In the Induction of Taming of the Shrew, what stood out to me the most was how the Lord was very devoted to the prank and remained serious as he conspired to persuade Christopher Sly that he was actually a lord. At first glance, it’s hard to imagine the Lord shifting his personality so dramatically as actual royalty from having every need met. Now, it is his duty to provide for this drunk he found on the side of the road. It seems as if he is acting as his exact opposite, and this is very hard to do. To play a character that has a separate background from his true self was a fearless action for the Lord to simply trick a stranger. Living a similar lifestyle, the servants of the lord should have gone through the prank with ease. The servants merely tend to a different individual. The Lord was overly joyed and willing to act as an attendant without any money to live off of for the sake of the prank to Christopher and to make him look like a fool, and most importantly trick him into thinking he had been living a luxurious life for years. Thou art a fool; if Echo were as fleet, I would esteem him worth a dozen such.” (Induction- line 26) The Lord is convincing Christopher that he has attained a lot of wealth and has a beautiful wife. During this time period, a man that had money would be able to own servants and women. Therefore, the Lord is has a bit of justification to have taken the drunk off the streets, he may have been saving his life in the end after all. He tricks him because of his social class which was also a big thing back then. The swapping of roles and switching of identities allows comedies to question social norms. Overall, the emphasis on performance in the induction leads to the question: To what degree can anyone have a stable or natural identity? Or Is someone's true identity really only formed through repeated performance (acting like a lord)?
I like your perspective of the Lord's reasoning behind taking Sly in. It's interesting to think his intentions were pure, rather than selfish as a king can often be perceived. However, I think the Lord may be pursuing the drunkard for his own entertainment. As the Lord, he has the authority to do whatever he pleases in his land, including publicly humiliating his own people. This is shown through the way he dresses his page as a woman, forcing him to take on the roll as Sly's wife. He also convinces the actors to go beyond their usual performance and instead work for a peasant. The Lord's actions disturb the normal social hierarchy in this society, challenging the people to work for a peasant, rather than a king. In this way the Lord's intentions could be pure, yet I don't think he was working for the favor of Christopher Sly.
I too see how the Lord could be saving the drunk however it seemed cruel of the Lord to trick the pesent as he had. If he was being truly generous their would be no need for deception. I also agree with Grace's consensus that dressing his servent up to act as Sly's wife was to create another feeling of disgust towards the lord. However the dressing up of the servent could have served the purpose as comic relief to not only the Lord but the audience. Having a man dressed as a woman, acting as a man dressed as a woman is quite humorous and ironic considering women were not allowed to porform on stage meaning that men had to dress up as women to play their roles.
The Induction of William Shakespeare’s Taming of the Shrew emphasizes the differing behaviors in social classes of the characters. Although Christophero Sly, characterized as a “poor and loathsome beggar”, is classified as low on the social rank, he maintains power, shown through his rude tone towards the hostess (5). “Y’ are a baggage...let the world slide: sessa!”, Sly tells her (1). In Shakespeare’s language, baggage is defined as a woman of low morals or a prostitute. Being a women, the hostess was subjected to this kind of treatment by Sly, displaying the sexism widely apparent in Shakespeare’s time. He again degrades the hostess exclaiming, “sessa!”, or shut up. Sly’s discourteous mannerisms display a disrespectful tone portrayed through the broad social class differences in Taming of the Shrew. However, Sly again disrespects the servants in the Lord’s house who begin to treat him as a king: “SLY. ‘For God’s sake, a pot of small ale.’ FIRST SERVANT. ‘Will ’t please your Lordship drink a cup of sack?’ SECOND SERVANT. ‘Will ’t please your Honor taste of these conserves?’ THIRD SERVANT. ‘What raiment will your Honor wear today?’” (5-6). Although Sly rudely requests an ale from the servants, they continue to treat him courteously, referring to him as “your Honor” and “your Lordship”. Sly’s identity as a peasant is shown through his request for ale, or beer, the drink of a poor man. However, since the servants now see him as their lord, they suggest a cup of sack, or a fancy Spanish wine usually served to members of the upper class. They offer Sly conserves, or dried fruit, as well as a choice of clothing. These are both delicacies enjoyed by royalty, which Sly has jokingly been welcomed into. The servants are classified as plebeian in class rank, taking orders from their masters and restricted to the low lives of attendants. Sly’s harsh tone towards the servants illustrates the hierarchy in this society and the lack of respect to those restricted to the lower class.
I enjoyed your interpretation of the juxtaposition of Sly's rude mannerisms with the servants' courteous ones. However, I think it can also be interpreted that the servants are not as courteous and thoughtful as they seem— they are only acting this way to trick Sly into thinking he is nobleman. It is not out the good of their hearts that their actions are coming from; they are merely obeying their Lord's commands without thinking whether doing so is actually ethical or not. So, using this interpretation, Sly can actually be seen as more honest about what his actual thoughts are, while the servants are only putting on an act.
I agree with you that Sly’s harsh tone towards the servants illustrates the hierarchy in this society and the lack of respect to those restricted to the lower class. I think this could also illustrate the idea that once someone gain any kind of power, even if they are unsure where the power came from, most would choose to hold of refuse to let go of that power. At first Sly did not believe his status until they mention his “wife”. If men does not fall for wealth then the other option, most of the time, is women.
In the Induction of Taming of the Shrew by William Shakespeare, the story of the Lord trying to change Sly’s identity foreshadows and parallels the relationship between Katharina and Petruchio. The personalities of the Lord and Petruchio are very similar. In lines such as, “Sirs, I will practise on this drunken man” and “Wrapp’d in sweet clothes, rings put upon his fingers,/A most delicious banquet by his bed,/And brave attendants near him when he wakes,/Would not the beggar then forget himself?”(Induction.i.), the approach the Lord takes towards Sly, is how Petruchio thinks of Katharina. Petruchio saw Kate as a challenge which he had to solve. The Lord wants to treat Sly with the utmost kindness and care, similar to how Petruchio tames Kate. The commanding authority The Lord has along with his sense of humour is a personality trait Petruchio has too. An interesting repetition I found was how The Lord kept emphasising moderation in lines such as “If it be husbanded with modesty.” (Induction.i) and “May well abate the over-merry spleen/Which otherwise would grow into extremes.”. This is ironic because all the characters in the acts have extreme personalities. Kate and Christophero Sly had similar characteristics, at the beginning when Sly uses rough and harsh diction such as calling the hostess ‘a baggage’ which meant prostitute in Shakespearean language and “No,not a denier. Go by, Jeronimy: go to thy cold bed, and warm thee” (Induction.i.) was rude for somebody who was at fault. It characterises Sly as someone who speaks their mind which is similar to Katharina. When Sly finally accepts his new false status by the end of the induction is how Kate is forced to adjust to her own surroundings. It raises questions such as if identity is determined through environmental factors rather than innate and how malleable is it? It also made me think about whether one gets better results by being kind or using punishment when trying to change someone? Is one method better than the other? The induction also primes the reader for the story because when The Lord is telling how he wants Page to treat Sly when he wakes up, sets the basic expectations of a woman at that time and what is expected of them.
I absolutely agreed with you on how the Lord and Sly in the Induction parallels the dynamic between Petruchio and Katharina! Very interesting how you pointed out also the similarities between the Lord and Petruchio, how they share the same personality trait of being commanding. Originally, I had the view of Sly and Katharina both losing their true identities in order to conform in their environment. But I also think that despite they seemingly “lost” to the Lord and Petruchio, Sly’s life improved, and Katharina achieved respect and approval of Elizabethan society. Your question of whether identity is determined by environmental factors or innate, reminds me of the broad psychological question of “nature versus nurture.” In the context of “The Taming of the Shrew”, identity is much more influenced by societal norms, and the people around the character. For instance, Sly finding himself surrounded in an environment only lords possess, and with the cogent Lord, it was enough for him to question his identity. Shrewd Katharina, enveloped in jealously by her father’s bias towards her sister (Bianca), with a change of environment became mild Katharina. I think that Sly and Katharina were influenced heavily by their environment because of their dissatisfaction with themselves. Sly, a beggar, a tinker, conveys a miserable tone in despairing “Am not I Christopher Sly, old Sly’s son of Burton-heath, by birth a peddler, by education a cardmaker, by transmutation a bearherd, and now by present profession a tinker?” (Shakespeare Ind.2.17-21). And many interpret Katharina’s temper, and outspokenness arising from the fear of being undesirable compared to Bianca. If one was dissatisfied with who they viewed themself as, it's not hard to imagine environment easily molding their identity.
In Ind.2.68-75, Christophero Sly begins to believe that he’s a lord, declaring: Am I a lord, and have I such a lady? Or do I dream? Or have I dreamed till now? I do not sleep: I see, I hear, I speak, I smell sweet savors and I feel soft things. Upon my life, I am lord indeed And not a tinker nor Christopher Sly. Well, bring our lady hither to our sight, And once again a pot o’ th’ smallest ale. William Shakespeare includes an Induction in “The Taming of the Shrew” depicting the illusory transformation of Christophero Sly from a poor tinker to a lord. This “transformation” foreshadows the taming of Katharina Minola from a shrew to a mild wife. In the above section in the Induction, Sly begins to consider the possibility of him actually being “a lord” and with “such a lady” (Shakespeare Ind.2.68). He questions the reality of his situation, but declares that he is in fact awake, and the use of repetition of “I see, I hear, I speak” creates a surreal effect on the reader (Ind.2.70). In the next lines, Sly accepts that he is a “lord indeed” and at this point in the play, the reader pities, but also laughs at Sly for his supposed gullibility (Ind.2.72). This perspective of Sly correlates to how the reader may view Katharina: with a derisive pity (especially during the times of the Elizabethan era). The Lord’s elaborate trick to convince Sly of his lordship foreshadows Petruchio's molding and taming of Katharina’s personality. Shakespeare creates an interesting comparison of the the socioeconomic inequality between the Lord and Sly, and the depiction of gender inequality between Petruchio and Katharina. Though it appears to the reader that Sly was indeed tricked by the Lord, perhaps Sly was taking this situation to his advantage. While Sly declares that he is “not a tinker nor Christopher Sly” instead of asking for the “cup of sack”, an imported, costly wine, something a lord would command, he demands for “a pot o’ th’ smallest ale” (Ind.2.73, Ind.2.4, Ind.2.75). He may have been tricked, but the outcome is that his quality of life greatly improved. Finding himself off the streets and in a place of luxury, perhaps the trick isn’t played on Sly, but on the Lord himself. Comparing Sly to Katharina, it may seem to the reader that she has succumbed into a subservient woman, but in this context of Elizabethan society, she has gained a respectable voice that she didn’t have before as a “shrewd” woman. One question that came into mind was: is Christophero Sly truly a pitiful character? Does the fact of becoming “inferior” (Sly in being tricked, Katharina in being tamed) even matter when one is content with the situation?
This is a very interesting question. I don't think that becoming inferior is much of an issue when he who has become inferior doesn't mind the situation. I think the problem lies in the fact that both Sly and Katharina were made into different people by an outside force (in Sly's case, the Lord; in Kate's, Petruchio). It could seem that Sly has lost his autonomy because the Lord has made him into someone he is not and is essentially controlling him. It can seem shameful to the reader that Sly has let the Lord take advantage of him, but Sly is happy with the outcome and sees that the Lord has made him into a person he had always wanted to be but could not become without outside help (or trickery). Likewise, Kate's acceptance of her situation at the end of the play could be seen as a sign of weakness--she didn't stay true to herself--but I think that she sees that Petruchio has made her into a woman with whom she can be happy.
In the induction to Taming of the Shrew, Shakespeare introduces the motif of disguises that will be present throughout the entire play. He prefaces the play with a tale of a drunkard named Christopher Sly, who is beguiled into thinking that he is actually nobility. The real Lord has a servant disguise himself as a woman to pretend to be Sly’s wife. At first, Sly does not believe he is a man with status, but soon he is persuaded otherwise and comes to assume the behavior of a Lord.
In this work, disguises are used to enhance the comedic effect of Shakespeare’s overall plot, as well as add to the dramatic irony. The audience knows that Sly is not actually a Lord, but he remains unaware. The viewers also know that Bartholomew – the servant - is the woman pretending to be his wife, which makes them feel in on the joke and creates a more intimate experience. This comedic element sets up the rest of the play to be as humorous and compelling; the audience gets a taste of what is to come. This irony is enhanced through the diction of the Lord, when he states to Sly, “Thou has a lady far more beautiful / than any woman in this waning age” (62-3). Shakespeare makes this character purposely address the disguise that is being adorned by Bartholomew, to emphasize the irony that is being enjoyed by the audience. By explicitly mentioning the beauty of his pretend wife, the humorous aspect of the induction is reiterated and the people watching the play can revel in the irony of the situation. In this induction, an important, comical motif is demonstrated for the first time, which is used to implement dramatic irony.
Along with the use of irony in the diction in “Thou has a lady far more beautiful / than any woman in this waning age” (62-3), I think it could also show how the men viewed women at that time. They weren't held in high regards and were often the main focus of jokes. In the induction Shakespeare introduces and states what is expected out of women and in the play having Katharina start out by being the exact opposite, exemplifies the irony found in the induction.
At the end of the induction, a messenger states: Your honour’s players, hearing your amendment, Are come to play a pleasant comedy; For so your doctors hold it very meet, Seeing too much sadness hath congeal’d your blood, And melancholy is the nurse of frenzy: Therefore they thought it good you hear a play And frame your mind to mirth and merriment, Which bars a thousand harms and lengthens life (Ind. 2. 129-136). He is informing Sly that the Lord’s servants will perform a play for Sly because he is “too sad.” These lines from the messenger also serve the purpose of informing the reader (or audience) of the coming play, as the induction provides context for the play that follows. The reader learns that The Taming of the Shrew is a play within a play. The messenger’s lines allow the audience to put themselves in the position of Christopher Sly. Sly was not a man of wealth and status before the Lord came across him; he was, according to the Lord, a “monstrous beast” (Ind. 1. 34). In the same way, the audience of Shakespeare’s plays was not wealthy or refined, as going to the theatre was not considered a dignified activity. However, for the duration of the play, they got to experience the story of another life, just as Sly was temporarily made to believe he was a lord. The people attending The Taming of the Shrew most likely lived difficult lives devoid of significant happiness. The line, “Seeing too much sadness hath congeal’d your blood” could have applied to both Sly and the audience (Ind. 2. 132). The “pleasant comedy” of The Taming of the Shrew” is the antidote to this melancholy (Ind. 2. 130). The alliteration of “your mind to mirth and merriment” creates a sing-song tone that reinforces the idea that the play is nothing more than a comedic diversion. The messenger’s lines and the induction as a whole allowed the audience to connect to the play on a personal level. Describing the play as nothing more than “a pleasant comedy” raises some questions, though (Ind. 2. 130). The Taming of the Shrew, while entertaining and comedic, also raises questions about gender roles and relationship dynamics that aren’t funny at all. Why is the play reduced to something merely pleasant in the messenger’s introduction of it? Does the induction soften the impact of the story that follows because it is presented as entertainment for a drunkard?
In the Introduction of the play Taming of the Shrew by William Shakespeare, the quotes that really stood out to me were when the Lord was speaking to his huntsmen about the drunk passed out. Shakespeare portrays, through the Lord’s character, the utter repulsion felt by the higher class, richer, more noble men, about the lower, more poor class. The second Huntsman says to the Lord, “He breathes, my lord. Were he not warm’d with ale. This were a bed but cold to sleep so soundly.” Within the second Huntsman's line, he states two alliterations and juxtaposition. The second Huntsman uses two alliterations, of the double “b” sound in bed and but, but also the alliteration of the “s” sound with sleep so soundly. The repetition of the double s sound causes a “shhhhhh…” sound not wanting wake the reader. The juxtaposition is foreshadowing and an example of the many opposites within this time. Their was a huge gap between the rich and the poor and lots of discrimination surrounding that. The richer men felt stronger, dominante trying to make the presents feel intimidated and inferior to the higher class rich. The large gap between the rich and poor, high and low classes is also demonstrated in the Lord’s diction when speaking about the drunk. The Lord says, “O monstrous beast! how like a swine he lies! Grim death, how foul and loathsome is thine image!” to his huntsmen about the poor drunk. This Lord’s statement creates a harsh tone of disgust for poor and empathy for their cruel treatment. The audience also feels angry towards the Lord for his harsh treatment and judgment. Shakespeare uses a metaphor and simile in the Lord’s statement, to show the higher class perception of the lower class and judgment placed on them threw comparisons of the poor drunk to animals, filthy animals. I also thought it was interesting how in the statement made by the Lord, the h in “how” is start of a new sentence but the h isn’t capitalized because it emphasis the idea of contrast once again. It goes against the balance and pattern of the piece. The lowercase l is placed next to a exclamation point dulling down the actual excitement suposed to be felt by the audience.
I agree with your analysis of how the induction shows a gap between the rich and the poor. Although the induction seems very humorous, it is portraying a sad reality about the time period in which Shakespeare lived.
Through the outrageous actions of the characters in the Induction, Shakespeare sets the stage for the later ridiculous actions of the main characters: Petruchio and Katherina. The Induction involves a wealthy lord who comes across a sleeping drunkard, Christopher Sly, and decides to play a trick on him once he wakes up by convincing him that he is a wealthy nobleman. The obsessive dedication of the Lord to carry out his trick is shown when he orders his page to dress as a woman and act as a wife to Sly, and Shakespeare writes “I know the boy will well usurp the grace, / Voice, gait and action of a gentlewoman: / I long to hear him call the drunkard husband, / And how my men will stay themselves from laughter / When they do homage to this simple peasant.” By including this monologue of the Lord’s thoughts about his trick, the audience is able to see into the Lord’s motivation. The line “I long to hear him call the drunkard husband” suggests that he is hoodwinking the drunkard purely for his own entertainment. Yet the next two lines, particularly the word “homage”, suggest a completely opposite motive for the Lord’s actions: perhaps the Lord is attempting to do a good deed to the drunkard by making him feel beloved. Regardless of the motive behind it all, the Lord’s actions seem like a rather, outrageous, extreme way of playing a joke or paying homage. This outrageousness is reflected later on in the play through Katherina’s shrewish temper towards her husband, and Petruchio’s brash manner towards everyone except his wife. Despite the obvious ridiculousness of all these actions, they are justified as suitable methods to solve their individual problems in the minds of the characters. Thus, by introducing one of the first characters as outrageous and seemingly irrational, Shakespeare prepares the audience for the many more outrageous acts in the play that will follow.
I really like your analysis! I also agree that the Lord's monologue gives the audience an in-depth look at his motivation behind the beguilement. I think that the Induction introduces the irony and the deception that will be present throughout the rest of the play. I also thought that the other characters in the induction foreshadowed how other minor roles in the play help in the deception that takes place.
In the two scenes of the induction, Shakespeare writes about how a Lord plays a trick on a belligerent (and completely drunk) Christopher Sly. The Lord tried to convince Sly that he is suffering from madness Sly did not believe them until they mention his “wife”. Sly says, "Am I a lord, and have I such a lady? Or do I dream? Or have I dreamed till now? I do not sleep: I see, I hear, I speak. I smell sweet savors and I feel soft things. Upon my life, I am a lord indeed And not a tinker, nor Christopher Sly. Well, bring our lady hither to our sight, And once again, a pot o' the smallest ale." (Induction. II. 53-60). Shakespeare creates this induction to foreshadow different aspect the play will examine. For instance, the class system and social status. How people react to one another or how they act according to how they are treated. Additionally, the aspect of deception and disguise. How people are treated differently according to looks. Another example could be the role of marriage. Why do you think mentioning a wife causes Sly to believe the jest that the people are playing on him? Overall, I liked the induction, I personally thought that it was funny. Especially the part when Sly says, "'Tis much.—Servants, leave me and her alone. Madam, undress you and come now to bed." and the Page replies with, " Thrice noble lord, let me entreat of you To pardon me yet for a night or two, Or if not so, until the sun be set. For your physicians have expressly charged, In peril to incur your former malady, That I should yet absent me from your bed. I hope this reason stands for my excuse." (Induction. II. 99-107).
In the first act of Taming Of the Shrew, Petruchio is displayed as a wealthy man who is on the search for a rich wife. When he hears about Katherine, he agrees to marry her despite, or maybe because of, her reputation as a shrew. Petruchio sees himself as the ultimate shrew taming champion. He even tutors other men on how to get their wives to obey as they should. Petruchio is a very honest man with stubborn and therefore he is fairly simple to figure out. In a simile, Petruchio compares himself to a strong gust of wind that will blow out Kate's "fire." This shows that he really likes to use language to convey his masculinity and dominance over women. Using lots of figure of speech, Petruchio states, “Signior Hortensio, 'twixt such friends as we Few words suffice. And therefore, if thou know One rich enough to be Petruchio's wife (As wealth is burden of my wooing dance), Be she as foul as 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.” (1.2.66-77) This quote shows the figurative language diction that Shakespeare decided to give to Petruchio. This diction shows that Petruchio doesn’t care if a woman is ugly, old, or shrewish, as long as she has money he will marry her because money makes him happy. His reference to Florentine, Sibyl, and Xanthippe also shows his formal diction, and how Petruchio is well read and educated alongside the other higher class characters in the play. Even though Kate is as "rough" as the "seas," he is okay with it. This is to show that he is man enough.
I like your interpretation of how Petruchio sees himself as the "shrew tamer"; it's a interesting explanation for his behavior which is so radically opposite of all the other characters. You also touched on Kate's wealth as a motivating factor. While I agree that he does he himself in some way as a "shrew tamer" who wants to prove that he's tougher than everyone, I think his true motivation is the money, and the "shrew tamer" face he puts on is just a mask. When he says, "I come to wive it wealthily in Padua; If wealthily, then happily in Padua", he reveals that he will be satisfied with his marriage no matter what so long as he is marrying a wealthy woman, therefore showing that he places accumulation of wealth at the top of his priorities.
I agree with your analysis of Petruchio's masculinity. Another line that would support this idea is the following: "For I will board her, though she chide as loud / As thunder when the clouds in autumn crack" (1.2.94-95). In the phrase "I will board her," "board" could refer to the "conquering" of a woman, which is a very violent, masculine act. The word "board" also dehumanizes Kate, turning her into a boat over which Petruchio can walk, making him appear inherently better than Kate. The stormy diction ("thunder," "clouds," and "crack") used to describe Kate underscores Petruchio's bravery, another traditionally masculine trait.
Through the juxtaposition of Petruchio’s desire to marry the wealthy yet shrewish Katharina and the disgust that the other characters have towards her in Act 1, William Shakespeare investigates the common belief that wealth is the key to happiness and satisfaction in life. The three suitors of Baptista's daughters other than Petruchio all refuse to marry Kate despite her wealth, because in their mind, having to put up with her hellish behavior would outweigh the benefits of money. In Scene II, Hortensio remarks his thoughts to Petruchio, saying, “I can, Petruchio, help thee to a wife / With wealth enough and young and beauteous, / … / Her only fault, and that is faults enough, / Is that she is intolerable curst / And shrewd and froward, so beyond all measure, / That, were my state far worse than it is, / I would not wed get her for a mine of gold” (Shakespeare 21). Hortensio’s disillusionment with the idea of marrying such a shrewish woman represents the position in the argument that wealth does not lead to happiness. Shakespeare utilizes hyperbole when Hortensio exclaims “I would not wed her for a mine of gold” to illustrate the absoluteness of Hortensio’s beliefs. On the other hand, Petruchio’s willingness to take Kate as his wife represents the other side of the argument. In response to Hortensio’s thoughts about Kate, he says, “Hortensio, peace! thou know’st not gold’s effect: / Tell me her father’s name and ‘t is enough; / For I will board her, though she chide as loud / As thunder when the clouds in autumn crack” (21-22). Petruchio’s dismissal of Hortensio’s warning demonstrates his belief that wealth will lead him to happiness. He even goes so far to tell Hortensio that he is ignorant of the influence that money has on one’s well-being. Shakespeare further emphasizes Petruchio's belief by using the metaphor, “though she chide as loud as thunder when the clouds in autumn crack”, to describe his remarkable tolerance of Kate's behavior. Shakespeare purposely crafts Petruchio's beliefs to appear outrageous and comical compared to Hortensio's sensibility in order to convey to the audience that the idea that wealth leads to happiness is in fact false.
