakespeare's mind, when creating this hastily-written-seeming Act, undoing all the progressive stances he had taken previously. What I did consider, though, is the last line, uttered by Lucentio: "'Tis a wonder, by your leave, she will be tamed so" (V.ii.198). He makes me wonder, was Kate really tamed, or did she allow Petruchio to tame her, given her earlier behaviour?
DeleteGremio ends this play, The Taming of the Shrew, on a bitter note.
ReplyDeleteAll the other characters in this play seemed to have attained their redemption, however unlikely in the form it appeared.
Gremio, since the beginning, attempted to attain Bianca's love, and was made a fool of in several instances. He rivaled two young men, yet was essentially tricked into paying for a tutour who would then gain her love. This is why, in Act 5, he argues for Tranio to being the real Lucentio after encountering Vicentio: "Yes, I know thee to be Signior Lucentio" (V.i.89). His confidence in Vicentio's adamant claims to his true persona are contradictory to the opinions of everyone else. Since Vicentio is the catalyst to the reveal of disguise in the play, and no one wants to admit the devious actions they have been performing, everyone keeps the ruse going, accusing the newly-arrived traveller to be a madman. Gremio seems to be caught in the middle of this, for he believes some of both sides, showing him for the fool he truly is, optimistic and thinking the best of everyone, not doubting them for one second to consider that things may not be as they seem.
He is foolish, not knowing why exactly he is the outcast in this situation, but tries to play into a younger role of himself. It is only at the end, in the feast held to celebrate the weddings that Gremio finally realises that he was not as fortunate as it seemed; he was taken advantage of all along. When everyone admitted to the mockery of each other performed, Gremio proclaims "My cake is dough, but I'll share in among the rest, / Out of hope of all but my share of the feast" (V.ii.121-122). The use of metaphor expresses his disappointment at the futile attempts at attracting that whom he was fancying. The elaborate plans displayed by everyone but himself reveal him to be the only one that did not get anything they wanted, only disappointment at the end of their efforts.
I thought the analyzation that you provided was exceptional. The point you make about Grumio being a optimistic fool is one I have found to be something of a pattern in Shakespeare's writing. He consistently points at the faults in humanity. He enjoys being a little on the negative side, and doesn’t seem too hopeful about the future of humanity. He puts things bluntly and never seems to censor opinions on social issues without actually revealing his own opinion. Overall well articulated thoughts!
DeleteThy husband is thy lord, thy life, thy keeper,
ReplyDeleteThy head, thy sovereign, one that cares for thee,
And for thy maintenance commits his body
To painful labour both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe,
And craves no other tribute at thy hands
But love, fair looks, and true obedience,
Too little payment for so great a debt.
. . .
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.
Then vail your stomachs, for it is no boot,
And place your hands below your husband’s foot,
In token of which duty, if he please,
My hand is ready, may it do him ease.
(V.ii.140–183)
First of all, this speech is creepy as heck. Katherina presents this monologue at the end of the show. This is the final part of her character arc from wild “shrew” to demure wife. At the beginning of the play, Kate had such a fire driving her character, she had a mind of her own, unlike how most of the female characters are portrayed in the show. By this time, Petruchio has starved and sleep deprived her into submission. One could almost see this speech as a symptom of Stockholm Syndrome. Kate has been held captive so long that she now sympathizes and has feelings for her captor.
The words she says in her monologue are completely the opposite of what she would have said in Act I. Katherina is Shakespeare’s best example of a dynamic character. Shakespeare writes, “Thy husband is thy lord, thy life, thy keeper,” (V. ii). Talking about a husband in this makes a wife seems like a piece of property, a slave, something that is owned. This is a very old world concept of marriage, like what would considered normal in Shakespeare’s time. Katherina talked about “placing your hands below your husband’s foot” (V. ii). This gives the image that the wife should be on her hands at knees, almost (or maybe) kissing the ground her husband is walking on. This ending monologue completes Kate’s dynamic change from a shrew to tame shows the misogyny in the world of Taming of the Shrew.
Your analysis was very similar to what I thought when I read this part of act five as well. I was very surprised at the 180 degree turn around that Katharina had done in just one act, especially since in my act four analysis, I stated that she was most likely not going to give into Petruchio, but she most certainly did! It is as if she was brainwashed, as she obeyed everything command her husband gave her, something the act one Katharina would not have done at all. I found her speech creepy and frightening as well, and made me fear Petruchio, seeing how he can easily change a person’s character into what he wants. with relative ease.
Delete“Luc. I’ll have no halves; I’ll bear it all myself.
ReplyDeleteHow now! what news?