I like your comparison of Hortensio and Petruchio's beliefs and the contrast between them. I was wondering why Petruchio wants to tame Kate when he could just compete for Bianca along with the other suitors? Is there any reason for Hortensio's disillusionment or is he just trying to stand out from the crowd to be the centre of attention?
In the first act of The Taming of the Shrew, Lucentio has fallen in love with Bianca upon seeing her for the first time and confesses this to Tranio, comparing Tranio to “Anna to the Queen of Carthage” (1.1.154). In Virgil’s Aeneid, Dido, the Queen of Carthage, confessed her love for Aeneas to her sister Anna. The allusion shows Lucentio’s intelligence and points toward the reason that Lucentio has arrived in Padua: to study at the university. The repetition of “I” in the line “Tranio, I burn, I pine, I perish, Tranio” creates a passionate tone and emphasizes Lucentio’s feelings (1.1.155). During the conversation between Tranio and Lucentio, Bianca and Kate are characterized in opposition to each other. Kate “began to scold and raise up such a storm / That mortal ears might hardly endure the din” (1.1.172-173). The use of violent diction such as “scold,” “storm,” and “din” characterizes Kate as loud and harsh. Bianca’s voice is also described, though in a much different manner: “I saw her coral lips to move / And with her breath she did perfume the air: / Sacred and sweet was all I saw in her” (1.1.174-176). The use of beautiful diction (“coral lips,” “perfume,” “sweet”) characterizes Bianca as Kate’s opposite; she is calm and gentle. After confessing his love, Lucentio plots a way to court Bianca: LUC. I have it, Tranio. TRA. Master, for my hand, Both our inventions meet and jump in one. LUC. Tell me thine first. TRA. You will be schoolmaster And undertake the teaching of the maid: That’s your device. LUC. It is: may it be done? (1.1.188-193) In the above section of the conversation, Lucentio and Tranio finish each other’s lines. This technique creates an excited tone. Without hearing the play, the reader can tell that the conversation flows quickly and jumps between Tranio and Lucentio because they are devising a plan together. Lucentio decides that Tranio will disguise himself as Lucentio so that Lucentio can become a tutor for Bianca. To Biondello, another of Lucentio’s servants, Lucentio remarks: “Tranio is changed into Lucentio” (1.1.235). Biondello replies: “The better for him: would I were so too!” (1.1.236). This exchange mirrors the events of the Induction. A poor servant has been transformed into a man of higher class. When the reader knows that this play was put on for Christopher Sly, he/she can understand the impact of this transformation: Sly would likely be able to relate to Tranio. It is fitting, then, that the play returns to the characters of the Induction, allowing the reader to make the connection between Sly and Tranio.
Throughout Act I of William Shakespeare’s Taming of the Shrew, Grumio and Gremio use parallel structure and repetition, creating a comedic tone throughout the scene. Shakespeare uses Grumio’s comedic qualities to call out Gremio’s lust for wealth and a fair maiden such as Bianca, characterizing Gremio as a fool. As Gremio is easily persuaded into believing that Lucentio will put in a good word for him to Bianca, Grumio mocks him: GRE. O this learning, what a thing it is! GRU. O this woodstock, what an ass it is! (I. ii. 130-131). Shakespeare’s use of parallel structure emphasizes Grumio’s humorous tone. While Gremio shows excitement in Lucentio’s promise, Grumio sees through it, humorously describing the situation as an “ass”. Grumio’s sarcastic wit characterizes Gremio as dimwitted, showing his foolishness in falling for Bianca, as well as falling for Lucentio’s deception. Gremio is again humiliated by Grumio as he competes against Hortensio in his love for Bianca: GRE. Beloved of me; and that my deeds shall prove. GRU. And that his bags shall prove. (I. ii. 147-148). Grumio’s repetition of Gremio’s pride in his deeds contrasts Gremio’s view of himself to the view the lower class maintains of the nobles. Being a servant, Grumio is well aware of the deception in both wealth and strategies of the upper class, allowing him to doubt Gremio’s “deeds”. Although Gremio obtains a high view of himself and his actions, Grumio has a different perspective. The “bags” referenced by Grumio represent the wealth of the upper class being used to get their way. Grumio’s witty comment creates a comedic tone, making the play more relatable to the audience. This also represents Grumio’s envy of Gremio’s fortune. As a servant, he is subjected to the rule of his master Petruchio, seldom making his own decisions. He realizes, if he obtained such wealth as Gremio, he would no longer be confined to the conditions of a slave. Yet, the comedic tone brought by Grumio creates a perspective of Gremio’s greed through parallel structure and anaphora.
I agree that although the characters quarrelsome attributes are humorous in the text, that in the real situation this must be difficult for these characters with such a difference between the upper class and lower class. Like you said, Grumio is well aware that Gremio is in a higher class than he is. Maybe if there was no difference between the two classes, Grumio would not feel the need to humiliate Gremio.
Setting up a humorous tone in the Induction, Shakespeare continues this tone into the first act of “Taming of the Shrew.” At the end of scene one, the play goes back to the perspective of Sly, where the First Servingman speaks “My lord, you nod: you do not mind / the play” (Shakespeare 1.1.149-150). The image of Sly falling asleep adds a humorous tone, and signifies to the reader that the play is not to be taken in a serious way. Using Grumio as comedic relief, Shakespeare emphasizes the comedic tone of the play. Grumio, an old servant of Petruchio, is first introduced at the beginning of scene two, in front of Hortensio’s house. Petruchio orders Grumio to knock, and Grumio in confusion asks, “Whom should I knock? Is there any man has rebused your worship?” (Shakespeare 1.2.6-7). Grumio’s incorrect diction, saying “rebused” when meaning abused, further accentuates the amusing situation. Attempting to clarify, Petruchio commands, “Villain, I say, knock me here soundly” and Grumio in more befuddlement, questions, “Knock you here, sir? Why, sir, what am I, / sir that I should knock you here, sir?” (1.2.8, 1.2.9-10). This miscommunication continues until Petruchio grabs Grumio’s ears in frustration. Grumio himself embodies the masses, the common people. His commentary and interjections mocks the greediness of the wealthy, appealing to the lower classes. Twisting Gremio’s words, Grumio points out the true intentions of Gremio in a mocking tone.
I noticed that Shakespeare named these two characters similarly “Gremio” and “Grumio” only changing one letter. Why do you think Shakespeare chooses to do this? How does it impact the reader or audience?
Fabulous interpretation Yena! I really liked your analysis of the comical miscommunication that took place between Grumio and Petruchio. In response to your question, perhaps Shakespeare is trying to show how similar the rich and poor were. Although separated by class, they still are comedic equals in this play. Also, the names could have been chosen to clearly illustrate some of the humorous stock characters that will be present throughout the play.
Within Act 1 Shakespeare demonstrate the gender inequality and social hierarchy threw Gremio and Hortensio, two of Bianca’s suitors. Both Gremio and Hortensio are rich men who fancy Bianca. However both men are extremely selfish and hot headed. When Baptista, Bianca and Kate’s father, announced he would not wed Bianca until Kate was married, Gremio and Hortensio exaggerated this inconvenience by grumbling to the family about how difficult Kate is, “any man is so very a fool to be married to hell” (Acts 1, page 15). Shakespeare uses a metaphor, comparing Kate to hell, to exaggeration how difficult Kate is due to her independence. However Kate had said little to nothing wrong but due to the fact she a woman going against social norms, by she was subjected to insults and harsh treatment. Women during the Elizabethan Era were unable to voice their opinions and were practically property to their fathers and husbands. Gremio exemplifies this idea by stating how he would treat Kate as his wife, “I had as lief take her dowry with this condition, to be whipped at high-cross every morning” (Acts 1, 15). Women were to succumb to every whim and desire their husband had. It was socially acceptable to publically whip or humiliate your wife in the towns square as a punishment and whip her like a animal. Not only did Gremio and Hortensio feel superior to Kate because she was a woman, but they felt superior to one another due to their wealth. Gremio tells Hortensio, “I had given him the best horse in Padua to begin his wooing that would throughly woo her, wed her and bed her and rid the house of her!” (Act 1, page 15). Gremio is rude and arrogant towards his new partner, Hortensio, and makes repulsive comments about his intentions with Bianca to make Hortensio feel jealous and or insecure and inferior to Gremio. The selfishness and arrogance of Gremio, along with Hortensio, throughout act 1 is to create characterization of the two men, along with providing the reader with context of acceptable social behavior during the time the play The Taming of the Shrew was written.
In Act 1 of Taming of the Shrew, Shakespeare introduces some of the persiflage that will be present throughout the duration of the novel. Baptista, Katharina, Bianca, Gremio and Hortensio enter the scene arguing, for Bianca’s two suitors are upset that they cannot wed their love until her older sister is married. Gremio and Hortensio openly speak of Katharina’s curst behavior and begin to wittily insult her. Shakespeare writes:
Bap …you have to court her at your pleasure Gre. To cart her rather; she’s too rough for me.. Kath.[To Baptista] …is it your will / To make a stale of me amongst these mates? Hor. ‘Mates,’ maid? How mean you that? No mates for you, / Unless you were of gentler, milder mold (1.1 54-59)
The verbal banter sets a comical tone to the Act. Shakespeare utilizes puns to enhance the humor of the scene. He plays on the words “court” and “cart” as well as the meaning of “mate”. Katharina’s father tells Gremio and Hortensio that they have his permission to court or start a relationship with Katharine, but knowing her shrewish nature, Gremio cleverly replies with “To cart her rather; she’s too rough for me” to imply that she is too much too handle (1.1 55). She has to be restrained . Shakesepeare illustrates Katharina’s fierce attitude, by her answering Gremio’s insult, “Is it your will / To make a stale of me amongst these mates? (1.1 57-8). In this context, “mates” means ‘rude fellows’. She is not afraid to defend herself and slight others. The insulting continues, with Hortensio using a pun to turn Katharina’s wittiness into another slander towards her. He uses “mates” with the meaning of a husband or lover, and says that is something she will never have, unless she becomes more tame and easier to handle. The puns utilized emphasize the persiflage occurring in Act 1, while adding to the comedic effect of the play. The cunning diction overall sets a humorous tone and makes the reader feel engaged in the fast paced retorts that stream out of the character’s mouths.
In Act 1 of The Taming of the Shrew, Shakespeare establishes the unfair treatment towards Katharina and her personality traits through the use of harsh diction, this makes the reader feel sympathy towards her. It is read from lines 55 to 70. Gre.: [Aside] To cart her rather: she’s too rough for me./ There, there, Hortensio, will you any wife? Kath.: I pray you,sir,is it your will/To make a stale of me amongst these mates? Hor.:Mates,maid! how mean you that? no mates for you,/Unless you were of gentler, milder mould. Kath.: 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 noddle with a three-legg’d stool/And paint your face and use you like a fool. Hor.: From all such devils, good Lord deliver us! Tra.: Husht, master! here’s some good pastime toward:/That wench is stark mad or wonderful froward. This scene took place when Katharina, Bianca and her suitors and Baptista first walk on stage. Kate had not said anything rude or horrible to either of the men, but Gremio immediately started off by using crude language by saying he did rather have a form of public punishment than be with Kate before giving her a chance or finding her personality out for himself. He was quick to judge her. This made Katharina mad, and her reply portrays her wit and how she is used to defending herself. Her condescending tone can create a comedic effect while on stage too. When Katharina replies to Hortensio, I interpreted the lines meaning that the comments do not affect her but if they did she would hit his head with a three legged stool and make a fool out of him. She does indeed have temper but only when people provoke her. An interesting element in this exchange of lines was when Tranio describes her as either ‘stark mad’ or ‘wonderful froward’. It seems as though he is the only one who understands why Katharina might behave the way she does even though he calls her a wench. The excerpt sets up the personalities of the characters and the tempo is quick which would be appealing to the audience in the Elizabethan age.
I totally agree, I believe that Katherina comes off as wild and headstrong, but there should be a strong reason why she possesses these certain qualities. In ancient times, women ought to be very fragile and depended on their husbands but Katherina clearly doesn't support such assumptions. She looks down upon the concept of marriage since she doesn't desire to be dominated for the rest of her life.
One passage in Act I, scene ii, stood out to me. The scene begins with Petruchio and his servant Grumio outside the house of their friend Hortensio. In their conversation, both men seem to have a fairly quick mind and the ability to play with words without thinking about what they are saying. When Petruchio bids Grumio to “knock”(I.ii.5) Grumio replies, “Knock, sir! whom should I knock? is there any man has rebused your worship?”(I.ii.6-7). Punctuation marks are used many times in the short line in order to create a tone of false confusion that is meant to annoy Petruchio for Grumio's amusement. Grumio continues to search for who he should “knock”(I.ii.9,13) and Petruchio grows impatient, calling him “villain”(I.ii.8,11,19) and threatening to hit him saying, “Villain, I say, knock me at this gate And rap me well, or I’ll knock your knave’s plate.”(I.ii.11-12). Grumio still refuses to give up the act and Petruchio uses his knowledge and strength to put an end to the games; “Faith, sirrah, an you’ll not knock, I’ll ring it; I’ll try how you can sol, fa, and sing it”(I.ii.16-17). Petruchio is able to use his wits to come up with a heroic couplet to end the quarrel, the same way many poets would end their poems. He also remarks on his own strength in being able to make Grumio sing “sol” and “fa”(I.ii.17) in pain from his blow. To me, though he seems smart and quick witted, Petruchio appears short tempered and never wants to be out done by someone he considers his lesser.
Utilizing puns and wordplay, William Shakespeare creates a comedic tone that appeals to the reader and audience. The verbal banter between Petruchio and Katherine is one the most well known parts, along with Kate’s speech, in “The Taming of the Shrew”. Upon Kate’s entrance Petruchio refuses to call her “Katherine” as she corrects, and instead declares:
You lie, in faith, for you are called plain Kate, And bonny Kate, and sometimes Kate the curst. But, Kate, the prettiest Kate in Christendom, Kate of Kate Hall, my super-dainty Kate, For dainties are all Kates, and therefore, Kate, (Shakespeare 2.1.185-189)
Petruchio purposely calls her “Kate” instead of “Katherine” immediately portraying that he will do as he likes while undermining her at the same time. He creates a pun on, “dainties are all Kates” also meaning delicacies are all cakes, constructing a play on the similar phonological sound of “Kates” and cakes (2.1.189). Kate insults Petruchio, comparing him to “a joint stool” in which Petruchio plays on her words, commanding her to “come sit on me.” (2.1.197-198). This pattern of Kate’s verbal attack and Petruchio’s witty replies continues, where Shakespeare uses puns to convey a comedy. The banter entertains and makes the reader laugh at the interaction, and at Petruchio’s blatant sexual innuendos; Shakespeare writes to the common mass. Petruchio calls Kate a wasp to which she warns him of her “sting”, or verbal assault . He banters back that he could “pluck it out” but Kate retorts “Ay, if the fool could find it where it lies.” (2.1.211, 2.1.212). With Kate’s reply, he cleverly turns it into an oral sex joke:
Petruchio. Who knows not where a wasp does wear his sting? In his tail. Kate. In his tongue. Petruchio. Whose tongue? Kate. 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— (2.1.212-216)
Kate threatens to “sting” Petruchio on his tongue if he continues to “talk of tales” (meaning his banter) placing a pun on between the word tales and tails (2.1.215). Petruchio, referring to wasps with stingers in their tails, compares Kate stinging his tongue as meaning her “tail” on his tongue (2.1.216). Shakespeare adds these raunchy jokes and puns in order to gain attention of the reader and create a comedic tone. However, despite Kate’s threat: “I’ll see thee [Petruchio] hanged on Sunday first”, Kate remains silent to Petruchio announcing their marriage (2.1.192). Petruchio’s persistence and ability to banter back at Kate is possibly one the reasons why Kate remained silent on the agreement to marry. Why does Kate suddenly accept the marriage, when just moments before she seemingly detested Petruchio?
I think Kate never actually detested Petruchio but wanted to test as to how far he could be pushed. The other men she was nasty to could never retaliate back with similar persiflage but Petruchio could. Kate may have found this quality attractive and therefore continued the conversation filled with puns. Kate could have remained silent when Petruchio announced their marriage because that is what she wanted but did not want to accept it out loud. She wanted to remain ambiguous so that Petruchio doesn't feel like he 'won'.
In the second act of Taming Of the Shrew, Petruchio takes on a whole new character. At first, it is easy to see that Petruchio is persuaded by money, as this is what he revolves most of his life around. His determination in marrying Katherine in spite of her shrewish behavior shows his greediness and trickery. However, in this scene Petruchio acquires some new traits as well as bianca. When the two meet, and Petruchio is exposed to the cruel and bitter attitude that Katherine portrays, it seems as if the two have a connection instantly. Petruchio’s diction in this scene changes from that of honest and blunt to a more sexual connotation, "Thou hast hit it: come sit on me," (II.i.195) and "What, my tongue in your tail? nay, come again," (II.i.211). The change in character shows that Shakespeare wanted readers to see a whole new side to the character they had previously thought they had all figured out. Do you think that after this scene, Petruchio may have changed his motives of only wanting to marry Katherine for her money, and maybe it’s also about his attraction to her? Katherine does have a unique personality, and maybe he is sincerely drawn to this.
Really interesting perspective Sierra! In response to your question, I think that his motives didn't really change. I think that his sexual diction mainly enhanced how shallow and disrespectful he already was. He doesn't really have a strong attraction to her like his innuendos suggest, but they merely are used to illustrate his crudeness. I also think that Petruchio chose to speak to Kate like this to rile her up and get her angry. This may be his first attempt at "taming" her; he wants to show her how he could treat her during their inevitable marriage so as to scare her and condition her to act "appropriately".
Toward the end of Act Two, when Kate’s wedding date has been set, Baptista promises Bianca to the man who could provide the largest dower, saying, “That can assure my daughter greatest dower / Shall have my Bianca’s love” (2.1.336-337). The ensuing exchange between Gremio and Tranio highlights the customs regarding marriage in Shakespeare’s time. A dower is the share of a man’s estate given to his wife in the event that she is widowed. Baptista’s insistence on a large dower for Bianca above all else shows that he has little consideration for her happiness. He would have no qualms marrying her off to a much older neighbor (Gremio) if he proved to be the wealthiest. However, Baptista may have some concern for his daughter’s happiness: a large dower, would, at the very least, ensure her comfort if her husband died. Gremio begins by listing what he can give Bianca. Within these 17 lines, he lists several place names: “Turkey cushions boss’d with pearl,” and “Valance of Venice gold in needlework” (2.1.342, 346, 347). These allusions alert the audience not only to Gremio’s wealth, but to his worldliness. Metallic diction such as “plate and gold,” “crowns,” and “pewter and brass” add to Gremio’s image of wealth (2.1.340, 343, 348). Despite Gremio’s ostentatious display of his dower, Tranio (acting as Lucentio) promises more, saying, “What, have I pinch’d you, Signior Gremio?” (2.1.364). The use of painful diction creates a violent tone, as though Gremio and Tranio are attempting to verbally wound each other with descriptions of their dowers. When Gremio rebukes Tranio, he uses more painful diction: “What, have I choked you with an argosy?” (2.1.369). Baptista finally decides that “Lucentio” has won the match, and allows him to marry Bianca if Lucentio’s father makes an assurance of the dower to Bianca. Tranio celebrates with the following lines:
A vengeance on your crafty withered hide! Yet I have faced it with a card of ten. ‘Tis in my head to do my master good. I see no reason but supposed Lucentio Must get a father, called “supposed Vincentio,” And that’s a wonder. Fathers commonly Do get their children, but in this case of wooing A child shall get a sire if I fail not of my cunning (2.1.397-404).
In these last lines of the act, Shakespeare foreshadows the pedant’s transformation into Vincentio to give the assurance to Baptista and Bianca. The use of the word “supposed” to describe Lucentio and Vincentio creates a humorous tone. It also foreshadows the moment when the actual Vincentio encounters “supposed Vincentio.” Shakespeare continues the humorous tone in the last few lines: Tranio says that fathers typically “get” mothers with child, but this time, Tranio will “get” his own father. Tranio’s enthusiasm in this moment shows his loyalty to Lucentio, as he is willing to go to great lengths to “win” Bianca for him.
I enjoyed your analysis of Vincentio. Do you believe that Shakespeare had a hidden meaning behind creating an alter ego for certain characters? As in to show themselves (or the audience) another side of who they truly are?
William Shakespeare’s play, Taming of the Shrew, is consistently full of alliteration and comparisons, threw similes and metaphors to exaggerate an idea or to create a tone threw the romanticized, flowery rhythm of the lines. A great example of the excess use of alliteration and comparisons threw metaphors and similes is shown towards the end of Scene one in Acts 2, page 33.
And woo her with some spirit when she comes. She sings as sweetly as a nightingale: Say that she frowns; I’ll say she looks as clear As morning roses newly wash’d with dew: Say she be mute and will not speak a word; … (Shakespeare, Acts 2, Scene 2, page 33)
Within this paragraph there is 13 words that all start with the letter “s”. The S sound is almost always associated with snakes that often warn of danger or reflect evil. This is quite ironic however that Petrischio would be using a sound that reflects danger when he is trying to win over Katrina's father’s heart convincing him to allow Petrischio to marry Katrina. The S sounds also creates a sense of poetic rhythm to the lines. It provides a beat and melody that is pleasing the the ears and fluidic. “She sings as sweetly as a nightingale”, uses alliteration of the s sound 3 times in a row to emphasis the melodic tone of the sweet singing. Singing sweetly as a nightingale is also however a simile and visual imagery. Petruchio is comparing Katrina's sweet songs to a nightingale, a beautiful and powerful song bird. The similes allows the reader to make a connection to the character threw the comparison along with adding to the flowery rhythm and tone created threw Shakespeare’s language. He, Petrischio, then goes on to compare Katrina to being as “clear as morning roses newly wash’d with dew,”. This allows the reader to visually see the clearness of the new along with adding a romanticized feeling of love, although the reader knows the love isn’t real. The alliteration and comparisons both add to the tone and emphasis of the lines along with adding comparisons allow for a romantic and flowery rhythm that is repeated throughout all of Shakespeare’s play Taming of the Shrew.
I like how you perceived Shakespeare's use of repetition of the letter "s" in both negative, snake-like, and positive, soft sounding ways. For me, this appears ironic in describing Kate. In the perspective of most the characters, even Baptista, Katherine is characterized as "hell" and even "a devilish spirit". These connotations associate with the evil, snake-like qualities in your interpretation of Kate. This is ironic in the way that Petruchio sees her as a "nightingale" and "morning roses", qualities that one would normally associate with the humbleness of Bianca. Petruchio's view of Kate varies from the perspective of Baptista and Bianca's suitors, foreshadowing that he may be the only one who can tame the shrew.
Throughout Act II, Shakespeare displays Katherine’s inability to calmly express her emotions through proliferation in arguments and pugnacious stage directions, characterizing Kate as a truculent individual. As seen in Act I, Kate exemplifies a tremendous grudge towards her sister, Bianca, for being cherished by both their father and suitors. Katherine, the eldest daughter, displays this jealousy towards her younger sister as she proclaims, “She is your treasure, she must have a husband; / I must dance bare-foot on her wedding day” (II.i.32-33). While Baptista continually shows favor to Bianca, “Poor girl! she weeps.”, he neglects Katherine, “For shame, thou hilding of a devilish spirit,” (II.i.25), (II.i.27). Through constant verbal abuse by her father, Katherine’s envious actions appear self-evident. Her father calling her “hilding of a devilish spirit”, or a good-for-nothing monster, makes her hatred for her family appear justifiable. Being compared to her sister constantly creates a covetous tone in Katherine’s desire to avoid her spinsterhood by dancing barefoot at her younger sister’s wedding. Katherine’s raging emotions of jealousy result in turmoil as she “[Strikes [Bianca]” (II.i.21). In the midst of her defiance to her sister’s favorable persona, Katherine displays her emotions through violence, a seemingly needed and easy way to gain her revenge. However, this only causes her father to reprimand her all the more. Shakespeare again utilizes violence in his stage directions during Kate’s feud with Petruchio: “[She strikes him” (II.i.212). After Petruchio takes advantage of Katherine with a sexual innuendo, she reacts with violence, striking him to express her emotions when she feels she can’t verbalize them strongly. Similar to the encounter with her sister and father, Kate’s emotions are aroused by Petruchio’s bold words, causing Kate to be taken back. Violence again seems to be the only defense mechanism she can access, leading the audience to perceive her as a violent, relentless character. This scene also represents the inequality of gender in Shakespeare’s time period. Although men were viewed as “in charge”, women were reduced to their rule, making violence and defiance to their suitors unacceptable. However, Kate’s character challenges this belief through truculently displaying her independence. Yet, she is still looked down upon and reprimanded for doing so. Shakespeare’s use of aggressive stage directions in the midst of tense, emotional scenes, allows the audience to experience the rage of the actor, creating a more serious, violent tone in his play.
In Act II of Taming of the Shrew, Shakespeare illustrates the weak relationship Baptista has with Katharina. After she hits her sister Bianca, Baptista says:
Bap. Poor girl! She weeps…For shame, thou hilding of a devilish spirit, Why dost thou wrong her that did ne’er wrong thee? (2.1)
Baptista immediately takes Bianca’s side in the dispute and talks as if she were a little child. He proceeds to insult Katharina and essentially call her a “good-for-nothing”. He treats Bianca as his perfect princess and disregards Katharina and her strong willed personality. The conversation proceeds after Baptista sends Bianca inside, with Kate saying:
Kath. Nay, now I see She is your treasure…I must dance bare-foot on her wedding day (2.1).
Her response to Baptista’s obvious proclivity towards Bianca is that of disdain. Katharina’s father treats her poorly and thinks that there is no help for her. She believes that her father loves her younger sister more. This conversation between them signifies their shaky relationship and adds context to why Katharina acts the way she does, and is deemed “shrewish” by many. Shakespeare further illustrates this through Baptista’s blunt disregard for Katharina, writing:
Pet. Have you not a daughter Call’d Katharina, fair and virtuous? Bap. I have a daughter, sir, called Katharina (2.1).
After Petruchio attempts to charm his way into marrying Katharina, Baptista corrects him. Almost passive aggressively, Katharina’s father insinuates that his eldest daughter is none of the qualities that Petruchio mentioned. She is nothing like Bianca, who is often described with those characteristics throughout the play. When reading this act, I thought that this relationship could have two effects on the reader. It could enhance the humor of the play – Baptista also finds his daughter shrewish and subtly insults her. Or it could make the reader emphasize with Kate; she is treated so horribly by everyone around her, she has no one that really cares for her. Which do you think the tone is?
I feel that the predominant tone of Kate's relationship with all the other characters is humor, because there are multiple times even in the first two acts where someone makes a sarcastic remark about her behavior. Kate herself doesn't take any action to better her situation; she is bullying and striking her sister and her refusal to change her behavior alienates her father. I think that had she taken steps to show that she was genuinely unhappy with her situation rather than continuing with her behavior, the audience may have empathized with her a bit more.
I liked how you wrote about the father-daughter relationship between Baptista and Katherine. Because the play has been intended for comedy, I think the tone that Katherine and Baptista creates is one of humor. But I think it greatly depends on the reader how their relationship impacts them. In Elizabethan times, Kate’s behavior is out of the norm, essentially ridiculous. The audience is meant to laugh at her shrew behavior, and to pity Baptista for having such a wild daughter. In a modern western perspective, where an independent, witty personality is desired, the reader empathizes with outspoken Kate. Do you think Baptista’s preference for Bianca caused Kate’s shrewdness, or has Kate always had this personality, causing Baptista to favor her younger sister?
In Act II of Taming of the Shrew, William Shakespeare characterizes Petruchio as an unctuous sycophant by writing his lines with flattering diction. Petruchio’s main goal in Act II is to secure his marriage and dowry with Kate. To achieve this, he shows appeasement towards all the other characters, particularly Kate and Baptista. Petruchio demonstrates this from the moment he meets Baptista, when he says, “That, hearing of her beauty and her wit, / Her affability and bashful modesty, / Her wondrous qualities and mild behavior, / Am bold to show myself a forward guest / Within your house, to mine eye the witness / Of that report that I have so oft heard” (29-30). Petruchio is clearly lying to Baptista in order to appease him into encouraging the marriage with Kate; Hortensio had just told Petruchio of Kate’s shrewish behavior in the previous act. The fact that Petruchio begins his acquaintance with Baptista by lying to gain an advantage demonstrates his slimy sycophancy. Shakespeare also uses eloquent language in Petruchio’s lines, which creates a tone of appeasement that furthermore contributes to Petruchio’s characterization. His unctuous behavior is even more defined when he is speaking with Kate. Kate does nothing but argue with him throughout the whole exchange they have, but Petruchio still attempts to appease to her by saying, “I find you passing gentle. / ‘T was told me you were rough and coy and sullen, / And now I find report a very liar; / For thou art pleasant, gamesome, passing courteous, / But slow in speech, yet sweet as springtime flowers” (35). Once again, Petruchio says the furthest thing from the truth in an attempt to ingratiate himself with Kate, who has shown nothing but hostility to him. Shakespeare emphasizes his behavior and adds to the tone of appeasement through the use of the metaphor “sweet as springtime flowers”. The repeated flattery of Petruchio towards his peers demonstrates the lengths to which he will go to achieve a goal.
In the beginning of Act II, scene 1, It is the first scene where Bianca has actually spoken. It portrays her as submissive yet self serving. She isn't as gullible as people believe her to be. For example in Line 1 to 7: Bianca: Good sister, wrong me not,not wrong yourself, To make a bondmaid and a slave of me; Unbind my hands,I’ll pull them off myself, Yea, all my raiment, to my petticoat; Or what you will command me will I do, So well I know my duty to my elders.
This is an interesting juxtaposition of phrases which would make her seem independent in contrast to her submissive nature. In line 1 and 2 she clearly states she does not want to be a slave or servant to her sister which makes it clear that she won’t accept being treated badly. In the last two lines though she says “Or what you will command me will I do,/ So well I know my duty to my elders.” which is ironic because arguing with Kate, would be defying her elders. She is self serving and is aware of what she is doing/implying because Shakespeare uses a lot of punctuation in these lines. The sentences aren’t run on, instead they give an impression of structure and organisation. These are unlike Kate’s sentences which lack punctuation when she argues with Baptista. This leads me to believe that Bianca is not as innocent as she seems and desires the same freedom as her sister but is able to control her emotions better. She seems to be aware of where her skills and talents lie and uses it to her advantage. This also foreshadows the end of the play when Bianca defies Lucentio summoning her. Now that she is married, she is ‘safe’. She does not need to worry about being on her best behaviour because she has been married.
Petruchio: "Con tutto il cuore, ben trovato may I say" Horteansio:"Alla nostra casa ben venuto, molto honorato signor mio Petruchio" (II.i.23-24).
What's really interesting in this passage is Shakespeare's usage of Italian to express emotion. The sudden change of language completely changes the mood of the passage, as the conversation escalates to a more finer state. The ability to speak multiple languages reveals a more rich cultural background and it often separates the intelligent from the unintelligent. In this case, Patruchio and Hortensio attempt to show off in front of Grumio, who was just a servant and had no knowledge of Italian. The usage of multiple languages was utilized to show courtesy towards communities that spoke those specific languages, but it also displayed a person's rich cultural background. In this case, the audience notices that Hotensio and Petruchio are able to create a deeper connection through the usage of a common language besides Shakespearean. Petruchio expresses that he is ecstatic to see Hortensio and Hortensio is able to welcome his friend into his house. The tone is much more flattering as in Italian one must speak sweetly because of the nature of the language.
Within act 3, Petruchio arrives late to his very own wedding in messy clothing. The scene shows a lot of his diction as light and at ease despite the fact that he has caused so much ruckus, “"Were it better I should rush in thus- But where is Kate? Where is my lovely bride? How does my father? Gentles, methinks you frown" (III.ii.85-87). He seems to be acting un shamefully about his wrong doings. This may have been to embarrass Katherine by making a scene, or to test her shrewish behavior. His actions, along with his tone of voice, create a sense of heartbreak inside of Katherine. This scene brings out the easy going side of Petruchio, as he doesn’t care what others think of him, he is solely focused on Katherine. The reason behind these actions is to show Katherine that he is the boss and he is in charge of her, She already agreed to marry him so she can't back out now anyways. She is the woman, so he is superior and she needs to obey him, ““I will be the master of what is mine own.---She is my goods, my chattels, she is my house…” (III.ii.235-236). Here, his diction is very firm. Overall, scene 3 proves once again that Petruchio is a clever character that some may not notice without further analysis. His actions may be apart of his scheme of “taming” his wife.
I agree strongly with you in that Petruchio didn’t just act ridiculously without reason. Petruchio is doing this with a purpose: to demonstrate to Kate that he’s her property, her “master” (Shakespeare 3.2.235). Kate has already agreed to the marriage (or rather her silence as agreement) the dowry has been bartered, there’s no need for Petruchio to woo Kate anymore. He’s beginning the process of belittling Kate, to essentially break her spirit, in order to tame the shrew. By arriving in an unkempt state, and acting in a pompous, absurd manner, he conveys that he will do as he likes. In embarrassing Kate, Petruchio degrades her, expressing that he doesn’t consider her any close to his equal— she’s not worth it to dress, or behave suitably.
I also agree with your analisis of Petruchio and his crude behavior. Do you think that Petruchio wants to establish his dominance over Kate, or prove his ability more? Is the Taming of the Shrew more for Petruchio's own self interest, or more as a bragging right?
In act III of Taming of the Shrew, the irony created when Bianca accepts Lucentio’s method of courtship but denies Hortensio, it creates a comedic tone and characterises all of their characters. Even though Hortensio’s method of courting Bianca was more creative, it portrayed him as desperate and helpless. In the last line of the poetry it says, “E la mi,’ show pity or I die.” (III.i.77). Lucentio on the other hand is strong and confident even though it is not very innovative. He translates Heroides by Ovid to describe his intention and true identity instead of the actual translation. The allusion to Heroides by Ovid is interesting because it is a set of dramatic letters where the heroines have been rejected by the heroes. By Lucentio refereeing this, he gets the upper hand in contrast to Hortensio being submissive. Bianca’s character is developed by showing her as hypocritical. She accepts Lucentio making changes but when Hortensio does so, she explicitly expresses her dislike, “Call you this gamut?tut, I like it not:/Old fashions please me best; I am not so nice,/To change true rules for old inventions.” (III.i.78-80). This also shows how Bianca is truly not afraid to state her opinion and is much like her sister, but Bianca is able to manipulate the situation to her favour.
Do you think the fact that Bianca was more friendly to Lucentio than Hortensio makes her less likable as a character? Up until this point she has been portrayed mainly as an angel compared to Kate, so naturally she should be more likable, right? But a lot of that portrayal comes from reports other characters have made about her, and not from her actual behavior and likable qualities. I think this scene shows that she is really not as peaceful and lovely as the other characters say she is, because her actions reveal that like her sister, she can be manipulative and play the cards of the situation she's in.
Perhaps when Bianca says, "Old fashions please me best," she is referring not only to the gamut but also to the way that Lucentio introduced himself. When Lucentio "translated" the Latin, he stated his name, his father's name, and his purpose in coming to tutor her. Lucentio did not use any flowery diction or display his desperation, whereas Hortensio greatly exaggerated his feelings, saying, "show pity, or I die." Hortensio did not even have the courage to verbally express his feelings for Bianca. He forced her to read what he had written. Lucentio was straight forward and made his intentions clear, while Hortensio's intentions were not as obvious. It is clear that when Bianca rejects Hortensio's gamut, she is rejecting Hortensio's affections.
I think Bianca does become less likeable as a character because she barely gives Hortensio a chance and is blatantly rude. It also portrays her as a hypocrite. However, I think that Kate isn't manipulative and is a lot more naive in that sense because she doesn't seem to realise the situation around her.Kate is not able to disguise her personality like Bianca, and that makes her more likeable and authentic.
In Act III, William Shakespeare demonstrates to the audience how using a disguise to reach one’s goals can backfire and create negative consequences. In the previous two acts of the play, Tranio disguised as Lucentio and Lucentio disguised as Cambio in an elaborate plan to for Lucentio to win over Bianca’s love. Up until Act III, their plan had been going smoothly, despite the fact that Lucentio had to compete against several of Bianca’s other suitors. But in Scene I, Act III, Lucentio observes that Bianca’s other teacher, Licio, seems to be wooing her. Lucentio isn’t aware of the fact that the teacher is actually a disguised Hortensio, also trying to win Bianca’s love. Lucentio, after becoming suspicious of Hortensio’s behavior, says to himself, “well, I must wait, / And watch withal; for, but I be deceived, / Our fine musician groweth amorous” (44). Shakespeare uses Lucentio’s frustrated soliloquy as a tool to suddenly change the pace of the play, representing the unforeseen difficulty he has now encountered in his master plan. The frustration Lucentio expresses provides comic relief for the audience, because it was an outrageous plan from the start, and Lucentio is only now beginning to realize his troubles. On the other side of the conflict, Hortensio expresses similar, even greater irritation with his counterpart. After Lucentio attempts to stall Hortensio’s lesson to buy time for him to reveal himself to Bianca, Hortensio thinks out loud, saying, “How fiery and forward our pedant is! / Now, for my life, the knave doth court my love: / Pedascule, I’ll watch you better yet” (43). The dramatic irony behind the fact the that neither of the characters realize who the other is serves two purposes. For one, it provides an overarching comedic effect to the scene. But more importantly, it highlights the failure of their disguises, showing that an elaborate plan can sometimes be too complex to be effective. In Lucentio and Hortensio’s case, their intricate webs of plans became tangled together, and so they fell apart.
Act Three opens with a humorous scene wherein Hortensio and Lucentio attempt to simultaneously woo and tutor Bianca. Using interrupted lines and insults, Shakespeare builds tension between the two men as they come to realize they are competing for Bianca’s love. Lucentio insists upon lecturing Bianca first, before Hortensio tutors her in music. He calls Hortensio a “preposterous ass,” saying that Hortensio doesn’t know that music is supposed to “refresh the mind of man after his studies or his usual pain” (3.1.9, 11-12). Lucentio’s insult creates an angry, bitter tone and shows that he feels threatened by Hortensio. Lucentio continues to insult Hortensio; the following exchange takes place:
BIAN. 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 (3.1.23-24).
Lucentio suggests that Hortensio is a poor musician when he says that Hortensio’s instrument will never be in tune. He is also hinting that he does not want Hortensio to have access to Bianca. As Lucentio tutors Bianca, he reads a passage of Latin:
Hic ibat Simois; hic est Sigeia tellus; Hic steterat Priami regi celsa senis (3.1.28-29).
Translated, this means “Here flowed the Simois; here is the Sigeian (Trojan) land, here had stood old Priam’s high palace.” This passage comes from Ovid’s Heroides, which is a collection of poems written in the form of letters from Greek heroes to their lovers who have abandoned or mistreated them. This allusion fits the scene because Lucentio feels mistreated by Bianca; she states that she neither knows nor trusts him. However, when Bianca asks Lucentio to translate the lines, he cleverly inserts his message between the words. Bianca does the same when she replies. In a way, the two are writing their stories into Ovid’s book. It is as though Lucentio is writing to Bianca to tell her to avoid Hortensio. Hortensio doesn’t stay away for long, though. He bursts into Lucentio’s wooing session, saying, “Madam, ‘t is now in tune” (3.1.44). Lucentio completes his line, creating a perfect line of iambic pentameter. He says, “All but the base” (3.1.44). The use of the interrupted lines shows that Lucentio is quick to deflect Hortensio’s advances and that the two men are very similar, as they are pursuing the same woman.
Petruchio, in the incipient stage in taming Katherina, refuses to arrive for the wedding on time, and ridicules her by wearing “a pair of old breeches thrice turned” (Shakespeare 3.2.44). Shakespeare uses visual imagery, and parallel structure in order to convey the outrageous yet hilarious behavior of Petruchio contributing to a comedic tone. Petruchio’s behavior effectively placed him in control and dominant over Kate. Katherina understands that if Petruchio does not arrive for the wedding then only she would be negatively affected, saying, “No shame but mine . . . Now must the world point at poor Katherine” (3.2.8, 3.2.18). By arriving at his own leisure, Petruchio portrays that he will only do something when he wants to, regardless of what is expected of him. Biondello enters, after a comedic exchange with Baptista, he describes in great length the “old news” of Petruchio’s appearance (3.2.30). Using visual imagery, Biondello depicts the strange apparel: “a pair of boots that have been candle-cases, one buckled, another laced” and describes Petruchio’s appearance as ,“full of windgalls, sped with spavins, rayed with the yellows” (3.2.45, 3.2.52-53). Although a twenty-first century reader may not completely understand the descriptions, even they can interpret Shakespeare lengthy imagery of Petruchio as one of peculiarity, or not appropriate in the slightest for a wedding. Petruchio’s shoes are described to be “candle-cases” or so dilapidated that the only use is to keep candle cases in. Shakespeare also uses consonance for the ghastly appearance of Petruchio (“ll” in “full”/ “windgalls”, “s” in “sped”/ “spavins”, and “y” in “rayed”/“yellows”) creating a fluidity to the language (2.3.52-53). He construes Petruchio with swellings on his legs and spoiled with jaundice; overall a sickly appearance. Petruchio refuses to change as Baptista requests, and declares that Kate’s marriage is to him, not his clothes. Leaving the mad wedding ceremony early, Gremio gives the reader a description of Petruchio’s eccentric and malapropos behavior. Gremio, who described Kate earlier as “a devil”, declares to Tranio:
Gremio. Why, he’s a devil, a devil, a very fiend. Tranio. Why, she’s a devil, a devil, the devil’s dam. Gremio. Tut, she’s a lamb, a dove, a fool to him. (3.2.155-157)
Shakespeare’s parallel structure juxtaposes Petruchio and Kate, emphasizing to the reader their similar anomalous personalities. Gremio’s description of Kate as innocent as “a lamb, a dove” and as harmless as “a fool” alongside of Petruchio, reveals to the audience the extent of Petruchio’s outlandish behavior (3.2.157). In thoroughly embarrassing Kate, Petruchio wields power over her, initiating his process of taming the shrew.
Fantabulous analysis Yena! I found your interpretation very interesting regarding the juxtaposition of Katharina and Petruchio's personalities. Do you think that this characterization by Gremio could also illustrate the similarities between the two? Do you think Shakespeare weaves this dialogue in to foreshadow anything?
I completely agree with your analysis of Petruchio. It shows how in Shakespearean society it was okay for a man to act this way but not a women. The range of acceptability of behavior greatly differed between men and women. In what other ways do you think Shakespeare shows this throughout the play?
Act 3 of Taming of the Shrew by William Shakespeare there is immense characterization between Lucentio, Hortensio, Kate, and but mainly Petruchio. Petruchio enters the scene by running late to his own wedding wearing awful clothing unfit for everyday life much less a wedding. As Tarino had said in the middle of act 3 scene 2, “He hath some meaning in his mad attire:”. All those close to, or remotely close to Petruchio knew how wise he was and how he would not be dressing so disgustingly for nothing, on his wedding day of all days. The reader notices in act 2, how strong headed both Petruchio and Katherine were. Although the two appeared to be the perfect match, both were wise, independent, and stubborn. Their dialog, back and forth banter foreshadowed that the two independent, stubborn heads, would clash. In act 3 Petruchio arrives at his wedding, foul appearing, late, and stubborn. He is respectful to Katherine, but refuses to allow her to have her way as she demands at the end of act 3, scene 2, “I will no go to-day; No, nor to-morrow, not till I please myself. Although the reader is already aware of Katherine's independent attitude, Shakespeare goes on to have Petruchio overpower her stubborn mindset with a more aggressive and firm attitude stating, “I will be master of what is mine own: She is my goods, my chattels, she is my house, My house stuff, my field, my barn, My hours early, my of, my ass, my anything:”. His strong declaration I believe startled Katherina and all witnesses because Petruchio had recently been a softer soul. Petruchio scares Katherine, but she still goes with him, she still feels protected with him and safe. This is because Petruchio goes on to say, “And here she stands, touch her whoever dares; I’ll bring mine action on the proudest he That stops my way in Padua.” This is characterization of Petruchio’s pride and care for Katherine. He sees her as a task, a challenge. This passage further emphasized Petruchio’s dominate, demanding, and selfish personality, along with showing the reader the lengths Petruchio would go to, to tame his “sweet wench”.
Great analysis! Do you think, at this point in the novel, that Kate knows what Petruchio is doing? Or does she see right past it and think he is acting out for no apparent reason? If she does know what he is trying to do, does this change her opinion of him at all?
In Act III of Taming of the Shrew, Gremio’s dialogue displays how Petruchio is seen after the ridiculous wedding that took place. After they have married, Gremio returns from the ceremony and speaks to Tranio of the spectacle that occurred,
Gre. A bridegroom, say you? ‘t is a groom indeed, A grumbling groom, and that the girl shall find. Tra,. Curster than she? Why, ‘t is impossible. Gre. Why, he’s a devil, a devil, a very fiend. Tra. Why, she’s a devil, a devil, the devil’s dam (3.2).
In this passage, Gremio and Tranio illustrate through their language how Petruchio is perceived now, after the wedding has taken place. Before, he was seen as charming and suave, as seen in “have you not a daughter Call’d Katharina, fair and virtuous” (2.1). In the previous act, Petruchio tries very hard to please Baptista and appear as a charismatic gentleman. However, once he officially is able to marry Kate, he loses all his graceful appearances and proceeds to be late to their wedding and be incredibly rude to everyone. After attending their nuptials, Gremio finds that Petruchio is “shrewish” just like Katharina. Using the same diction that was used to describe Kate in Act II, Shakesepeare demonstrates the connection and similarities between the two. In this context, groom means a ‘rude fellow’ reiterating the unkind behavior of Petruchio at their wedding. ‘Devil’s dam’ refers to the mother of the devil, therefore Kate and Petruchio are both of devilish nature. This characterization enhances their similarities for the reader and foreshadows more problems ahead for the couple.