Bion. Sir, my mistress sends you word
That she is busy, and she cannot come.
Pet. How! she is busy, and she cannot come!
Is that an answer?
Gre. Ay, and a kind one too:
Pray God, sir, your wife send you not a worse” (V.ii.83)
In the second scene of the fifth act, Lucentio Petruchio and Hortensio decide to test their wives by requesting to come see them, to see which of the three is the most obedient wife. To make things more interesting for the men, as they all seem confident that their wife is the most obedient, they place a large bet of a hundred crowns. Lucentio is the first of the three to call for his wife, and as seen in the passage I have taken out from the play, he is thoroughly surprised and angered that Bianca said she was busy and therefore cannot come. This is a reasonable response by him, being that they have just recently become married, and she fails to simply see Lucentio to see what he wants. This already shows some flaw in their relationship, and shows readers how Bianca is most likely going to behave like with Lucentio for the entirety of their marriage. What if he urgently needed his wife’s aid and she ignores him like what has happened here? What if it’s only going to get worse from here? These are questions that are most likely running in Lucentio’s mind, as he struggles to comprehend Bianca not coming to see him, and him subsequently losing the bet and test. Lucentio is also most likely embarrassed by Bianca’s response, as it shows him having the weaker hand in the relationship in front of his father in-law, and friends.
This is an excellent analysis of act V scene II. I also noticed this major flaw in their relationship. It foreshadows what their future marriage will be like. It will be an unhappy marriage because it fails to follow the traditional social hierarchy. Bianca and Lucentio are shown as equals with mutual respect for each other throughout the play, but now we see that marriage has changed her countenance. Lucentio might also feel less attracted to her than he did when he first saw her. He noticed how she remained calm, collected, and quiet while Katharina when on verbally fighting Hortensio and Gremio. Now that the roles have switched, he could fall out of love with her. This portrays that love at first sight does not always end well for those who supposedly find it. He put his plan of deception into action because he thought they were a good match together, he the kind and dominant husband, she the submissive and caring wife. She showed him that he was quite wrong. Naturally he would be very embarrassed about her actions because he would have wanted to impress his friends, father-in-law, and actual father.
Delete
ReplyDeleteLUC.LUCENTIO
That will I.
Go, Biondello, bid your mistress come to me.
BION.BIONDELLO
I go.
Exit.
BAP.BAPTISTA
Son, I’ll be your half, Bianca comes.
LUC.LUCENTIO
I’ll have no halves; I’ll bear it all myself.
Enter Biondello.
How now, what news?
BION.BIONDELLO
Sir, my mistress sends you word
That she is busy, and she cannot come.
PET.PETRUCHIO
How? She is busy, and she cannot come!
Is that an answer?
GRE.GREMIO
Ay, and a kind one too.
Pray God, sir, your wife send you not a worse.
PET.PETRUCHIO
I hope better.
HOR.HORTENSIO
Sirrah Biondello, go and entreat my wife
To come to me forthwith.
Exit Biondello.
PET.PETRUCHIO
O ho, entreat her!
Nay then she must needs come.
HOR.HORTENSIO
I am afraid, sir,
Do what you can, yours will not be entreated.
Enter Biondello.
Now, where’s my wife?
BION.
She says you have some goodly jest in hand. She will not come; she nods you to come to her.
In the passage above from Act V Scene 2 of Taming of the Shrew, Shakespeare speaks to the audience about different types of relationships and how most men can't “tame” women like Petruchio. Lucentio, Petruchio, and Hortensio entered a bet to see who's wife, Bianca, Katharine, and the Widow, would respond to their summons. Bianca and the Widow refused their summons while Katharine would later go to Petruchio. The relationships Lucentio and Hortensio had previously established with their wives differ from Petruchio and Katharine’s. Lucentio’s relationship with Bianca was based on mutual love and adoration for one another. Bianca and Lucentio were closer to equals, so once she was called Bianca felt she had the right to refuse as Lucentio's equal. On the other hand Hortensio’s relationship with widow is one where the wife is dominant. The widow is willing to lambast Hortensio in public if she sees fit. When called she refuses because she believes she is the greater of the two halves and views Hortensio’s call as a joke, if anyone would be doing the calling it would be her. These two relationships contrasts that of Petruchio, who has absolute power in his relationship. Hortensio attempted to tame the Widow after shadowing Petruchio’s taming of Katherine yet utterly fails. Hortensio acts as a reminder to men reading or watching the play that “taming” a shrew ,who were very prevalent in the Elizabethan era, wasn't possible in the way the over the top Petruchio and that there were many types of relationships.