In Act III, Katharina's emotions towards Petruchio continue to be presented in interesting ways. I personally am starting to sense a slight transformation in her character as the reader picks up on clues that suggest Katharina is slowly developing affection for Petruchio. When there is doubt regarding Petruchio's arrival and attendance at the wedding, she claims to her father,
"No shame but mine: I must, forsooth, be forced To give my hand, opposed against my heart, Unto a mad-brain rudesby, full of spleen; Who woo'd in haste and means to wed at leisure. I told you, I, he was a frantic fool, Hiding his bitter jests in blunt behaviour: And, to be noted for a merry man, He’ll woo a thousand, 'point the day of marriage, Make friends, invite, and proclaim the banns; Yet never means to wed where he hath woo'd. Now must the world point at poor Katharine, And say, “Lo, there is mad Petruchio’s wife, If it would please him come and marry her!” (III.ii.8-20).
Here, an angry tone is evident, but the more important component is the underlying accompanying tone of hurt, which acts as the foundation and fuel for her frustration and rant. I think her own emotions for Petruchio are confusing her because they are both unexpected and unknown to her. Perhaps she is falling for him, but because of her independent and strong-willed demeanor that everyone knows her for, including herself, she does not want to admit she may be falling in love. The possibility of being stood up at the altar makes Katharina reflect on the reality of the situation and "catch" herself. The warmth she has in her heart that has finally emerged is quickly overshadowed by anger and hurt. She does not want to allow herself to become a fool at the hands of a man. Katharina says, "Would Katherine had never seen him, though!" (III.ii.26) demonstrating how Petruchio left some kind of impression on her and has affected her in some way so as to make her wish she had never laid eyes on him. Her inner conflict, which seems to not yet be recognized by other characters, is one in which she battles emotions she cannot control (infatuation/love) with ones she can (anger/hatred).
Your analysis is really interesting. It made me think about how Petruchio uses Kate's varying emotions in order to "tame" her. I think your analysis of Kate developing an emotional connection towards Petruchio allows her to subdue to his requests later on. However, Shakespeare also uses Kate's angry emotions to keep her from obeying Petruchio's actions, giving her a sense of independence when she states: 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 (II.ii.180-188). Kate displays this anger towards Petruchio in an attempt to control him. Ironically, Petruchio is the one who discovers the way to tame her rage.
While characterizing the relation of Gremio and Petruchio in Act III, Shakespeare uses juxtaposition of metaphors, contrasting Petruchio’s actions to Kate’s, as well as displaying Gremio’s growing disrespect towards Petruchio’s actions. While discussing the absurdity taking place at the wedding, Gremio and Tranio argue: GRE. Why, he’s a devil, a devil, a very fiend. TRA. Why, she’s a devil, a devil, the devil’s dam. GRE. Tut, she’s a lamb, a dove, a fool to him! (III.ii.131-132). Shakespeare emphasizes the relationship between Petruchio and Katherine purposefully through parallel structure. Comparing both Petruchio and Kate to the devil, Shakespeare shows that Petruchio is the only one able to compete with Kate’s “hellish” characterization, as described earlier in Act I. However, Gremio expresses his low view of Petruchio through lifting up Kate with soft, kind words, such as lamb and dove. These animals are both associated with peace, a trait never before associated with Kate. By Gremio pointing out these qualities, he expresses his perspective of Petruchio as even more of a fool than Kate. Shakespeare's use of metaphors in this passage accentuate Petruchio’s arrogance and the level of disrespect that Gremio possesses. Petruchio’s childish nature is again shown through parallel structure,a strategy used by Shakespeare to continue his use of iambic pentameter: TRA. Let us entreat you stay till after dinner. PET. It may not be. GRE. Let me entreat you. PET. It cannot be. KATH. Let me entreat you. PET. I am content. (III.ii.170-175) Petruchio’s stubborn character is emphasized through his denial to attending dinner. Being his wedding night, the characters expect him to stay for a fancy dinner with his new wife. However, he even denies his bride with Katherine’s request for him to stay. Shakespeare’s use of rhythm in iambic pentameter and parallel structure expresses Petruchio’s selfish tendencies. Gremio’s request for him to stay, even after expressing his discontent with Petruchio, shows his growing impatience with Petruchio. Throughout Act III, Shakespeare expresses a rising discontent with Petruchio’s selfishness by characterizing him through parallel structure in views from opposing characters.
In Act IV, Shakespeare illustrates the cruel nature of Petruchio through a monologue that details his plans to tame his wife, Katharina. They have just arrived at his country home and Petruchio is not pleased with the way his servants got everything ready. After deeming the meals prepared by his staff as insufficient, he shares the motivation behind his finicky tendencies:
PET. She ate no meat today, nor none shall eat. Last night she slept not, nor tonight she shall not. As with the meat, some undeserved fault I’ll find about the making of the bed, And here I’ll fling the pillow, there the bolster, This way the coverlet, another way the sheets… This is a way to kill a wife with kindness; And thus I’ll curb her mad and headstrong humor (IV.i.185-197).
In this monologue, Shakespeare demonstrates the nefarious ways of Petruchio, while simultaneously developing a grimmer tone for the rest of Act IV. Petruchio essentially aims to cause Kate great discomfort under the pretense of love; he will veto every preparation of her food and bed because it is “not good enough” for his beloved Kate. He aims to slowly malnourish her in order to strip away her clever personality and sharp temper. He wants her to be pleased by his desire to only give her the best, while gradually being weakened to only obey his wishes. He will starve her by finding an “undeserved fault” (187) in the food, meaning a fake inadequacy in order to keep her famished. He continues on to say how he will find similar “faults” in the way the bed is made to keep her tired and emotionally drained. Petruchio believes that starvation and exhaustion will ultimately lead to Kate’s complete submission to her husband. The monologue ends with, “This is a way to kill a wife with kindness; And thus I’ll curb her mad and headstrong humor” (196-7) to fully display his plans to subdue Katharina. He wants to kill his wife’s spirit with kindness rather than with violence and force, in order to paint himself as a devoted and caring husband, rather than the inhumane, manipulative one that he truly is. This monologue gives the audience some insight into why Petruchio is treating Katharina so poorly; he is taming the shrew.
Do you think that the idea of “killing a wife with kindness” is meant to be comical or is it used to illustrate a darker, more dramatic aspect of the play?
What Petruchio is doing to Kate is certainly not kind, even if Petruchio justifies his actions as being for her own good, so in a way the phrase "kill a wife with kindness" could be intended as being so absurd it is comical. However, the word "kill" does create a darker tone. Kate (and all humans) need food and sleep to live, and it is possible that Petruchio could starve Kate to death. Of course, this is not his intent (he wishes only to "curb her mad and headstrong humour"), but what he does is dangerous and entirely inappropriate, no matter how hard he tries to appear "kind" while doing it. The phrase also creates a darker tone because the reader knows that Petruchio recognizes he's being unkind.
I think that this idea of killing her with kindness is a new twist on allowing Katherina to decide for herself how she wants to approach the situation because rather than pressuring her with force, he's allowing her to make her own decisions and reactions allowing her to believe that he isn't trying to change her and that it is love. Do you think that this strategy will work and be affective? Will it tame her or change her?
At the end of scene 4, Petruchio has faith that he is beginning his process of taming her, as he shows Kate to bed without eating, "That is, to watch her, as we watch these kites. That bate and beat and will not be obedient. She eat no meat to-day, nor none shall eat; Last night she slept not, nor to-night she shall not;" (IV.i.169-172) The reasoning behind his actions were more shocking than the actual action. Sleeping and eating are the two most essential things in life, and Petruchio knows deep down that she will not die, but instead surrender to him. There is dramatic irony in this scene and in Petruchio's plan because it is obvious to all of the readers that his plan will backfire on him because Kate is very stubborn, and this plan of his is cruel beyond measure. However, because Petruchio knows that Kate will not react positively to him upholding his dominance over her, basing it off of how she responded to him wooing her, his goal is to make her view it as though he is acting this way with her best wishes in interest. Petruchio knows if he does not tame Kate, she will always fight with him and the marriage will not work out, and he will no longer get his money. Because Kate has spoken up for herself her whole life, the transition to soon become like any other wife during this time period will be filled with frustration and bitterness. This corresponds with the reoccurring theme of changing who you are to get what you want, as Kate must realize that her happiness will only come if she listens to her husband and does as he says.
(I’m doing act 5 also because i want less homework :) ) Within Act 5, Petrucio proclaims to Katherina "First kiss me, Kate, and we will." (V.i.124). Katherina replies to him, saying, "Nay, I will give thee a kiss. (kisses him) Now pray thee, love, / stay." (V.i.130-131). Katharina had obeyed his order, along with bringing the other two women to their men as asked. Petruchio’s line is used in Act 5 as well as in act 2 to demonstrate how far Katherina's character has developed. Rather than being bitter and dogmatic, Kate is now respectful and eager. However, although Kate's character has greatly developed, this line is also used to show that no matter how much she has changed, she remains to be Kate, as she is clever, she has simply adapted to the new man in her life. Petruchio uses a proud tone when addressing the room about his bride and how she will keep showing how she is a much better maid than Bianca, "Nay, I will win my wager better yet, And show more sign of her obedience, Her new-built virtue and obedience. See where she comes, and brings your froward wives As prisoners to her womanly persuasion." (V.ii.129-134) Overall, The passage is utilised to portray how there is something deep down inside a person that makes them who they are, and that can never be changed. Petruchio is capable of altering some of Kate, but in the end, it is impossible to change her true personality.
In Act Four, Petruchio uses falconry imagery to describe the way he plans to “tame” Katharine now that she is married to him and residing in his house:
This have I politicly begun my reign, And ‘t is my hope to end successfully. My falcon now is sharp and passing empty; And till she stoop she must not be full-gorged, For then she never looks upon her lure. Another way I have to man my haggard, To make her come and know her keeper’s call, That bake and beat and will not be obedient (4.1.182-190).
This extended metaphor begins with the line “my falcon now is sharp and passing empty” (4.1.184). Petruchio is comparing Katharine to a hungry falcon that has not been fed. The word “stoop” has two meanings in this context, meaning both to obey and to swoop to the lure (in the sense of falconry). Petruchio is saying that until Katharine (the falcon) obeys him (in falconry, the falcon would be considered obedient if it swoops to the lure when called), he won’t feed her (or, in other words, the falcon won’t be “full gorged’). If a falcon is satiated, it won’t pay attention to the lure, a fake pigeon, because it won’t want to eat it. Following this line of thought, Petruchio concludes that if Katharine is comfortable and satisfied, she won’t obey him because she won’t need anything from him. The falconry metaphor continues with the lines “Another way I have to man my haggard, / To make her come and know her keeper’s call” (4.1.187-188). “Man” also has two meanings: to tame and to be a man to something. When Shakespeare uses words apply both to falconry and Katharine’s situation, he strengthens the link between the two and the efficacy of falconry as a metaphor. Petruchio suggests that he must find another way to tame the falcon so that it will come when it is called because this falcon will “bake and beat,” meaning that it will flutter in resistance to training. Later in his monologue he states that he will deprive her of food and sleep until she is broken. The use of falconry imagery dehumanizes Katharine, making her into an animal used for another person’s pleasure and entertainment. Petruchio doesn’t see Katharine as an equal; he sees her as a being that he can train and tame. In this passage, and Act Four as a whole, the reader discovers why the play is titled The Taming of the Shrew. When Petruchio denies Katharine food and sleep, he is treating her like an animal (a wild falcon) that can be broken, giving the relationship an extreme imbalance in power. Before this monologue, one of Petruchio’s servants, Peter, remarks, “He kills her in her own humour,” as though Petruchio is simply giving Katharine a taste of her own medicine (4.1.174). Is he simply treating her the way he was treated when he was courting her, or has Petruchio gone too far and crossed into the realm of domestic violence?
I found Shakespeare use of metaphor in Petruchio’s speech very telling. Like you analyzed, Petruchio’s comparison of Kate to a falcon, and his method of taming as falconry reveals just how low Petruchio views his spouse as: simply a challenge meant to be tamed for his use. During their courtship in the second act, Katherina did act “shrewish” as the male characters describe her. Instead of acting as a mild, docile woman, she openly retaliated back to Petruchio’s play on words with equal wit. She quite clearly insults Petruchio, declaring her sour face is because of a crab, and in Petruchio’s questioning, remarks that if she had a mirror she’d show it, the crab, to him. But the difference here in Kate’s shrewishness from Petruchio’s method that “kills her in her own humor” is that Petruchio enjoyed the witty banter, while Kate acutely doesn’t enjoy being starved, and withheld of any rest (Shakespeare 4.1.174). So Petruchio is not simply giving a taste of her own medicine, rather he’s forcing it down her throat and more. Indeed, Petruchio purposely withholding essentials from Katherina is no equal treatment with that he received, it steps into physical, psychological abuse. But in Petruchio’s perspective, the way Kate behaved to him corresponds to the way he treats her. Of course, “The Taming of the Shrew” is meant to be a comedy, so this treatment likely is meant to be taken in dark humor. But in answer of your question, in plain: Petruchio has stepped into the figure of a manipulative, domestic abuser.
Later in the fourth act of “The Taming of the Shrew,” Petruchio tests Katherina’s progress. On the road back to Padua, Petruchio remarks how bright the moon shines, and Katherina incredulously corrects him—it’s the afternoon. Petruchio threatens to return back, and Katherina, exhausted from sleeplessness, hunger, and abusive treatment, concedes:
PET. I say it is the moon. KATH. I know it is the moon. PET. Nay, then you lie: it is the blessed sun. KATH. Then, God be bless’d, it is the blessed sun: But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it named, even that it is; And so it shall be so for Katharine. (Shakespeare 4.5.16-22)
This is the turning point where one often argues as proof of Petruchio’s success in “taming” the shrew, or at the very least, getting Kate to act as Petruchio demands. Shakespeare uses repetition of “it is the moon” in the first lines, where Katherina repeats Petruchio: “I know it is the moon” (4.5.16). With this repetition of Petruchio’s lines, it reveals Kate’s submission to Petruchio. Shakespeare also structures the first two lines in dependence on one another, demonstrating Katherina’s line as completing Petruchio. This symbolizes that Katherina serves in accompaniment to Petruchio, that everything Petruchio believes, Kate must follow as Petruchio demands her to submit: “It shall be moon, or star, or what I list,” (4.5.7). Petruchio continues to test Katherina’s obedience by changing his mind, that “it is the blessed sun.” (4.5.17). Again, Shakespeare repeats this in Katherina’s line, demonstrating her compliance. Katherina then declares that anything Petruchio declares and names becomes the actual name “for Katharine” (2.5.22). This scene imitates the earlier scene in act two where Petruchio uses puns on the name “Kate”, teasing her but also placing himself in a dominant position, saying that he’ll call her whatever name he wants at his pleasure. Upon the entrance of the true Vincentio, Petruchio goes on to ridiculously describe him as a maidan with, “war of white and red within her cheeks!” and continues on in hyperbolic language (4.5.30). He tests Katherina again to see if she learned to agree with Petruchio and to hold her tongue. And in equally exaggerated diction as Petruchio, Katherina addresses the aged Vincentio: “Young budding virgin, fair and fresh and sweet, / Wither away, or where is thy abode?” (4.5.36-37). Kate learns to play along to Petruchio’s whims, and instead of pointing out the obvious, goes along with Petruchio’s claim. Again, Petruchio changes his mind and corrects Kathrina that the maiden is truly an old man, exclaiming that he hopes she’s not mad, humiliating her in front of Vincentio. Petruchio does all this for the purpose of “taming” her by using humiliation. Instead of retorting at Petruchio as she does at the end of their wedding, Katherina continues to play along using hyperbolic language and apologizing to Vincentio. Petruchio may not necessarily be truly “taming” Katherina, as Kate may be choosing to go along with his desires. But, Shakespeare using repetition, syntax, and hyperbolic diction reveals Petruchio’s abuse and verbal play has forced Katherine the curst into a passive state.
Act 4 opens up very darkly and grimly with Grumio complaining about how mistreated he felt. Grumio used negative diction to spark the tone for the upcoming act, “Was ever man so beaten? Was ever man so rayed? Was ever man so weary?” (Taming of the shrew Act 4, Scene 1). Later within the act we learn that Petruchio had beat Grumio for Katherine falling off her horse. Grumio is upset and goes on in his rant to compare himself in a metaphor to a little pot to state in a very descriptive way Petruchio's harsh behavior for Grumio. The reader feels slight confusion because Grumio seems confused as well with Petruchio’s behavior leading the reader to question Petruchio’s actions and weather he to was pretending to be someone he wasn’t in order to get what he wants as well. In this case, what Petruchio wants is the taming of Katherine. This small rant by Grumio also shows characterization. Within Taming of The Shrew, it had become a pattern that those who were wealthier often spoke in rhymes, riddles, and with alliteration to show their high class and education. You can tell by the way Grumio speaks within Act 4 scene 1, in rhymes and with alliteration, that he is being characterized as educated or that he is purposefully intelligence to emphasis Petruchio's character, “on all tired jades, on all mad masters, and all foul ways!”. Threw Petruchio’s interactions and back and forth banter with Katherine, you get the sense that Petruchio enjoys intelligence. This would then make sense to why Grumio was chosen as Petruchio’s right hand.
I agree that Petruchio enjoys intellegence. In my analysis of him, i also shed light onto how this may be the reason he is intrigued by Kate because she can play games as well as him. Do you think Kate is intelligent, and may be part of the reason Petruchio decently enjoys her?
I agree and disagree with your comment that Act IV opens up darkly and that sets the tone for the rest of the act. While there definitely is a darker tone at the beginning of the act compared to previous ones, I think it is more dark humor than a seriously dark tone. Since the very beginning of the play with the Induction, it was established that the play is comedic and not to be taken too seriously. The fact that it is a play within a play demonstrates this. While the play does indeed include much darker ideas in Act 4, I think the comedic tone of the play is maintained.
In act IV, scene II, Shakespeare displays Hortensio’s fickle and hypocritical personality through negative diction, lack of punctuation and situational irony.
Hor.: Would all the world but he had quite forsworn! For me, that I may surely keep mine oath, I will be married to a wealthy widow, Ere three days pass, which hath as long loved me As I have loved this proud disdainful haggard. And so farewell, Signior Lucentio. Kindness in women, not their beauteous looks, Shall win my love: and so I take my leave, In resolution as I swore before. (IV.ii.
Hortensio says that a woman’s personality is more important than her looks but before that he states that he is being married to a “wealthy widow”. His choice of adjectives isn't one based on her personality or nature but her materialistic qualities. He contradicts himself which characterises him as hypocritical and depicts situational irony. He calls Bianca a “proud disdainful haggard”, but in the earlier scenes when all the suitors had a chance, he called her “Sweet Bianca!” (Act I.i.133) and “He (Baptista) hath the jewel of my life in hold” (Act I.i.402). Hortensio now uses adjectives for Bianca which he used for Katherina. The lack of punctuation or enjambment in these lines make the lines sound fast paced and as though little thought has been put into them due to the juxtaposition of their meanings. This creates a comedic tone because of how puerile Hortensio sounds but also reflects the way men thought in those times. They wanted society to believe that their ulterior motive in marriage wasn't wealth or the woman’s good looks but her personality. Hortensio doesn't even tell Bianca that he isn't interested in her anymore, he talks about this to Tranio and then leaves which makes him seem cowardly. It made me wonder if Hortensio ever liked Bianca in the first place? Did he just want to court her to compete with the other suitors but when his chances of winning her diminished, he gave up?
I agree with your insight on Hortensio's false love of Bianca. Unlike Lucentio's claim of love at first sight, I believe Hortensio's only love is for money. In Act III, scene II, Hortensio foreshadows his short pursuit of Bianca when he states, "Yet if thy thoughts, Bianca, be so humble To cast thy wand'ring eyes on every stale, Seize thee that list! If once I find thee ranging, Hortensio will be quit with thee by changing" (III.ii.84-87). This leads me to believe that Hortensio never truly loved Bianca, for he was quite willing to leave her, even towards the start of his pursuit.
In Act 4 of “Taming of the Shrew”, William Shakespeare alters the idea brought forth earlier in the play that one must use the means of disguise to meet an end. In the first few acts of the play, Lucentio disguised himself as a tutor while instructing his servant Tranio to disguise himself as Lucentio. Lucentio did this in order to execute a plot for him to marry Bianca. In Act 4, however, Lucentio and Tranio have begun to act as their true selves around Bianca. This decrease in the use of disguise is compensated for by the fact that they are now asking another man to disguise for them. The new person in disguise is a pedant, whom Lucentio and Tranio have enlisted to act as Vincentio, Lucentio’s father. In Scene II, Tranio talks of the idea of disguising the pedant to Lucentio, saying, “If he be credulous and trust my tale, / I'll make him glad to seem Vincentio , / and give assurance to Baptista Minola, / As if he were the right Vincentio. / Take in your love, and let me alone” (61). The fact that Tranio is planning to use deception to convince a man into deceiving others brings a new layer of complexity to the idea that a disguise is a good means to reach an end. Tranio recognizes that simply disguising himself and Lucentio is not enough. Instead, he must build a hierarchy of deception to truly achieve his master’s wish of marrying Bianca. The idea of creating a sort of pyramid of deception is commonly seen in many other stories of grasps for power, wealth, or other ambitious goals, so it is no surprise that this same concept was used even in Shakespeare’s day. This altering of the idea of using disguise contributes to a larger theme that plans must be able to evolve and adapt to change in order to be successful.
I totally agree with your idea of the pyramid of deception even back in Shakespeare's days. However, I would like to extent on your idea that using disguise contributes to a larger theme and plans must be able to evolve and adapt to change in order to be successful. I think that no how much someone changes his/her "appearance" , they are never completely transformed into the new person. They are still themselves, and must return to their true self eventually.
In Act IV, scene ii, Hortensio drops the disguise charade and gives up his attempt to marry Bianca. This is largely due to the fact that he begins to see through to Bianca's deceptive nature. Hotensio is angered that Bianca appears to be falling in love with "Cambio", who is really Luciento in disguise. Before he leaves Bianca, Hortensio comes clean about his true identity, as well as Bianca's, to "Luciento", who is really Tranio. In response, Tranio exclaims, "O despiteful love! Unconstant womankind!/I tell thee Litio, this is wonderful!" (IV.ii.15-16). This line is humorous because Hortensio is the only one of the four characters who is in the dark about Luciento's disguise. This supports the characterisation of Hortensio as a fool, because he believes the no one but him would think of dressing up to try to win Bianca. This is ironic because later in the same conversation with Tranio, Hortensio declares that, "Kindness in women, not their beauteous looks, / Shall win my love, and so I take my leave, / In resolution as I swore before." (IV.ii.42-44). Even though he is characterised as a fool, Hortensio is the first to come to his senses and hit home one of the themes of the play, that good character is more important than good looks.
The use of made-up words in the first passage also highlight the chaos and confusion that is taking place. Shakespeare uses words such as "despiteful" and "unconstant", which are words that Shakespeare made up, to highlight the passage and show how the chaos can be quite beneficial to some, namely Luciento. He is using the confusion to benefit himself, effectively getting rid of Hortensio and tricking Baptista into consenting to his marriage of Bianca. Although these words are made up, they closely resemble real words. "Despiteful" is very similar to "spiteful", and "unconstant" is much alike to "inconsistent". Using the words in this way communicates that even though the characters are pretending to be someone else, they are never completely transformed into the new person. They are still themselves, and must return to their true self eventually, a prime example being Hortensio's breaking off of the disguise.
Similar to the popular view in Shakespeare’s time, which displays the superiority of men in a relationship, Petruchio’s dominant traits are evident in his methods of “taming” Kate. Throughout scene III, he contradicts Kate’s viewpoints and forces her to comply with his wishes. When planning to visit Baptista, Petruchio hires a tailor to create a gown and cap for Katherine. However, despite Kate’s liking to the outfit, Petruchio contradicts her plead:
KATHERINE: Why, sir, I trust I may have leave to speak, And speak I will. I am no child, no babe. Your betters have endured me say my mind, And if you cannot, best you stop your ears. My tongue will tell the anger of my heart Or else my heart, concealing it, will break, And, rather than it shall, I will be free Even to the uttermost, as I please, in words. PETRUCHIO: Why, thou say’st true. It is a paltry cap, A custard-coffin, a bauble, a silken pie. I love thee well in that thou lik’st it not. (IV.iii.75-85).
Boldly, Kate faces Petruchio, claiming her right to speak, a rare and daring occurrence for a woman in Shakespeare’s time. Earlier in the play, Katherine is characterized as “hellish” by her own father for her bold statements, helping her to acquire her poor reputation. Despite this, Petruchio chooses to woo her for the dowry provided by Baptista through marriage. In Act IV Hortensio displays his respect for Petruchio’s challenge of creating a “proper woman” out of Kate by attending Petruchio’s “taming school” in order to learn how to handle his future bride. However, Petruchio’s method is not favored by Kate, as she states, “My tongue will tell the anger of my heart / Or else my heart, concealing it, will break, / And, rather than it shall, I will be free”, displaying her anger and discontent towards the inhumane way she is treated by Petruchio, from lack of sleep to lack of food. Unlike many women in this time, Kate chooses to challenge her husband and boldly share her frustration. Yet, Petruchio twists her words, saying “thou lik’st it not”, while Kate portrays her fondness of the cap. Petruchio’s deceitful, and seemingly disrespectful, methods of taming Kate prove successful later in the play as she increasingly becomes obedient to his demands.
As the title of the play suggests, the final act of “Taming of the Shrew” concludes the story by completing Katherina’s transformation into a tame, obedient wife. Katherina is not the only person being “tamed”, however. The final scene exhibits a tone of calmness and tranquility. The previous four acts of the play built up the action and fed off of outrageousness, so the final scene of the play comes off as all the more peaceful. The opening line of the scene, spoken by Lucentio, perfectly illustrates this: “At last, though long, our jarring notes agree” (80). Lucentio acknowledges the fact that the road up to this point has been quite the opposite of peaceful for all in the play. Similarly to how the hardships engineered by Petruchio influenced Kate to become “tamed”, the conflict and deception of the previous acts have had a wearing effect on all of the characters. The subduing of the character’s quarrels contributes to the tone of peacefulness. After the first line, Lucentio goes on to invite Petruchio and Katherina to dine with him, along with Hortensio and the Widow. It is particularly significant that he is being so benevolent to Hortensio, because the two characters were competitors for Bianca’s love in Act II. Lucentio specifically says, “And thou, Hortensio, with thy loving widow, / Feast with the best, and welcome to my house” (80). Shakespeare gives Lucentio benign language, using such words as “loving”, “best”, and “welcome”. The friendly quality of Lucentio’s words reflect the tone of calmness that the final scene embodies. So, it is not just Katherina that becomes “tamed”, as the title of the play suggests. On a higher, non-literal level of analysis, the title of the play represents the journey of all the characters in the play. They all begin the play as shrewish and belligerent towards each other, but by the end, they have all agreed to resolve their conflicts and make peace. Therefore, they have been “tamed”.
In act V, scene I, Shakespeare is able to characterise Tranio as a very loyal servant of Lucentio but also the power one experiences when under disguise. Tranio says, “Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman, Why, sir, what ‘cerns it you if I wear pearl and gold? I thank my good father, I am able to maintain it” (Act V.i.58-61). These lines use a lot of punctuation and the diction is polite and respectable which shows how calm and collected Tranio is even though he is blatantly lying. He addresses Vincentio as though they have never met before, showing no sign of doubt. His behaviour ties back to the Induction where Sly is believed into thinking he is a Lord and he speaks that way but his actions say otherwise. In Tranio’s case, he has seen how the lords and nobles behave all his life so it isn't hard for him to become one of them. The play has a motif of using disguise in order to achieve something, for Tranio it might have been to feel rich and powerful but in the end he doesn't really gain anything from pretending to be Lucentio. This makes me wonder why it is that Tranio would want to help Lucentio? What does he gain from it or is he just a selfless character? It also shows how little attachment or connection he feels towards Vincentio when he calls for the officer. It portrays how everything back then was based upon money rather than an emotional basis or attachment.
I really enjoyed your analysis, Sakina! Your connection between Tranio's behavior and that of Sly's in the induction is really interesting. In response to your question, I don't think that Tranio is selfless. I believe that he merely wanted to have the authority in his and Lucentio's relationship for a change. Lucentio relies on Tranio the entire play; not just to pretend to be him, but to also forge ways to keep the beguilement going. His master is actually asking him what they should do, as seen through, "And what of him, Tranio?" when the pedant enters the scene (Act IV.ii). Lucentio questions his servant on what they should do with this new character, illustrating all the power that Tranio holds. He could either use the pedant to help his master or to hinder him. I think that Tranio is glad to have the roles reversed and experience life through the lens of privilege and power. Through helping Lucentio, he simply gains a brief moment of a life he's never had.
I agree with your analysis of Tranio being a loyal servant, however, I would like to argue that Tranio's abundant use of punctuation characterizes him as nervous rather than calm. My interpretation was that he stutters, looking for words through the frequent pauses in the line, “Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman, Why, sir, what ‘cerns it you if I wear pearl and gold? I thank my good father, I am able to maintain it” (V.i.58-61). Also, throughout Act V Scene I, Tranio speaks very little. Although his false identity is the main source of conflict, he has very little to say in argument with Vincentio. Although Tranio maintains great loyalty and respect towards Lucentio, he remained timid in his disguise.
In the beginning of Act V, all the disguises put on by Tranio, Lucentio and the Pedant are revealed to Baptista and Vincentio which creates a chaotic and comedic tone. During the violent scene where Vincentio argues with his servant Biondello for pretending to not know him, Petruchio and Katharina watch;
Vincentio. Come hither, crack-hemp Biondello. I hope I may choose, sir. Vincentio. Come hither, you rogue. What, have you forgot me? Biondello. Forgot you? No, sir. I could not forget you, for I never saw you before in all my life… Petruchio. Prithee, Kate, let’s stand aside and see the end of this controversy (V.i.43-58).
Shakespeare repeats the phrase, “come hither” (43-45) to emphasize how angry Vincentio is at the betrayal of his servant Biondello. He follows this beckoning with insults, where “crack-hemp” means a rogue that will likely be hanged. Biondello responds initially to his master’s angry calling, by saying that he hopes he can do as he chooses, subtly implying that Vincentio cannot demand him to do anything, for he is not his employer. This banter continues, with Biondello claiming that he’s never seen Vincentio in his entire life. This angry persiflage results in Vincentio beating his servant for his extreme rudeness and disobedience. The disguises and trickery have backfired and now Biondello and Lucentio’s father are suffering from the confusion. Amidst the mayhem, Kate and Petruchio appear amused at the struggles of everyone else. In comparison they seem well off and compatible. The polite diction of Petruchio, “prithee” illustrates the now courteous, cordial nature of their relationship (58). They have become spectators to the kind of disagreement that they once had earlier in the play. The juxtaposition of Vincentio’s violent argument with Kate and Petruchio’s well-mannered relationship, illustrates comically the irony of the situation. Ultimately, Bianca, the reason why Lucentio had so many people don disguises, is causing all this destruction. Meanwhile, the once shrewish Kate is the obedient, object of Petruchio’s affection. They look down almost conceitedly at the ridiculous display occurring before them. Overall, there is a comedic tone from the witty banter combined with the physical slapstick humor and the irony of the situation.
Your analysis was really great and I agree with it completely. Along with the juxtaposition of Vincentio’s violent argument, Bianca and Lucentio’s relation at the end also adds to the irony. Petruchio comment at the end of the play, “ ’T was I won the wager, though you hit the white;/ And,being a winner, God give you good night!” (Act V.ii.226-227). Petruchio is referring to how Bianca’s name which is white in Italian ,has a negative connotation. The word white is associated with being fair and maidenlike but in the way Petruchio uses it, he refers to the white spaces on a dartboard. His sarcasm shows the amusement he feels.
Petruchio subtly changes his behavior in the closing act, showing affection to Katherina:
PET. First kiss me, Kate, and we will. KATH. What, in the midst of the street? PET. What, art thou ashamed of me? KATH. No, sir, God forbid; but ashamed to kiss. PET. Why, then let’s home again. Come, sirrah, let’s away. KATH. Nay, I will give thee a kiss: now pray thee, love, stay. PET. Is not this well? Come, my sweet Kate: Better once than never, for never too late. (Shakespeare 5.1.142-149).
Although Petruchio threatens to leave when Katherina refuses to kiss him, the tone of this scene evolved to more light-hearted teasing, similar to their verbal banter in their first encounter. This is not the first time Petruchio threatens to return back as punishment for Kate’s disobedience. On the road to Padua, Kate corrected Petruchio on his comment of how bright the moon shines, referring to the sun. Petruchio had purposely called the sun, “the moon”, and threatens to turn around (4.5.2). By doing so, Petruchio’s sole purpose of distinctly being wrong was to manipulate Kate. In this scene, Petruchio demands a kiss, repeating the phrase, “kiss me, Kate” from the second act (5.1.142). Shakspeare recycles this line in this scene to demonstrate the parallelity of the tone in this scene to their previous witty banter. Petruchio threatening to leave could be indeed serious, but in this context, it’s more flirtatious than commanding. This scene leans more towards a light and teasing tone by revealing that Petruchio does desire Kate’s affection. Katherina responds in slight shock, “What, in the midst of the street?” and Shakespeare repeats, “What”, in Petruchio’s following line: “What, art thou ashamed of me?” (5.1.143,144). Petruchio mocks Kate, mimicking her diction, but it’s not mean-spirited in that he asks if she’s humiliated by him. Interestingly, Kate responds that, “God, forbid,” of course she’s not ashamed of him, which reveals how much she developed from viewing Petruchio as a complete, “mad-brain rudesby” or an uncouth fellow (5.1.145, 2.2.10). Perhaps Petruchio is purely portraying affection to his wife, but from what the reader or viewer knows, Petruchio always has his ulterior motive to tame his “falcon” (4.1.184). A question arises, is Petruchio’s affection sincere, or is this wholly part of his clever plan of carving the obedient wife?
In Act V, the behavioral juxtaposition of Bianca and Katharina is prominent in such a surprising way. Up until this point, Bianca is portrayed in such an obedient, innocent manner. It is directly in contrast with her sister, Katharina, who is depicted as an independent, rebellious, and outspoken woman. In the finishing act of the play, the two sisters take on behaviors that suggest they traded personalities. The lines, "Nay, faith, I'll see the church o' your back; an then come / back to my master's as soon as I can," (V.i.4-5) said by Biondello, implies the elopement of Lucentio and Bianca. Had the topic of elopement emerged as a question earlier on in the play, the audience would have pointed the finger at Katharina, as it seems to be an action that perfectly matches her defying-society's-norms attitude. However, the audience notices a drastic shift in the two sisters' usual tendencies. Perfect and pure Bianca now shows her rebellious side as she engages in a form of marriage that is looked down upon and shamed, while Katharina shows increasing signs of being "tamed." This is evident when she says, "Nay, I will give thee a kiss: now pray thee, love, stay," (V.i.125) when she is the first of the wives to obey the command of their husband to come to them, and especially when she gives her long speech that essentially supports the total submissiveness of women to their dominant husbands. Although both sisters are dynamically characterized, I feel that Katharina's change is the most significant because everybody in the play (with the exception of Petruchio), as well as in the audience, thought it would be absolutely impossible to tame the "shrew," whereas Bianca simply lusted for a break from her always perfect appearance and mostly likely acted disobediently on impulse.
At the end of Act Five, Katharine gives her longest monologue of the play in response to a request from Petruchio: “Katharine, I charge thee, tell these headstrong women / What duty they do owe their lords and husbands” (5.2.130-131). He requests this monologue after Bianca and the widow refuse to come to their husbands when they are called. Shakespeare uses a simile to compare a disobedient woman to an agitated fountain: “A woman moved is like a fountain troubled, Muddy, ill-seeming, thick, bereft of beauty, And while it is so, none so dry or thirsty Will deign to sip or touch one drop of it” (5.2.142-145). When dirt mixes with the water of a fountain, the fountain becomes muddy and loses its beauty. With this simile, Katharine implies that a woman with a temper who disobeys her husband is completely undesirable to all men because she is “dirty.” The water imagery implies that women should be a constant background presence, flowing steadily like a fountain and always there when her husband desires a drink. The monologue marks a dramatic shift in Katharine’s ideology; no longer does she stand up to Petruchio, acting as his equal. Now, Katharine appears to believe in the necessity of a power imbalance between husband and wife, claiming that “thy husband is thy lord, thy life, thy keeper” (5.2.146). Each of these positions places the husband in a role of greater power than the wife. When Katharine states that a husband is “thy life,” she suggests that there is nothing outside of him. A husband is not just the most important person in a woman’s life: he is her life. Katharine seems content with this imbalance, though: “And for the 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” (5.2.148-154). This passage is Katharine’s justification for readily accepting (and impressing upon the other women) her role as an obedient sheep. She states that husbands work long and hard to maintain a comfortable lifestyle for their wives while the wives lounge around at home. (This statement is interesting because women weren’t allowed to work during Shakespeare’s time, so they had no choice but to stay home.) In the passage, it appears that Katharine has internalized Petruchio’s “kill a wife with kindness” stint (4.1.202). Perhaps she believes that the starvation and sleep deprivation was for her own good. After all, if Katharine believes her “love, fair looks, and true obedience” are “too little payment” for the favor Petruchio has done her by marrying her, it would be no stretch of the imagination to see how she could think that starvation was the price she had to pay for an illusion of autonomy. However, this justification edges dangerously close to our modern culture of victim-shaming and –blaming victims of domestic violence. Katharine has chosen to conform to the gender roles of her time, but she couches her monologue in rhetoric that paints Petruchio as her savior and the “good guy,” not her oppressor. If she were to disobey her husband, “what is she but a foul contending rebel, / And graceless traitor to her loving lord?” (5.2.157-160). Katharine’s monologue presents a paradox: her marriage to Petruchio gave her the respectability and power to speak for so long, yet she uses this time to extoll the virtues of the oppressive gender roles of the time. Katharine allows herself to be tamed in order to gain the respect and freedom she always needed.
In act five of Taming of the Shrew by William Shakespeare, I thought the it was quite humorous when Vincentio appeared at Lucentio’s house and met Tranio and Pendant. Throughout the entire play their had been a recurring theme that to get what you want, you must be disguised. When Lucentio and Bianca decided to be wed I anticipated that this theme of deception would be a downfall for the love birds. Katharina and Petruchio running into the real Vincentio foreshadowed the truth about Lucentio coming out, however I anticipated that Bianca’s father, Baptista, would become angry. When Vincentio showed up on Lucentio’s doorstep, Lucentio was able to sweet talk his way out of trouble and anger acceding his goal all goals. “Love wrought these miracles. Bianca’s love Made me exchange my state with Tranio, While he did bear my countenance in the town; And happily I have arrived at the last Unto the wished haven of my bliss. What Tranio did, myself enforced him to; Then pardon him, sweet father for my sake.” As a young child you are taught to never lie, that everyone always finds out the truth, that the truth will set you free. I thought that this story was a comical spin off those ideas. Taming of the Shrew has been one of the first stories I’ve ever read in which lying and deception was successful and ended positively for a character. The positive outcome for all the characters who had been built and formed on deception and lies implies that there would also be a positive outcome for the Lord and his servants in their deception of Sly. This was just another example of the similarities between the characters within the play, Sly, Lord, and his servants, and the characters within the play of the play, Lucentio, Baptista, Bianca, Tranio, etc. It was also ironic that the drama with Lucentio and Vincentio itself became a dramatic viewing within the eyes of Petruchio and Katharina which then would create a drama, a play, inside a play, inside a play.
I also saw the over all theme as a foreshadowing of the downfall of Katherina and Petruchio's relationship. Why do you think they lasted? Was Shakespeare trying to portray that is it in fact true that you can get what you want by acting like someone else?
Shakespeare's portrayal of the fault in disguises proves evident in Act V of Taming of the Shrew. In the confrontation of Vincentio and Tranio, dressed as Lucentio, both character’s true ambitions are revealed. When Tranio first enters the scene, Vincentio asks,”what are you, sir? O immortal gods! O fine villain! A silken doublet, a velvet hose, a scarlet cloak, and a copatain hat!” (V.i.52-54). A copatain hat, described as “a hat with a high crown in the form of a sugar loaf” typically worn by a well dressed man, characterizes Tranio as wealthy, along with the other fine clothes that Vincentio points out. While disguised as Lucentio, Tranio maintains a high class dress, although he remains only a servant. Despite his dress, Vincentio sees through his disguise, revealing that Tranio is not the true Lucentio after all, portraying the motif that obscuring one’s appearance does not conceal their true self. However, Tranio also discovers a flaw in Vincentio’s appearance when he states, “Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman” (V.i.60-61). Shakespeare juxtaposes Vincentio’s sensible, proper appearance, or “habit”, with his aggressive tone through the anger he expresses with the other characters. Both the Pedant and Tranio refer to Vincentio as a madman in this scene, criticising him for his harsh tone, calling him a liar while they are the true convicts. Tranio points this out, characterizing Vincentio’s true nature to be one of anger and criticism, rather than polite such as his dress hints him to be. Shakespeare’s use of disguise throughout this scene illustrate the contrast between one’s appearance and their intentions, as portrayed through the characterization of both Tranio and Vincentio.
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ReplyDeleteIn the Induction of Taming of the Shrew, what stood out to me the most was how the Lord was very devoted to the prank and remained serious as he conspired to persuade Christopher Sly that he was actually a lord. At first glance, it’s hard to imagine the Lord shifting his personality so dramatically as actual royalty from having every need met. Now, it is his duty to provide for this drunk he found on the side of the road. It seems as if he is acting as his exact opposite, and this is very hard to do. To play a character that has a separate background from his true self was a fearless action for the Lord to simply trick a stranger. Living a similar lifestyle, the servants of the lord should have gone through the prank with ease. The servants merely tend to a different individual. The Lord was overly joyed and willing to act as an attendant without any money to live off of for the sake of the prank to Christopher and to make him look like a fool, and most importantly trick him into thinking he had been living a luxurious life for years. Thou art a fool; if Echo were as fleet, I would esteem him worth a dozen such.” (Induction- line 26) The Lord is convincing Christopher that he has attained a lot of wealth and has a beautiful wife. During this time period, a man that had money would be able to own servants and women. Therefore, the Lord is has a bit of justification to have taken the drunk off the streets, he may have been saving his life in the end after all. He tricks him because of his social class which was also a big thing back then. The swapping of roles and switching of identities allows comedies to question social norms. Overall, the emphasis on performance in the induction leads to the question: To what degree can anyone have a stable or natural identity? Or Is someone's true identity really only formed through repeated performance (acting like a lord)?
ReplyDeleteI like your perspective of the Lord's reasoning behind taking Sly in. It's interesting to think his intentions were pure, rather than selfish as a king can often be perceived. However, I think the Lord may be pursuing the drunkard for his own entertainment. As the Lord, he has the authority to do whatever he pleases in his land, including publicly humiliating his own people. This is shown through the way he dresses his page as a woman, forcing him to take on the roll as Sly's wife. He also convinces the actors to go beyond their usual performance and instead work for a peasant. The Lord's actions disturb the normal social hierarchy in this society, challenging the people to work for a peasant, rather than a king. In this way the Lord's intentions could be pure, yet I don't think he was working for the favor of Christopher Sly.
DeleteI too see how the Lord could be saving the drunk however it seemed cruel of the Lord to trick the pesent as he had. If he was being truly generous their would be no need for deception. I also agree with Grace's consensus that dressing his servent up to act as Sly's wife was to create another feeling of disgust towards the lord. However the dressing up of the servent could have served the purpose as comic relief to not only the Lord but the audience. Having a man dressed as a woman, acting as a man dressed as a woman is quite humorous and ironic considering women were not allowed to porform on stage meaning that men had to dress up as women to play their roles.
DeleteThat is really interesting, Sierra. I've never looked at it as the Lord having justification before! I like the fresh perspective.
ReplyDeleteMs. Ballard
I really like the dank perspective.
Delete
ReplyDeleteThe Induction of William Shakespeare’s Taming of the Shrew emphasizes the differing behaviors in social classes of the characters. Although Christophero Sly, characterized as a “poor and loathsome beggar”, is classified as low on the social rank, he maintains power, shown through his rude tone towards the hostess (5). “Y’ are a baggage...let the world slide: sessa!”, Sly tells her (1). In Shakespeare’s language, baggage is defined as a woman of low morals or a prostitute. Being a women, the hostess was subjected to this kind of treatment by Sly, displaying the sexism widely apparent in Shakespeare’s time. He again degrades the hostess exclaiming, “sessa!”, or shut up. Sly’s discourteous mannerisms display a disrespectful tone portrayed through the broad social class differences in Taming of the Shrew. However, Sly again disrespects the servants in the Lord’s house who begin to treat him as a king: “SLY. ‘For God’s sake, a pot of small ale.’ FIRST SERVANT. ‘Will ’t please your Lordship drink a cup of sack?’ SECOND SERVANT. ‘Will ’t please your Honor taste of these conserves?’ THIRD SERVANT. ‘What raiment will your Honor wear today?’” (5-6). Although Sly rudely requests an ale from the servants, they continue to treat him courteously, referring to him as “your Honor” and “your Lordship”. Sly’s identity as a peasant is shown through his request for ale, or beer, the drink of a poor man. However, since the servants now see him as their lord, they suggest a cup of sack, or a fancy Spanish wine usually served to members of the upper class. They offer Sly conserves, or dried fruit, as well as a choice of clothing. These are both delicacies enjoyed by royalty, which Sly has jokingly been welcomed into. The servants are classified as plebeian in class rank, taking orders from their masters and restricted to the low lives of attendants. Sly’s harsh tone towards the servants illustrates the hierarchy in this society and the lack of respect to those restricted to the lower class.
I enjoyed your interpretation of the juxtaposition of Sly's rude mannerisms with the servants' courteous ones. However, I think it can also be interpreted that the servants are not as courteous and thoughtful as they seem— they are only acting this way to trick Sly into thinking he is nobleman. It is not out the good of their hearts that their actions are coming from; they are merely obeying their Lord's commands without thinking whether doing so is actually ethical or not. So, using this interpretation, Sly can actually be seen as more honest about what his actual thoughts are, while the servants are only putting on an act.
DeleteI agree with you that Sly’s harsh tone towards the servants illustrates the hierarchy in this society and the lack of respect to those restricted to the lower class. I think this could also illustrate the idea that once someone gain any kind of power, even if they are unsure where the power came from, most would choose to hold of refuse to let go of that power. At first Sly did not believe his status until they mention his “wife”. If men does not fall for wealth then the other option, most of the time, is women.
DeleteIn the Induction of Taming of the Shrew by William Shakespeare, the story of the Lord trying to change Sly’s identity foreshadows and parallels the relationship between Katharina and Petruchio. The personalities of the Lord and Petruchio are very similar. In lines such as, “Sirs, I will practise on this drunken man” and “Wrapp’d in sweet clothes, rings put upon his fingers,/A most delicious banquet by his bed,/And brave attendants near him when he wakes,/Would not the beggar then forget himself?”(Induction.i.), the approach the Lord takes towards Sly, is how Petruchio thinks of Katharina. Petruchio saw Kate as a challenge which he had to solve. The Lord wants to treat Sly with the utmost kindness and care, similar to how Petruchio tames Kate. The commanding authority The Lord has along with his sense of humour is a personality trait Petruchio has too. An interesting repetition I found was how The Lord kept emphasising moderation in lines such as “If it be husbanded with modesty.” (Induction.i) and “May well abate the over-merry spleen/Which otherwise would grow into extremes.”. This is ironic because all the characters in the acts have extreme personalities.
ReplyDeleteKate and Christophero Sly had similar characteristics, at the beginning when Sly uses rough and harsh diction such as calling the hostess ‘a baggage’ which meant prostitute in Shakespearean language and “No,not a denier. Go by, Jeronimy: go to thy cold bed, and warm thee” (Induction.i.) was rude for somebody who was at fault. It characterises Sly as someone who speaks their mind which is similar to Katharina. When Sly finally accepts his new false status by the end of the induction is how Kate is forced to adjust to her own surroundings. It raises questions such as if identity is determined through environmental factors rather than innate and how malleable is it? It also made me think about whether one gets better results by being kind or using punishment when trying to change someone? Is one method better than the other?
The induction also primes the reader for the story because when The Lord is telling how he wants Page to treat Sly when he wakes up, sets the basic expectations of a woman at that time and what is expected of them.
I absolutely agreed with you on how the Lord and Sly in the Induction parallels the dynamic between Petruchio and Katharina! Very interesting how you pointed out also the similarities between the Lord and Petruchio, how they share the same personality trait of being commanding. Originally, I had the view of Sly and Katharina both losing their true identities in order to conform in their environment. But I also think that despite they seemingly “lost” to the Lord and Petruchio, Sly’s life improved, and Katharina achieved respect and approval of Elizabethan society. Your question of whether identity is determined by environmental factors or innate, reminds me of the broad psychological question of “nature versus nurture.” In the context of “The Taming of the Shrew”, identity is much more influenced by societal norms, and the people around the character. For instance, Sly finding himself surrounded in an environment only lords possess, and with the cogent Lord, it was enough for him to question his identity. Shrewd Katharina, enveloped in jealously by her father’s bias towards her sister (Bianca), with a change of environment became mild Katharina. I think that Sly and Katharina were influenced heavily by their environment because of their dissatisfaction with themselves. Sly, a beggar, a tinker, conveys a miserable tone in despairing “Am not I Christopher Sly, old Sly’s son of Burton-heath, by birth a peddler, by education a cardmaker, by transmutation a bearherd, and now by present profession a tinker?” (Shakespeare Ind.2.17-21). And many interpret Katharina’s temper, and outspokenness arising from the fear of being undesirable compared to Bianca. If one was dissatisfied with who they viewed themself as, it's not hard to imagine environment easily molding their identity.
DeleteIn Ind.2.68-75, Christophero Sly begins to believe that he’s a lord, declaring:
ReplyDeleteAm I a lord, and have I such a lady?
Or do I dream? Or have I dreamed till now?
I do not sleep: I see, I hear, I speak,
I smell sweet savors and I feel soft things.
Upon my life, I am lord indeed
And not a tinker nor Christopher Sly.
Well, bring our lady hither to our sight,
And once again a pot o’ th’ smallest ale.
William Shakespeare includes an Induction in “The Taming of the Shrew” depicting the illusory transformation of Christophero Sly from a poor tinker to a lord. This “transformation” foreshadows the taming of Katharina Minola from a shrew to a mild wife. In the above section in the Induction, Sly begins to consider the possibility of him actually being “a lord” and with “such a lady” (Shakespeare Ind.2.68). He questions the reality of his situation, but declares that he is in fact awake, and the use of repetition of “I see, I hear, I speak” creates a surreal effect on the reader (Ind.2.70). In the next lines, Sly accepts that he is a “lord indeed” and at this point in the play, the reader pities, but also laughs at Sly for his supposed gullibility (Ind.2.72). This perspective of Sly correlates to how the reader may view Katharina: with a derisive pity (especially during the times of the Elizabethan era). The Lord’s elaborate trick to convince Sly of his lordship foreshadows Petruchio's molding and taming of Katharina’s personality. Shakespeare creates an interesting comparison of the the socioeconomic inequality between the Lord and Sly, and the depiction of gender inequality between Petruchio and Katharina. Though it appears to the reader that Sly was indeed tricked by the Lord, perhaps Sly was taking this situation to his advantage. While Sly declares that he is “not a tinker nor Christopher Sly” instead of asking for the “cup of sack”, an imported, costly wine, something a lord would command, he demands for “a pot o’ th’ smallest ale” (Ind.2.73, Ind.2.4, Ind.2.75). He may have been tricked, but the outcome is that his quality of life greatly improved. Finding himself off the streets and in a place of luxury, perhaps the trick isn’t played on Sly, but on the Lord himself. Comparing Sly to Katharina, it may seem to the reader that she has succumbed into a subservient woman, but in this context of Elizabethan society, she has gained a respectable voice that she didn’t have before as a “shrewd” woman. One question that came into mind was: is Christophero Sly truly a pitiful character? Does the fact of becoming “inferior” (Sly in being tricked, Katharina in being tamed) even matter when one is content with the situation?
This is a very interesting question. I don't think that becoming inferior is much of an issue when he who has become inferior doesn't mind the situation. I think the problem lies in the fact that both Sly and Katharina were made into different people by an outside force (in Sly's case, the Lord; in Kate's, Petruchio). It could seem that Sly has lost his autonomy because the Lord has made him into someone he is not and is essentially controlling him. It can seem shameful to the reader that Sly has let the Lord take advantage of him, but Sly is happy with the outcome and sees that the Lord has made him into a person he had always wanted to be but could not become without outside help (or trickery). Likewise, Kate's acceptance of her situation at the end of the play could be seen as a sign of weakness--she didn't stay true to herself--but I think that she sees that Petruchio has made her into a woman with whom she can be happy.
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ReplyDeleteIn the induction to Taming of the Shrew, Shakespeare introduces the motif of disguises that will be present throughout the entire play. He prefaces the play with a tale of a drunkard named Christopher Sly, who is beguiled into thinking that he is actually nobility. The real Lord has a servant disguise himself as a woman to pretend to be Sly’s wife. At first, Sly does not believe he is a man with status, but soon he is persuaded otherwise and comes to assume the behavior of a Lord.
ReplyDeleteIn this work, disguises are used to enhance the comedic effect of Shakespeare’s overall plot, as well as add to the dramatic irony. The audience knows that Sly is not actually a Lord, but he remains unaware. The viewers also know that Bartholomew – the servant - is the woman pretending to be his wife, which makes them feel in on the joke and creates a more intimate experience. This comedic element sets up the rest of the play to be as humorous and compelling; the audience gets a taste of what is to come. This irony is enhanced through the diction of the Lord, when he states to Sly, “Thou has a lady far more beautiful / than any woman in this waning age” (62-3). Shakespeare makes this character purposely address the disguise that is being adorned by Bartholomew, to emphasize the irony that is being enjoyed by the audience. By explicitly mentioning the beauty of his pretend wife, the humorous aspect of the induction is reiterated and the people watching the play can revel in the irony of the situation. In this induction, an important, comical motif is demonstrated for the first time, which is used to implement dramatic irony.
Along with the use of irony in the diction in “Thou has a lady far more beautiful / than any woman in this waning age” (62-3), I think it could also show how the men viewed women at that time. They weren't held in high regards and were often the main focus of jokes. In the induction Shakespeare introduces and states what is expected out of women and in the play having Katharina start out by being the exact opposite, exemplifies the irony found in the induction.
DeleteAt the end of the induction, a messenger states:
ReplyDeleteYour honour’s players, hearing your amendment,
Are come to play a pleasant comedy;
For so your doctors hold it very meet,
Seeing too much sadness hath congeal’d your blood,
And melancholy is the nurse of frenzy:
Therefore they thought it good you hear a play
And frame your mind to mirth and merriment,
Which bars a thousand harms and lengthens life (Ind. 2. 129-136).
He is informing Sly that the Lord’s servants will perform a play for Sly because he is “too sad.” These lines from the messenger also serve the purpose of informing the reader (or audience) of the coming play, as the induction provides context for the play that follows. The reader learns that The Taming of the Shrew is a play within a play. The messenger’s lines allow the audience to put themselves in the position of Christopher Sly. Sly was not a man of wealth and status before the Lord came across him; he was, according to the Lord, a “monstrous beast” (Ind. 1. 34). In the same way, the audience of Shakespeare’s plays was not wealthy or refined, as going to the theatre was not considered a dignified activity. However, for the duration of the play, they got to experience the story of another life, just as Sly was temporarily made to believe he was a lord. The people attending The Taming of the Shrew most likely lived difficult lives devoid of significant happiness. The line, “Seeing too much sadness hath congeal’d your blood” could have applied to both Sly and the audience (Ind. 2. 132). The “pleasant comedy” of The Taming of the Shrew” is the antidote to this melancholy (Ind. 2. 130). The alliteration of “your mind to mirth and merriment” creates a sing-song tone that reinforces the idea that the play is nothing more than a comedic diversion. The messenger’s lines and the induction as a whole allowed the audience to connect to the play on a personal level. Describing the play as nothing more than “a pleasant comedy” raises some questions, though (Ind. 2. 130). The Taming of the Shrew, while entertaining and comedic, also raises questions about gender roles and relationship dynamics that aren’t funny at all. Why is the play reduced to something merely pleasant in the messenger’s introduction of it? Does the induction soften the impact of the story that follows because it is presented as entertainment for a drunkard?
Dec. 8, 2015
ReplyDeleteIn the Introduction of the play Taming of the Shrew by William Shakespeare, the quotes that really stood out to me were when the Lord was speaking to his huntsmen about the drunk passed out. Shakespeare portrays, through the Lord’s character, the utter repulsion felt by the higher class, richer, more noble men, about the lower, more poor class. The second Huntsman says to the Lord, “He breathes, my lord. Were he not warm’d with ale. This were a bed but cold to sleep so soundly.” Within the second Huntsman's line, he states two alliterations and juxtaposition. The second Huntsman uses two alliterations, of the double “b” sound in bed and but, but also the alliteration of the “s” sound with sleep so soundly. The repetition of the double s sound causes a “shhhhhh…” sound not wanting wake the reader. The juxtaposition is foreshadowing and an example of the many opposites within this time. Their was a huge gap between the rich and the poor and lots of discrimination surrounding that. The richer men felt stronger, dominante trying to make the presents feel intimidated and inferior to the higher class rich. The large gap between the rich and poor, high and low classes is also demonstrated in the Lord’s diction when speaking about the drunk. The Lord says, “O monstrous beast! how like a swine he lies! Grim death, how foul and loathsome is thine image!” to his huntsmen about the poor drunk. This Lord’s statement creates a harsh tone of disgust for poor and empathy for their cruel treatment. The audience also feels angry towards the Lord for his harsh treatment and judgment. Shakespeare uses a metaphor and simile in the Lord’s statement, to show the higher class perception of the lower class and judgment placed on them threw comparisons of the poor drunk to animals, filthy animals. I also thought it was interesting how in the statement made by the Lord, the h in “how” is start of a new sentence but the h isn’t capitalized because it emphasis the idea of contrast once again. It goes against the balance and pattern of the piece. The lowercase l is placed next to a exclamation point dulling down the actual excitement suposed to be felt by the audience.
Cameron Kays
I agree with your analysis of how the induction shows a gap between the rich and the poor. Although the induction seems very humorous, it is portraying a sad reality about the time period in which Shakespeare lived.
DeleteThrough the outrageous actions of the characters in the Induction, Shakespeare sets the stage for the later ridiculous actions of the main characters: Petruchio and Katherina. The Induction involves a wealthy lord who comes across a sleeping drunkard, Christopher Sly, and decides to play a trick on him once he wakes up by convincing him that he is a wealthy nobleman. The obsessive dedication of the Lord to carry out his trick is shown when he orders his page to dress as a woman and act as a wife to Sly, and Shakespeare writes “I know the boy will well usurp the grace, / Voice, gait and action of a gentlewoman: / I long to hear him call the drunkard husband, / And how my men will stay themselves from laughter / When they do homage to this simple peasant.” By including this monologue of the Lord’s thoughts about his trick, the audience is able to see into the Lord’s motivation. The line “I long to hear him call the drunkard husband” suggests that he is hoodwinking the drunkard purely for his own entertainment. Yet the next two lines, particularly the word “homage”, suggest a completely opposite motive for the Lord’s actions: perhaps the Lord is attempting to do a good deed to the drunkard by making him feel beloved. Regardless of the motive behind it all, the Lord’s actions seem like a rather, outrageous, extreme way of playing a joke or paying homage. This outrageousness is reflected later on in the play through Katherina’s shrewish temper towards her husband, and Petruchio’s brash manner towards everyone except his wife. Despite the obvious ridiculousness of all these actions, they are justified as suitable methods to solve their individual problems in the minds of the characters. Thus, by introducing one of the first characters as outrageous and seemingly irrational, Shakespeare prepares the audience for the many more outrageous acts in the play that will follow.
ReplyDeleteI really like your analysis! I also agree that the Lord's monologue gives the audience an in-depth look at his motivation behind the beguilement. I think that the Induction introduces the irony and the deception that will be present throughout the rest of the play. I also thought that the other characters in the induction foreshadowed how other minor roles in the play help in the deception that takes place.
DeleteIn the two scenes of the induction, Shakespeare writes about how a Lord plays a trick on a belligerent (and completely drunk) Christopher Sly. The Lord tried to convince Sly that he is suffering from madness Sly did not believe them until they mention his “wife”. Sly says, "Am I a lord, and have I such a lady? Or do I dream? Or have I dreamed till now? I do not sleep: I see, I hear, I speak. I smell sweet savors and I feel soft things. Upon my life, I am a lord indeed And not a tinker, nor Christopher Sly. Well, bring our lady hither to our sight, And once again, a pot o' the smallest ale." (Induction. II. 53-60). Shakespeare creates this induction to foreshadow different aspect the play will examine. For instance, the class system and social status. How people react to one another or how they act according to how they are treated. Additionally, the aspect of deception and disguise. How people are treated differently according to looks. Another example could be the role of marriage. Why do you think mentioning a wife causes Sly to believe the jest that the people are playing on him? Overall, I liked the induction, I personally thought that it was funny. Especially the part when Sly says, "'Tis much.—Servants, leave me and her alone. Madam, undress you and come now to bed." and the Page replies with, " Thrice noble lord, let me entreat of you To pardon me yet for a night or two, Or if not so, until the sun be set. For your physicians have expressly charged, In peril to incur your former malady, That I should yet absent me from your bed. I hope this reason stands for my excuse." (Induction. II. 99-107).
ReplyDeleteIn the first act of Taming Of the Shrew, Petruchio is displayed as a wealthy man who is on the search for a rich wife. When he hears about Katherine, he agrees to marry her despite, or maybe because of, her reputation as a shrew. Petruchio sees himself as the ultimate shrew taming champion. He even tutors other men on how to get their wives to obey as they should. Petruchio is a very honest man with stubborn and therefore he is fairly simple to figure out. In a simile, Petruchio compares himself to a strong gust of wind that will blow out Kate's "fire." This shows that he really likes to use language to convey his masculinity and dominance over women. Using lots of figure of speech, Petruchio states, “Signior Hortensio, 'twixt such friends as we Few words suffice. And therefore, if thou know One rich enough to be Petruchio's wife (As wealth is burden of my wooing dance), Be she as foul as 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.” (1.2.66-77) This quote shows the figurative language diction that Shakespeare decided to give to Petruchio. This diction shows that Petruchio doesn’t care if a woman is ugly, old, or shrewish, as long as she has money he will marry her because money makes him happy. His reference to Florentine, Sibyl, and Xanthippe also shows his formal diction, and how Petruchio is well read and educated alongside the other higher class characters in the play. Even though Kate is as "rough" as the "seas," he is okay with it. This is to show that he is man enough.
ReplyDeleteI like your interpretation of how Petruchio sees himself as the "shrew tamer"; it's a interesting explanation for his behavior which is so radically opposite of all the other characters. You also touched on Kate's wealth as a motivating factor. While I agree that he does he himself in some way as a "shrew tamer" who wants to prove that he's tougher than everyone, I think his true motivation is the money, and the "shrew tamer" face he puts on is just a mask. When he says, "I come to wive it wealthily in Padua; If wealthily, then happily in Padua", he reveals that he will be satisfied with his marriage no matter what so long as he is marrying a wealthy woman, therefore showing that he places accumulation of wealth at the top of his priorities.
DeleteI agree with your analysis of Petruchio's masculinity. Another line that would support this idea is the following: "For I will board her, though she chide as loud / As thunder when the clouds in autumn crack" (1.2.94-95). In the phrase "I will board her," "board" could refer to the "conquering" of a woman, which is a very violent, masculine act. The word "board" also dehumanizes Kate, turning her into a boat over which Petruchio can walk, making him appear inherently better than Kate. The stormy diction ("thunder," "clouds," and "crack") used to describe Kate underscores Petruchio's bravery, another traditionally masculine trait.
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ReplyDeleteThrough the juxtaposition of Petruchio’s desire to marry the wealthy yet shrewish Katharina and the disgust that the other characters have towards her in Act 1, William Shakespeare investigates the common belief that wealth is the key to happiness and satisfaction in life. The three suitors of Baptista's daughters other than Petruchio all refuse to marry Kate despite her wealth, because in their mind, having to put up with her hellish behavior would outweigh the benefits of money. In Scene II, Hortensio remarks his thoughts to Petruchio, saying, “I can, Petruchio, help thee to a wife / With wealth enough and young and beauteous, / … / Her only fault, and that is faults enough, / Is that she is intolerable curst / And shrewd and froward, so beyond all measure, / That, were my state far worse than it is, / I would not wed get her for a mine of gold” (Shakespeare 21). Hortensio’s disillusionment with the idea of marrying such a shrewish woman represents the position in the argument that wealth does not lead to happiness. Shakespeare utilizes hyperbole when Hortensio exclaims “I would not wed her for a mine of gold” to illustrate the absoluteness of Hortensio’s beliefs. On the other hand, Petruchio’s willingness to take Kate as his wife represents the other side of the argument. In response to Hortensio’s thoughts about Kate, he says, “Hortensio, peace! thou know’st not gold’s effect: / Tell me her father’s name and ‘t is enough; / For I will board her, though she chide as loud / As thunder when the clouds in autumn crack” (21-22). Petruchio’s dismissal of Hortensio’s warning demonstrates his belief that wealth will lead him to happiness. He even goes so far to tell Hortensio that he is ignorant of the influence that money has on one’s well-being. Shakespeare further emphasizes Petruchio's belief by using the metaphor, “though she chide as loud as thunder when the clouds in autumn crack”, to describe his remarkable tolerance of Kate's behavior. Shakespeare purposely crafts Petruchio's beliefs to appear outrageous and comical compared to Hortensio's sensibility in order to convey to the audience that the idea that wealth leads to happiness is in fact false.
ReplyDeleteI like your comparison of Hortensio and Petruchio's beliefs and the contrast between them. I was wondering why Petruchio wants to tame Kate when he could just compete for Bianca along with the other suitors? Is there any reason for Hortensio's disillusionment or is he just trying to stand out from the crowd to be the centre of attention?
DeleteIn the first act of The Taming of the Shrew, Lucentio has fallen in love with Bianca upon seeing her for the first time and confesses this to Tranio, comparing Tranio to “Anna to the Queen of Carthage” (1.1.154). In Virgil’s Aeneid, Dido, the Queen of Carthage, confessed her love for Aeneas to her sister Anna. The allusion shows Lucentio’s intelligence and points toward the reason that Lucentio has arrived in Padua: to study at the university. The repetition of “I” in the line “Tranio, I burn, I pine, I perish, Tranio” creates a passionate tone and emphasizes Lucentio’s feelings (1.1.155). During the conversation between Tranio and Lucentio, Bianca and Kate are characterized in opposition to each other. Kate “began to scold and raise up such a storm / That mortal ears might hardly endure the din” (1.1.172-173). The use of violent diction such as “scold,” “storm,” and “din” characterizes Kate as loud and harsh. Bianca’s voice is also described, though in a much different manner: “I saw her coral lips to move / And with her breath she did perfume the air: / Sacred and sweet was all I saw in her” (1.1.174-176). The use of beautiful diction (“coral lips,” “perfume,” “sweet”) characterizes Bianca as Kate’s opposite; she is calm and gentle. After confessing his love, Lucentio plots a way to court Bianca:
ReplyDeleteLUC. I have it, Tranio.
TRA. Master, for my hand,
Both our inventions meet and jump in one.
LUC. Tell me thine first.
TRA. You will be schoolmaster
And undertake the teaching of the maid:
That’s your device.
LUC. It is: may it be done? (1.1.188-193)
In the above section of the conversation, Lucentio and Tranio finish each other’s lines. This technique creates an excited tone. Without hearing the play, the reader can tell that the conversation flows quickly and jumps between Tranio and Lucentio because they are devising a plan together. Lucentio decides that Tranio will disguise himself as Lucentio so that Lucentio can become a tutor for Bianca. To Biondello, another of Lucentio’s servants, Lucentio remarks: “Tranio is changed into Lucentio” (1.1.235). Biondello replies: “The better for him: would I were so too!” (1.1.236). This exchange mirrors the events of the Induction. A poor servant has been transformed into a man of higher class. When the reader knows that this play was put on for Christopher Sly, he/she can understand the impact of this transformation: Sly would likely be able to relate to Tranio. It is fitting, then, that the play returns to the characters of the Induction, allowing the reader to make the connection between Sly and Tranio.
Throughout Act I of William Shakespeare’s Taming of the Shrew, Grumio and Gremio use parallel structure and repetition, creating a comedic tone throughout the scene. Shakespeare uses Grumio’s comedic qualities to call out Gremio’s lust for wealth and a fair maiden such as Bianca, characterizing Gremio as a fool. As Gremio is easily persuaded into believing that Lucentio will put in a good word for him to Bianca, Grumio mocks him:
ReplyDeleteGRE. O this learning, what a thing it is!
GRU. O this woodstock, what an ass it is! (I. ii. 130-131).
Shakespeare’s use of parallel structure emphasizes Grumio’s humorous tone. While Gremio shows excitement in Lucentio’s promise, Grumio sees through it, humorously describing the situation as an “ass”. Grumio’s sarcastic wit characterizes Gremio as dimwitted, showing his foolishness in falling for Bianca, as well as falling for Lucentio’s deception. Gremio is again humiliated by Grumio as he competes against Hortensio in his love for Bianca:
GRE. Beloved of me; and that my deeds shall prove.
GRU. And that his bags shall prove. (I. ii. 147-148).
Grumio’s repetition of Gremio’s pride in his deeds contrasts Gremio’s view of himself to the view the lower class maintains of the nobles. Being a servant, Grumio is well aware of the deception in both wealth and strategies of the upper class, allowing him to doubt Gremio’s “deeds”. Although Gremio obtains a high view of himself and his actions, Grumio has a different perspective. The “bags” referenced by Grumio represent the wealth of the upper class being used to get their way. Grumio’s witty comment creates a comedic tone, making the play more relatable to the audience. This also represents Grumio’s envy of Gremio’s fortune. As a servant, he is subjected to the rule of his master Petruchio, seldom making his own decisions. He realizes, if he obtained such wealth as Gremio, he would no longer be confined to the conditions of a slave. Yet, the comedic tone brought by Grumio creates a perspective of Gremio’s greed through parallel structure and anaphora.
I agree that although the characters quarrelsome attributes are humorous in the text, that in the real situation this must be difficult for these characters with such a difference between the upper class and lower class. Like you said, Grumio is well aware that Gremio is in a higher class than he is. Maybe if there was no difference between the two classes, Grumio would not feel the need to humiliate Gremio.
DeleteSetting up a humorous tone in the Induction, Shakespeare continues this tone into the first act of “Taming of the Shrew.” At the end of scene one, the play goes back to the perspective of Sly, where the First Servingman speaks “My lord, you nod: you do not mind / the play” (Shakespeare 1.1.149-150). The image of Sly falling asleep adds a humorous tone, and signifies to the reader that the play is not to be taken in a serious way. Using Grumio as comedic relief, Shakespeare emphasizes the comedic tone of the play. Grumio, an old servant of Petruchio, is first introduced at the beginning of scene two, in front of Hortensio’s house. Petruchio orders Grumio to knock, and Grumio in confusion asks, “Whom should I knock? Is there any man has rebused your worship?” (Shakespeare 1.2.6-7). Grumio’s incorrect diction, saying “rebused” when meaning abused, further accentuates the amusing situation. Attempting to clarify, Petruchio commands, “Villain, I say, knock me here soundly” and Grumio in more befuddlement, questions, “Knock you here, sir? Why, sir, what am I, / sir that I should knock you here, sir?” (1.2.8, 1.2.9-10). This miscommunication continues until Petruchio grabs Grumio’s ears in frustration. Grumio himself embodies the masses, the common people. His commentary and interjections mocks the greediness of the wealthy, appealing to the lower classes. Twisting Gremio’s words, Grumio points out the true intentions of Gremio in a mocking tone.
ReplyDeleteI noticed that Shakespeare named these two characters similarly “Gremio” and “Grumio” only changing one letter. Why do you think Shakespeare chooses to do this? How does it impact the reader or audience?
Why do you think that the reader continues to come back to Sly and his story? What affect does this leave on the reader?
DeleteFabulous interpretation Yena! I really liked your analysis of the comical miscommunication that took place between Grumio and Petruchio. In response to your question, perhaps Shakespeare is trying to show how similar the rich and poor were. Although separated by class, they still are comedic equals in this play. Also, the names could have been chosen to clearly illustrate some of the humorous stock characters that will be present throughout the play.
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ReplyDeleteDecember 10, 2015
Within Act 1 Shakespeare demonstrate the gender inequality and social hierarchy threw Gremio and Hortensio, two of Bianca’s suitors. Both Gremio and Hortensio are rich men who fancy Bianca. However both men are extremely selfish and hot headed. When Baptista, Bianca and Kate’s father, announced he would not wed Bianca until Kate was married, Gremio and Hortensio exaggerated this inconvenience by grumbling to the family about how difficult Kate is, “any man is so very a fool to be married to hell” (Acts 1, page 15). Shakespeare uses a metaphor, comparing Kate to hell, to exaggeration how difficult Kate is due to her independence. However Kate had said little to nothing wrong but due to the fact she a woman going against social norms, by she was subjected to insults and harsh treatment. Women during the Elizabethan Era were unable to voice their opinions and were practically property to their fathers and husbands. Gremio exemplifies this idea by stating how he would treat Kate as his wife, “I had as lief take her dowry with this condition, to be whipped at high-cross every morning” (Acts 1, 15). Women were to succumb to every whim and desire their husband had. It was socially acceptable to publically whip or humiliate your wife in the towns square as a punishment and whip her like a animal. Not only did Gremio and Hortensio feel superior to Kate because she was a woman, but they felt superior to one another due to their wealth. Gremio tells Hortensio, “I had given him the best horse in Padua to begin his wooing that would throughly woo her, wed her and bed her and rid the house of her!” (Act 1, page 15). Gremio is rude and arrogant towards his new partner, Hortensio, and makes repulsive comments about his intentions with Bianca to make Hortensio feel jealous and or insecure and inferior to Gremio. The selfishness and arrogance of Gremio, along with Hortensio, throughout act 1 is to create characterization of the two men, along with providing the reader with context of acceptable social behavior during the time the play The Taming of the Shrew was written.
Cameron Kays
In Act 1 of Taming of the Shrew, Shakespeare introduces some of the persiflage that will be present throughout the duration of the novel. Baptista, Katharina, Bianca, Gremio and Hortensio enter the scene arguing, for Bianca’s two suitors are upset that they cannot wed their love until her older sister is married. Gremio and Hortensio openly speak of Katharina’s curst behavior and begin to wittily insult her. Shakespeare writes:
ReplyDeleteBap …you have to court her at your pleasure
Gre. To cart her rather; she’s too rough for me..
Kath.[To Baptista] …is it your will / To make a stale of me amongst these mates?
Hor. ‘Mates,’ maid? How mean you that? No mates for you, / Unless you were of gentler, milder mold (1.1 54-59)
The verbal banter sets a comical tone to the Act. Shakespeare utilizes puns to enhance the humor of the scene. He plays on the words “court” and “cart” as well as the meaning of “mate”. Katharina’s father tells Gremio and Hortensio that they have his permission to court or start a relationship with Katharine, but knowing her shrewish nature, Gremio cleverly replies with “To cart her rather; she’s too rough for me” to imply that she is too much too handle (1.1 55). She has to be restrained . Shakesepeare illustrates Katharina’s fierce attitude, by her answering Gremio’s insult, “Is it your will / To make a stale of me amongst these mates? (1.1 57-8). In this context, “mates” means ‘rude fellows’. She is not afraid to defend herself and slight others. The insulting continues, with Hortensio using a pun to turn Katharina’s wittiness into another slander towards her. He uses “mates” with the meaning of a husband or lover, and says that is something she will never have, unless she becomes more tame and easier to handle. The puns utilized emphasize the persiflage occurring in Act 1, while adding to the comedic effect of the play. The cunning diction overall sets a humorous tone and makes the reader feel engaged in the fast paced retorts that stream out of the character’s mouths.
In Act 1 of The Taming of the Shrew, Shakespeare establishes the unfair treatment towards Katharina and her personality traits through the use of harsh diction, this makes the reader feel sympathy towards her. It is read from lines 55 to 70.
ReplyDeleteGre.: [Aside] To cart her rather: she’s too rough for me./ There, there, Hortensio, will you any wife?
Kath.: I pray you,sir,is it your will/To make a stale of me amongst these mates?
Hor.:Mates,maid! how mean you that? no mates for you,/Unless you were of gentler, milder mould.
Kath.: 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 noddle with a three-legg’d stool/And paint your face and use you like a fool.
Hor.: From all such devils, good Lord deliver us!
Tra.: Husht, master! here’s some good pastime toward:/That wench is stark mad or wonderful froward.
This scene took place when Katharina, Bianca and her suitors and Baptista first walk on stage. Kate had not said anything rude or horrible to either of the men, but Gremio immediately started off by using crude language by saying he did rather have a form of public punishment than be with Kate before giving her a chance or finding her personality out for himself. He was quick to judge her. This made Katharina mad, and her reply portrays her wit and how she is used to defending herself. Her condescending tone can create a comedic effect while on stage too. When Katharina replies to Hortensio, I interpreted the lines meaning that the comments do not affect her but if they did she would hit his head with a three legged stool and make a fool out of him. She does indeed have temper but only when people provoke her. An interesting element in this exchange of lines was when Tranio describes her as either ‘stark mad’ or ‘wonderful froward’. It seems as though he is the only one who understands why Katharina might behave the way she does even though he calls her a wench. The excerpt sets up the personalities of the characters and the tempo is quick which would be appealing to the audience in the Elizabethan age.
I totally agree, I believe that Katherina comes off as wild and headstrong, but there should be a strong reason why she possesses these certain qualities. In ancient times, women ought to be very fragile and depended on their husbands but Katherina clearly doesn't support such assumptions. She looks down upon the concept of marriage since she doesn't desire to be dominated for the rest of her life.
DeleteOne passage in Act I, scene ii, stood out to me. The scene begins with Petruchio and his servant Grumio outside the house of their friend Hortensio. In their conversation, both men seem to have a fairly quick mind and the ability to play with words without thinking about what they are saying. When Petruchio bids Grumio to “knock”(I.ii.5) Grumio replies, “Knock, sir! whom should I knock? is there any man has rebused your worship?”(I.ii.6-7). Punctuation marks are used many times in the short line in order to create a tone of false confusion that is meant to annoy Petruchio for Grumio's amusement. Grumio continues to search for who he should “knock”(I.ii.9,13) and Petruchio grows impatient, calling him “villain”(I.ii.8,11,19) and threatening to hit him saying, “Villain, I say, knock me at this gate And rap me well, or I’ll knock your knave’s plate.”(I.ii.11-12). Grumio still refuses to give up the act and Petruchio uses his knowledge and strength to put an end to the games; “Faith, sirrah, an you’ll not knock, I’ll ring it; I’ll try how you can sol, fa, and sing it”(I.ii.16-17). Petruchio is able to use his wits to come up with a heroic couplet to end the quarrel, the same way many poets would end their poems. He also remarks on his own strength in being able to make Grumio sing “sol” and “fa”(I.ii.17) in pain from his blow. To me, though he seems smart and quick witted, Petruchio appears short tempered and never wants to be out done by someone he considers his lesser.
ReplyDeleteUtilizing puns and wordplay, William Shakespeare creates a comedic tone that appeals to the reader and audience. The verbal banter between Petruchio and Katherine is one the most well known parts, along with Kate’s speech, in “The Taming of the Shrew”. Upon Kate’s entrance Petruchio refuses to call her “Katherine” as she corrects, and instead declares:
ReplyDeleteYou lie, in faith, for you are called plain Kate,
And bonny Kate, and sometimes Kate the curst.
But, Kate, the prettiest Kate in Christendom,
Kate of Kate Hall, my super-dainty Kate,
For dainties are all Kates, and therefore, Kate, (Shakespeare 2.1.185-189)
Petruchio purposely calls her “Kate” instead of “Katherine” immediately portraying that he will do as he likes while undermining her at the same time. He creates a pun on, “dainties are all Kates” also meaning delicacies are all cakes, constructing a play on the similar phonological sound of “Kates” and cakes (2.1.189). Kate insults Petruchio, comparing him to “a joint stool” in which Petruchio plays on her words, commanding her to “come sit on me.” (2.1.197-198). This pattern of Kate’s verbal attack and Petruchio’s witty replies continues, where Shakespeare uses puns to convey a comedy. The banter entertains and makes the reader laugh at the interaction, and at Petruchio’s blatant sexual innuendos; Shakespeare writes to the common mass. Petruchio calls Kate a wasp to which she warns him of her “sting”, or verbal assault . He banters back that he could “pluck it out” but Kate retorts “Ay, if the fool could find it where it lies.” (2.1.211, 2.1.212). With Kate’s reply, he cleverly turns it into an oral sex joke:
Petruchio. Who knows not where a wasp does wear his sting? In his tail.
Kate. In his tongue.
Petruchio. Whose tongue?
Kate. 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— (2.1.212-216)
Kate threatens to “sting” Petruchio on his tongue if he continues to “talk of tales” (meaning his banter) placing a pun on between the word tales and tails (2.1.215). Petruchio, referring to wasps with stingers in their tails, compares Kate stinging his tongue as meaning her “tail” on his tongue (2.1.216). Shakespeare adds these raunchy jokes and puns in order to gain attention of the reader and create a comedic tone. However, despite Kate’s threat: “I’ll see thee [Petruchio] hanged on Sunday first”, Kate remains silent to Petruchio announcing their marriage (2.1.192). Petruchio’s persistence and ability to banter back at Kate is possibly one the reasons why Kate remained silent on the agreement to marry. Why does Kate suddenly accept the marriage, when just moments before she seemingly detested Petruchio?
I think Kate never actually detested Petruchio but wanted to test as to how far he could be pushed. The other men she was nasty to could never retaliate back with similar persiflage but Petruchio could. Kate may have found this quality attractive and therefore continued the conversation filled with puns. Kate could have remained silent when Petruchio announced their marriage because that is what she wanted but did not want to accept it out loud. She wanted to remain ambiguous so that Petruchio doesn't feel like he 'won'.
DeleteIn the second act of Taming Of the Shrew, Petruchio takes on a whole new character. At first, it is easy to see that Petruchio is persuaded by money, as this is what he revolves most of his life around. His determination in marrying Katherine in spite of her shrewish behavior shows his greediness and trickery. However, in this scene Petruchio acquires some new traits as well as bianca. When the two meet, and Petruchio is exposed to the cruel and bitter attitude that Katherine portrays, it seems as if the two have a connection instantly. Petruchio’s diction in this scene changes from that of honest and blunt to a more sexual connotation, "Thou hast hit it: come sit on me," (II.i.195) and "What, my tongue in your tail? nay, come again," (II.i.211). The change in character shows that Shakespeare wanted readers to see a whole new side to the character they had previously thought they had all figured out. Do you think that after this scene, Petruchio may have changed his motives of only wanting to marry Katherine for her money, and maybe it’s also about his attraction to her? Katherine does have a unique personality, and maybe he is sincerely drawn to this.
ReplyDeleteReally interesting perspective Sierra! In response to your question, I think that his motives didn't really change. I think that his sexual diction mainly enhanced how shallow and disrespectful he already was. He doesn't really have a strong attraction to her like his innuendos suggest, but they merely are used to illustrate his crudeness. I also think that Petruchio chose to speak to Kate like this to rile her up and get her angry. This may be his first attempt at "taming" her; he wants to show her how he could treat her during their inevitable marriage so as to scare her and condition her to act "appropriately".
DeleteToward the end of Act Two, when Kate’s wedding date has been set, Baptista promises Bianca to the man who could provide the largest dower, saying, “That can assure my daughter greatest dower / Shall have my Bianca’s love” (2.1.336-337). The ensuing exchange between Gremio and Tranio highlights the customs regarding marriage in Shakespeare’s time. A dower is the share of a man’s estate given to his wife in the event that she is widowed. Baptista’s insistence on a large dower for Bianca above all else shows that he has little consideration for her happiness. He would have no qualms marrying her off to a much older neighbor (Gremio) if he proved to be the wealthiest. However, Baptista may have some concern for his daughter’s happiness: a large dower, would, at the very least, ensure her comfort if her husband died. Gremio begins by listing what he can give Bianca. Within these 17 lines, he lists several place names: “Turkey cushions boss’d with pearl,” and “Valance of Venice gold in needlework” (2.1.342, 346, 347). These allusions alert the audience not only to Gremio’s wealth, but to his worldliness. Metallic diction such as “plate and gold,” “crowns,” and “pewter and brass” add to Gremio’s image of wealth (2.1.340, 343, 348). Despite Gremio’s ostentatious display of his dower, Tranio (acting as Lucentio) promises more, saying, “What, have I pinch’d you, Signior Gremio?” (2.1.364). The use of painful diction creates a violent tone, as though Gremio and Tranio are attempting to verbally wound each other with descriptions of their dowers. When Gremio rebukes Tranio, he uses more painful diction: “What, have I choked you with an argosy?” (2.1.369). Baptista finally decides that “Lucentio” has won the match, and allows him to marry Bianca if Lucentio’s father makes an assurance of the dower to Bianca. Tranio celebrates with the following lines:
ReplyDeleteA vengeance on your crafty withered hide!
Yet I have faced it with a card of ten.
‘Tis in my head to do my master good.
I see no reason but supposed Lucentio
Must get a father, called “supposed Vincentio,”
And that’s a wonder. Fathers commonly
Do get their children, but in this case of wooing
A child shall get a sire if I fail not of my cunning (2.1.397-404).
In these last lines of the act, Shakespeare foreshadows the pedant’s transformation into Vincentio to give the assurance to Baptista and Bianca. The use of the word “supposed” to describe Lucentio and Vincentio creates a humorous tone. It also foreshadows the moment when the actual Vincentio encounters “supposed Vincentio.” Shakespeare continues the humorous tone in the last few lines: Tranio says that fathers typically “get” mothers with child, but this time, Tranio will “get” his own father. Tranio’s enthusiasm in this moment shows his loyalty to Lucentio, as he is willing to go to great lengths to “win” Bianca for him.
I enjoyed your analysis of Vincentio. Do you believe that Shakespeare had a hidden meaning behind creating an alter ego for certain characters? As in to show themselves (or the audience) another side of who they truly are?
DeleteWhile reading Shakespeare's play, do you find the deception humorous while reading this Act, or mainly just confusing?
DeleteDecember 14, 2015
ReplyDeleteWilliam Shakespeare’s play, Taming of the Shrew, is consistently full of alliteration and comparisons, threw similes and metaphors to exaggerate an idea or to create a tone threw the romanticized, flowery rhythm of the lines. A great example of the excess use of alliteration and comparisons threw metaphors and similes is shown towards the end of Scene one in Acts 2, page 33.
And woo her with some spirit when she comes.
She sings as sweetly as a nightingale:
Say that she frowns; I’ll say she looks as clear
As morning roses newly wash’d with dew:
Say she be mute and will not speak a word;
…
(Shakespeare, Acts 2, Scene 2, page 33)
Within this paragraph there is 13 words that all start with the letter “s”. The S sound is almost always associated with snakes that often warn of danger or reflect evil. This is quite ironic however that Petrischio would be using a sound that reflects danger when he is trying to win over Katrina's father’s heart convincing him to allow Petrischio to marry Katrina. The S sounds also creates a sense of poetic rhythm to the lines. It provides a beat and melody that is pleasing the the ears and fluidic. “She sings as sweetly as a nightingale”, uses alliteration of the s sound 3 times in a row to emphasis the melodic tone of the sweet singing. Singing sweetly as a nightingale is also however a simile and visual imagery. Petruchio is comparing Katrina's sweet songs to a nightingale, a beautiful and powerful song bird. The similes allows the reader to make a connection to the character threw the comparison along with adding to the flowery rhythm and tone created threw Shakespeare’s language. He, Petrischio, then goes on to compare Katrina to being as “clear as morning roses newly wash’d with dew,”. This allows the reader to visually see the clearness of the new along with adding a romanticized feeling of love, although the reader knows the love isn’t real. The alliteration and comparisons both add to the tone and emphasis of the lines along with adding comparisons allow for a romantic and flowery rhythm that is repeated throughout all of Shakespeare’s play Taming of the Shrew.
Cameron Kays
I like how you perceived Shakespeare's use of repetition of the letter "s" in both negative, snake-like, and positive, soft sounding ways. For me, this appears ironic in describing Kate. In the perspective of most the characters, even Baptista, Katherine is characterized as "hell" and even "a devilish spirit". These connotations associate with the evil, snake-like qualities in your interpretation of Kate. This is ironic in the way that Petruchio sees her as a "nightingale" and "morning roses", qualities that one would normally associate with the humbleness of Bianca. Petruchio's view of Kate varies from the perspective of Baptista and Bianca's suitors, foreshadowing that he may be the only one who can tame the shrew.
DeleteThroughout Act II, Shakespeare displays Katherine’s inability to calmly express her emotions through proliferation in arguments and pugnacious stage directions, characterizing Kate as a truculent individual. As seen in Act I, Kate exemplifies a tremendous grudge towards her sister, Bianca, for being cherished by both their father and suitors. Katherine, the eldest daughter, displays this jealousy towards her younger sister as she proclaims, “She is your treasure, she must have a husband; / I must dance bare-foot on her wedding day” (II.i.32-33). While Baptista continually shows favor to Bianca, “Poor girl! she weeps.”, he neglects Katherine, “For shame, thou hilding of a devilish spirit,” (II.i.25), (II.i.27). Through constant verbal abuse by her father, Katherine’s envious actions appear self-evident. Her father calling her “hilding of a devilish spirit”, or a good-for-nothing monster, makes her hatred for her family appear justifiable. Being compared to her sister constantly creates a covetous tone in Katherine’s desire to avoid her spinsterhood by dancing barefoot at her younger sister’s wedding. Katherine’s raging emotions of jealousy result in turmoil as she “[Strikes [Bianca]” (II.i.21). In the midst of her defiance to her sister’s favorable persona, Katherine displays her emotions through violence, a seemingly needed and easy way to gain her revenge. However, this only causes her father to reprimand her all the more. Shakespeare again utilizes violence in his stage directions during Kate’s feud with Petruchio: “[She strikes him” (II.i.212). After Petruchio takes advantage of Katherine with a sexual innuendo, she reacts with violence, striking him to express her emotions when she feels she can’t verbalize them strongly. Similar to the encounter with her sister and father, Kate’s emotions are aroused by Petruchio’s bold words, causing Kate to be taken back. Violence again seems to be the only defense mechanism she can access, leading the audience to perceive her as a violent, relentless character. This scene also represents the inequality of gender in Shakespeare’s time period. Although men were viewed as “in charge”, women were reduced to their rule, making violence and defiance to their suitors unacceptable. However, Kate’s character challenges this belief through truculently displaying her independence. Yet, she is still looked down upon and reprimanded for doing so. Shakespeare’s use of aggressive stage directions in the midst of tense, emotional scenes, allows the audience to experience the rage of the actor, creating a more serious, violent tone in his play.
ReplyDeleteIn Act II of Taming of the Shrew, Shakespeare illustrates the weak relationship Baptista has with Katharina. After she hits her sister Bianca, Baptista says:
ReplyDeleteBap. Poor girl! She weeps…For shame, thou hilding of a devilish spirit, Why dost thou wrong her that did ne’er wrong thee? (2.1)
Baptista immediately takes Bianca’s side in the dispute and talks as if she were a little child. He proceeds to insult Katharina and essentially call her a “good-for-nothing”. He treats Bianca as his perfect princess and disregards Katharina and her strong willed personality. The conversation proceeds after Baptista sends Bianca inside, with Kate saying:
Kath. Nay, now I see She is your treasure…I must dance bare-foot on her wedding day (2.1).
Her response to Baptista’s obvious proclivity towards Bianca is that of disdain. Katharina’s father treats her poorly and thinks that there is no help for her. She believes that her father loves her younger sister more. This conversation between them signifies their shaky relationship and adds context to why Katharina acts the way she does, and is deemed “shrewish” by many. Shakespeare further illustrates this through Baptista’s blunt disregard for Katharina, writing:
Pet. Have you not a daughter Call’d Katharina, fair and virtuous?
Bap. I have a daughter, sir, called Katharina (2.1).
After Petruchio attempts to charm his way into marrying Katharina, Baptista corrects him. Almost passive aggressively, Katharina’s father insinuates that his eldest daughter is none of the qualities that Petruchio mentioned. She is nothing like Bianca, who is often described with those characteristics throughout the play. When reading this act, I thought that this relationship could have two effects on the reader. It could enhance the humor of the play – Baptista also finds his daughter shrewish and subtly insults her. Or it could make the reader emphasize with Kate; she is treated so horribly by everyone around her, she has no one that really cares for her. Which do you think the tone is?
I feel that the predominant tone of Kate's relationship with all the other characters is humor, because there are multiple times even in the first two acts where someone makes a sarcastic remark about her behavior. Kate herself doesn't take any action to better her situation; she is bullying and striking her sister and her refusal to change her behavior alienates her father. I think that had she taken steps to show that she was genuinely unhappy with her situation rather than continuing with her behavior, the audience may have empathized with her a bit more.
DeleteI liked how you wrote about the father-daughter relationship between Baptista and Katherine. Because the play has been intended for comedy, I think the tone that Katherine and Baptista creates is one of humor. But I think it greatly depends on the reader how their relationship impacts them. In Elizabethan times, Kate’s behavior is out of the norm, essentially ridiculous. The audience is meant to laugh at her shrew behavior, and to pity Baptista for having such a wild daughter. In a modern western perspective, where an independent, witty personality is desired, the reader empathizes with outspoken Kate. Do you think Baptista’s preference for Bianca caused Kate’s shrewdness, or has Kate always had this personality, causing Baptista to favor her younger sister?
DeleteIn Act II of Taming of the Shrew, William Shakespeare characterizes Petruchio as an unctuous sycophant by writing his lines with flattering diction. Petruchio’s main goal in Act II is to secure his marriage and dowry with Kate. To achieve this, he shows appeasement towards all the other characters, particularly Kate and Baptista. Petruchio demonstrates this from the moment he meets Baptista, when he says, “That, hearing of her beauty and her wit, / Her affability and bashful modesty, / Her wondrous qualities and mild behavior, / Am bold to show myself a forward guest / Within your house, to mine eye the witness / Of that report that I have so oft heard” (29-30). Petruchio is clearly lying to Baptista in order to appease him into encouraging the marriage with Kate; Hortensio had just told Petruchio of Kate’s shrewish behavior in the previous act. The fact that Petruchio begins his acquaintance with Baptista by lying to gain an advantage demonstrates his slimy sycophancy. Shakespeare also uses eloquent language in Petruchio’s lines, which creates a tone of appeasement that furthermore contributes to Petruchio’s characterization. His unctuous behavior is even more defined when he is speaking with Kate. Kate does nothing but argue with him throughout the whole exchange they have, but Petruchio still attempts to appease to her by saying, “I find you passing gentle. / ‘T was told me you were rough and coy and sullen, / And now I find report a very liar; / For thou art pleasant, gamesome, passing courteous, / But slow in speech, yet sweet as springtime flowers” (35). Once again, Petruchio says the furthest thing from the truth in an attempt to ingratiate himself with Kate, who has shown nothing but hostility to him. Shakespeare emphasizes his behavior and adds to the tone of appeasement through the use of the metaphor “sweet as springtime flowers”. The repeated flattery of Petruchio towards his peers demonstrates the lengths to which he will go to achieve a goal.
ReplyDeleteIn the beginning of Act II, scene 1, It is the first scene where Bianca has actually spoken. It portrays her as submissive yet self serving. She isn't as gullible as people believe her to be.
ReplyDeleteFor example in Line 1 to 7:
Bianca: Good sister, wrong me not,not wrong yourself,
To make a bondmaid and a slave of me;
Unbind my hands,I’ll pull them off myself,
Yea, all my raiment, to my petticoat;
Or what you will command me will I do,
So well I know my duty to my elders.
This is an interesting juxtaposition of phrases which would make her seem independent in contrast to her submissive nature. In line 1 and 2 she clearly states she does not want to be a slave or servant to her sister which makes it clear that she won’t accept being treated badly. In the last two lines though she says “Or what you will command me will I do,/ So well I know my duty to my elders.” which is ironic because arguing with Kate, would be defying her elders. She is self serving and is aware of what she is doing/implying because Shakespeare uses a lot of punctuation in these lines. The sentences aren’t run on, instead they give an impression of structure and organisation. These are unlike Kate’s sentences which lack punctuation when she argues with Baptista. This leads me to believe that Bianca is not as innocent as she seems and desires the same freedom as her sister but is able to control her emotions better. She seems to be aware of where her skills and talents lie and uses it to her advantage.
This also foreshadows the end of the play when Bianca defies Lucentio summoning her. Now that she is married, she is ‘safe’. She does not need to worry about being on her best behaviour because she has been married.
Petruchio: "Con tutto il cuore, ben trovato may I say"
ReplyDeleteHorteansio:"Alla nostra casa ben venuto, molto honorato signor mio Petruchio" (II.i.23-24).
What's really interesting in this passage is Shakespeare's usage of Italian to express emotion. The sudden change of language completely changes the mood of the passage, as the conversation escalates to a more finer state. The ability to speak multiple languages reveals a more rich cultural background and it often separates the intelligent from the unintelligent. In this case, Patruchio and Hortensio attempt to show off in front of Grumio, who was just a servant and had no knowledge of Italian. The usage of multiple languages was utilized to show courtesy towards communities that spoke those specific languages, but it also displayed a person's rich cultural background. In this case, the audience notices that Hotensio and Petruchio are able to create a deeper connection through the usage of a common language besides Shakespearean. Petruchio expresses that he is ecstatic to see Hortensio and Hortensio is able to welcome his friend into his house. The tone is much more flattering as in Italian one must speak sweetly because of the nature of the language.
Within act 3, Petruchio arrives late to his very own wedding in messy clothing. The scene shows a lot of his diction as light and at ease despite the fact that he has caused so much ruckus, “"Were it better I should rush in thus- But where is Kate? Where is my lovely bride? How does my father? Gentles, methinks you frown" (III.ii.85-87). He seems to be acting un shamefully about his wrong doings. This may have been to embarrass Katherine by making a scene, or to test her shrewish behavior. His actions, along with his tone of voice, create a sense of heartbreak inside of Katherine. This scene brings out the easy going side of Petruchio, as he doesn’t care what others think of him, he is solely focused on Katherine. The reason behind these actions is to show Katherine that he is the boss and he is in charge of her, She already agreed to marry him so she can't back out now anyways. She is the woman, so he is superior and she needs to obey him, ““I will be the master of what is mine own.---She is my goods, my chattels, she is my house…” (III.ii.235-236). Here, his diction is very firm. Overall, scene 3 proves once again that Petruchio is a clever character that some may not notice without further analysis. His actions may be apart of his scheme of “taming” his wife.
ReplyDeleteI agree strongly with you in that Petruchio didn’t just act ridiculously without reason. Petruchio is doing this with a purpose: to demonstrate to Kate that he’s her property, her “master” (Shakespeare 3.2.235). Kate has already agreed to the marriage (or rather her silence as agreement) the dowry has been bartered, there’s no need for Petruchio to woo Kate anymore. He’s beginning the process of belittling Kate, to essentially break her spirit, in order to tame the shrew. By arriving in an unkempt state, and acting in a pompous, absurd manner, he conveys that he will do as he likes. In embarrassing Kate, Petruchio degrades her, expressing that he doesn’t consider her any close to his equal— she’s not worth it to dress, or behave suitably.
DeleteI also agree with your analisis of Petruchio and his crude behavior. Do you think that Petruchio wants to establish his dominance over Kate, or prove his ability more? Is the Taming of the Shrew more for Petruchio's own self interest, or more as a bragging right?
DeleteIn act III of Taming of the Shrew, the irony created when Bianca accepts Lucentio’s method of courtship but denies Hortensio, it creates a comedic tone and characterises all of their characters. Even though Hortensio’s method of courting Bianca was more creative, it portrayed him as desperate and helpless. In the last line of the poetry it says, “E la mi,’ show pity or I die.” (III.i.77). Lucentio on the other hand is strong and confident even though it is not very innovative. He translates Heroides by Ovid to describe his intention and true identity instead of the actual translation. The allusion to Heroides by Ovid is interesting because it is a set of dramatic letters where the heroines have been rejected by the heroes. By Lucentio refereeing this, he gets the upper hand in contrast to Hortensio being submissive. Bianca’s character is developed by showing her as hypocritical. She accepts Lucentio making changes but when Hortensio does so, she explicitly expresses her dislike, “Call you this gamut?tut, I like it not:/Old fashions please me best; I am not so nice,/To change true rules for old inventions.” (III.i.78-80). This also shows how Bianca is truly not afraid to state her opinion and is much like her sister, but Bianca is able to manipulate the situation to her favour.
ReplyDeleteDo you think the fact that Bianca was more friendly to Lucentio than Hortensio makes her less likable as a character? Up until this point she has been portrayed mainly as an angel compared to Kate, so naturally she should be more likable, right? But a lot of that portrayal comes from reports other characters have made about her, and not from her actual behavior and likable qualities. I think this scene shows that she is really not as peaceful and lovely as the other characters say she is, because her actions reveal that like her sister, she can be manipulative and play the cards of the situation she's in.
DeletePerhaps when Bianca says, "Old fashions please me best," she is referring not only to the gamut but also to the way that Lucentio introduced himself. When Lucentio "translated" the Latin, he stated his name, his father's name, and his purpose in coming to tutor her. Lucentio did not use any flowery diction or display his desperation, whereas Hortensio greatly exaggerated his feelings, saying, "show pity, or I die." Hortensio did not even have the courage to verbally express his feelings for Bianca. He forced her to read what he had written. Lucentio was straight forward and made his intentions clear, while Hortensio's intentions were not as obvious. It is clear that when Bianca rejects Hortensio's gamut, she is rejecting Hortensio's affections.
DeleteThis comment has been removed by the author.
DeleteI think Bianca does become less likeable as a character because she barely gives Hortensio a chance and is blatantly rude. It also portrays her as a hypocrite. However, I think that Kate isn't manipulative and is a lot more naive in that sense because she doesn't seem to realise the situation around her.Kate is not able to disguise her personality like Bianca, and that makes her more likeable and authentic.
DeleteIn Act III, William Shakespeare demonstrates to the audience how using a disguise to reach one’s goals can backfire and create negative consequences. In the previous two acts of the play, Tranio disguised as Lucentio and Lucentio disguised as Cambio in an elaborate plan to for Lucentio to win over Bianca’s love. Up until Act III, their plan had been going smoothly, despite the fact that Lucentio had to compete against several of Bianca’s other suitors. But in Scene I, Act III, Lucentio observes that Bianca’s other teacher, Licio, seems to be wooing her. Lucentio isn’t aware of the fact that the teacher is actually a disguised Hortensio, also trying to win Bianca’s love. Lucentio, after becoming suspicious of Hortensio’s behavior, says to himself, “well, I must wait, / And watch withal; for, but I be deceived, / Our fine musician groweth amorous” (44). Shakespeare uses Lucentio’s frustrated soliloquy as a tool to suddenly change the pace of the play, representing the unforeseen difficulty he has now encountered in his master plan. The frustration Lucentio expresses provides comic relief for the audience, because it was an outrageous plan from the start, and Lucentio is only now beginning to realize his troubles. On the other side of the conflict, Hortensio expresses similar, even greater irritation with his counterpart. After Lucentio attempts to stall Hortensio’s lesson to buy time for him to reveal himself to Bianca, Hortensio thinks out loud, saying, “How fiery and forward our pedant is! / Now, for my life, the knave doth court my love: / Pedascule, I’ll watch you better yet” (43). The dramatic irony behind the fact the that neither of the characters realize who the other is serves two purposes. For one, it provides an overarching comedic effect to the scene. But more importantly, it highlights the failure of their disguises, showing that an elaborate plan can sometimes be too complex to be effective. In Lucentio and Hortensio’s case, their intricate webs of plans became tangled together, and so they fell apart.
ReplyDeleteAct Three opens with a humorous scene wherein Hortensio and Lucentio attempt to simultaneously woo and tutor Bianca. Using interrupted lines and insults, Shakespeare builds tension between the two men as they come to realize they are competing for Bianca’s love. Lucentio insists upon lecturing Bianca first, before Hortensio tutors her in music. He calls Hortensio a “preposterous ass,” saying that Hortensio doesn’t know that music is supposed to “refresh the mind of man after his studies or his usual pain” (3.1.9, 11-12). Lucentio’s insult creates an angry, bitter tone and shows that he feels threatened by Hortensio. Lucentio continues to insult Hortensio; the following exchange takes place:
ReplyDeleteBIAN. 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 (3.1.23-24).
Lucentio suggests that Hortensio is a poor musician when he says that Hortensio’s instrument will never be in tune. He is also hinting that he does not want Hortensio to have access to Bianca. As Lucentio tutors Bianca, he reads a passage of Latin:
Hic ibat Simois; hic est Sigeia tellus;
Hic steterat Priami regi celsa senis (3.1.28-29).
Translated, this means “Here flowed the Simois; here is the Sigeian (Trojan) land, here had stood old Priam’s high palace.” This passage comes from Ovid’s Heroides, which is a collection of poems written in the form of letters from Greek heroes to their lovers who have abandoned or mistreated them. This allusion fits the scene because Lucentio feels mistreated by Bianca; she states that she neither knows nor trusts him. However, when Bianca asks Lucentio to translate the lines, he cleverly inserts his message between the words. Bianca does the same when she replies. In a way, the two are writing their stories into Ovid’s book. It is as though Lucentio is writing to Bianca to tell her to avoid Hortensio. Hortensio doesn’t stay away for long, though. He bursts into Lucentio’s wooing session, saying, “Madam, ‘t is now in tune” (3.1.44). Lucentio completes his line, creating a perfect line of iambic pentameter. He says, “All but the base” (3.1.44). The use of the interrupted lines shows that Lucentio is quick to deflect Hortensio’s advances and that the two men are very similar, as they are pursuing the same woman.
Petruchio, in the incipient stage in taming Katherina, refuses to arrive for the wedding on time, and ridicules her by wearing “a pair of old breeches thrice turned” (Shakespeare 3.2.44). Shakespeare uses visual imagery, and parallel structure in order to convey the outrageous yet hilarious behavior of Petruchio contributing to a comedic tone. Petruchio’s behavior effectively placed him in control and dominant over Kate. Katherina understands that if Petruchio does not arrive for the wedding then only she would be negatively affected, saying, “No shame but mine . . . Now must the world point at poor Katherine” (3.2.8, 3.2.18). By arriving at his own leisure, Petruchio portrays that he will only do something when he wants to, regardless of what is expected of him. Biondello enters, after a comedic exchange with Baptista, he describes in great length the “old news” of Petruchio’s appearance (3.2.30). Using visual imagery, Biondello depicts the strange apparel: “a pair of boots that have been candle-cases, one buckled, another laced” and describes Petruchio’s appearance as ,“full of windgalls, sped with spavins, rayed with the yellows” (3.2.45, 3.2.52-53). Although a twenty-first century reader may not completely understand the descriptions, even they can interpret Shakespeare lengthy imagery of Petruchio as one of peculiarity, or not appropriate in the slightest for a wedding. Petruchio’s shoes are described to be “candle-cases” or so dilapidated that the only use is to keep candle cases in. Shakespeare also uses consonance for the ghastly appearance of Petruchio (“ll” in “full”/ “windgalls”, “s” in “sped”/ “spavins”, and “y” in “rayed”/“yellows”) creating a fluidity to the language (2.3.52-53). He construes Petruchio with swellings on his legs and spoiled with jaundice; overall a sickly appearance. Petruchio refuses to change as Baptista requests, and declares that Kate’s marriage is to him, not his clothes. Leaving the mad wedding ceremony early, Gremio gives the reader a description of Petruchio’s eccentric and malapropos behavior. Gremio, who described Kate earlier as “a devil”, declares to Tranio:
ReplyDeleteGremio. Why, he’s a devil, a devil, a very fiend.
Tranio. Why, she’s a devil, a devil, the devil’s dam.
Gremio. Tut, she’s a lamb, a dove, a fool to him. (3.2.155-157)
Shakespeare’s parallel structure juxtaposes Petruchio and Kate, emphasizing to the reader their similar anomalous personalities. Gremio’s description of Kate as innocent as “a lamb, a dove” and as harmless as “a fool” alongside of Petruchio, reveals to the audience the extent of Petruchio’s outlandish behavior (3.2.157). In thoroughly embarrassing Kate, Petruchio wields power over her, initiating his process of taming the shrew.
Fantabulous analysis Yena! I found your interpretation very interesting regarding the juxtaposition of Katharina and Petruchio's personalities. Do you think that this characterization by Gremio could also illustrate the similarities between the two? Do you think Shakespeare weaves this dialogue in to foreshadow anything?
DeleteI completely agree with your analysis of Petruchio. It shows how in Shakespearean society it was okay for a man to act this way but not a women. The range of acceptability of behavior greatly differed between men and women. In what other ways do you think Shakespeare shows this throughout the play?
DeleteDec. 16, 2015
ReplyDeleteAct 3 of Taming of the Shrew by William Shakespeare there is immense characterization between Lucentio, Hortensio, Kate, and but mainly Petruchio. Petruchio enters the scene by running late to his own wedding wearing awful clothing unfit for everyday life much less a wedding. As Tarino had said in the middle of act 3 scene 2, “He hath some meaning in his mad attire:”. All those close to, or remotely close to Petruchio knew how wise he was and how he would not be dressing so disgustingly for nothing, on his wedding day of all days. The reader notices in act 2, how strong headed both Petruchio and Katherine were. Although the two appeared to be the perfect match, both were wise, independent, and stubborn. Their dialog, back and forth banter foreshadowed that the two independent, stubborn heads, would clash. In act 3 Petruchio arrives at his wedding, foul appearing, late, and stubborn. He is respectful to Katherine, but refuses to allow her to have her way as she demands at the end of act 3, scene 2, “I will no go to-day; No, nor to-morrow, not till I please myself. Although the reader is already aware of Katherine's independent attitude, Shakespeare goes on to have Petruchio overpower her stubborn mindset with a more aggressive and firm attitude stating, “I will be master of what is mine own: She is my goods, my chattels, she is my house, My house stuff, my field, my barn, My hours early, my of, my ass, my anything:”. His strong declaration I believe startled Katherina and all witnesses because Petruchio had recently been a softer soul. Petruchio scares Katherine, but she still goes with him, she still feels protected with him and safe. This is because Petruchio goes on to say, “And here she stands, touch her whoever dares; I’ll bring mine action on the proudest he That stops my way in Padua.” This is characterization of Petruchio’s pride and care for Katherine. He sees her as a task, a challenge. This passage further emphasized Petruchio’s dominate, demanding, and selfish personality, along with showing the reader the lengths Petruchio would go to, to tame his “sweet wench”.
Cameron Kays
Great analysis! Do you think, at this point in the novel, that Kate knows what Petruchio is doing? Or does she see right past it and think he is acting out for no apparent reason? If she does know what he is trying to do, does this change her opinion of him at all?
DeleteIn Act III of Taming of the Shrew, Gremio’s dialogue displays how Petruchio is seen after the ridiculous wedding that took place. After they have married, Gremio returns from the ceremony and speaks to Tranio of the spectacle that occurred,
ReplyDeleteGre. A bridegroom, say you? ‘t is a groom indeed, A grumbling groom, and that the girl shall find.
Tra,. Curster than she? Why, ‘t is impossible.
Gre. Why, he’s a devil, a devil, a very fiend.
Tra. Why, she’s a devil, a devil, the devil’s dam (3.2).
In this passage, Gremio and Tranio illustrate through their language how Petruchio is perceived now, after the wedding has taken place. Before, he was seen as charming and suave, as seen in “have you not a daughter Call’d Katharina, fair and virtuous” (2.1). In the previous act, Petruchio tries very hard to please Baptista and appear as a charismatic gentleman. However, once he officially is able to marry Kate, he loses all his graceful appearances and proceeds to be late to their wedding and be incredibly rude to everyone. After attending their nuptials, Gremio finds that Petruchio is “shrewish” just like Katharina. Using the same diction that was used to describe Kate in Act II, Shakesepeare demonstrates the connection and similarities between the two. In this context, groom means a ‘rude fellow’ reiterating the unkind behavior of Petruchio at their wedding. ‘Devil’s dam’ refers to the mother of the devil, therefore Kate and Petruchio are both of devilish nature. This characterization enhances their similarities for the reader and foreshadows more problems ahead for the couple.
In Act III, Katharina's emotions towards Petruchio continue to be presented in interesting ways. I personally am starting to sense a slight transformation in her character as the reader picks up on clues that suggest Katharina is slowly developing affection for Petruchio. When there is doubt regarding Petruchio's arrival and attendance at the wedding, she claims to her father,
ReplyDelete"No shame but mine: I must, forsooth, be forced
To give my hand, opposed against my heart,
Unto a mad-brain rudesby, full of spleen;
Who woo'd in haste and means to wed at leisure.
I told you, I, he was a frantic fool,
Hiding his bitter jests in blunt behaviour:
And, to be noted for a merry man,
He’ll woo a thousand, 'point the day of marriage,
Make friends, invite, and proclaim the banns;
Yet never means to wed where he hath woo'd.
Now must the world point at poor Katharine,
And say, “Lo, there is mad Petruchio’s wife,
If it would please him come and marry her!” (III.ii.8-20).
Here, an angry tone is evident, but the more important component is the underlying accompanying tone of hurt, which acts as the foundation and fuel for her frustration and rant. I think her own emotions for Petruchio are confusing her because they are both unexpected and unknown to her. Perhaps she is falling for him, but because of her independent and strong-willed demeanor that everyone knows her for, including herself, she does not want to admit she may be falling in love. The possibility of being stood up at the altar makes Katharina reflect on the reality of the situation and "catch" herself. The warmth she has in her heart that has finally emerged is quickly overshadowed by anger and hurt. She does not want to allow herself to become a fool at the hands of a man. Katharina says, "Would Katherine had never seen him, though!" (III.ii.26) demonstrating how Petruchio left some kind of impression on her and has affected her in some way so as to make her wish she had never laid eyes on him. Her inner conflict, which seems to not yet be recognized by other characters, is one in which she battles emotions she cannot control (infatuation/love) with ones she can (anger/hatred).
Your analysis is really interesting. It made me think about how Petruchio uses Kate's varying emotions in order to "tame" her. I think your analysis of Kate developing an emotional connection towards Petruchio allows her to subdue to his requests later on. However, Shakespeare also uses Kate's angry emotions to keep her from obeying Petruchio's actions, giving her a sense of independence when she states:
DeleteNay, 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 (II.ii.180-188).
Kate displays this anger towards Petruchio in an attempt to control him. Ironically, Petruchio is the one who discovers the way to tame her rage.
While characterizing the relation of Gremio and Petruchio in Act III, Shakespeare uses juxtaposition of metaphors, contrasting Petruchio’s actions to Kate’s, as well as displaying Gremio’s growing disrespect towards Petruchio’s actions. While discussing the absurdity taking place at the wedding, Gremio and Tranio argue:
ReplyDeleteGRE. Why, he’s a devil, a devil, a very fiend.
TRA. Why, she’s a devil, a devil, the devil’s dam.
GRE. Tut, she’s a lamb, a dove, a fool to him! (III.ii.131-132).
Shakespeare emphasizes the relationship between Petruchio and Katherine purposefully through parallel structure. Comparing both Petruchio and Kate to the devil, Shakespeare shows that Petruchio is the only one able to compete with Kate’s “hellish” characterization, as described earlier in Act I. However, Gremio expresses his low view of Petruchio through lifting up Kate with soft, kind words, such as lamb and dove. These animals are both associated with peace, a trait never before associated with Kate. By Gremio pointing out these qualities, he expresses his perspective of Petruchio as even more of a fool than Kate. Shakespeare's use of metaphors in this passage accentuate Petruchio’s arrogance and the level of disrespect that Gremio possesses. Petruchio’s childish nature is again shown through parallel structure,a strategy used by Shakespeare to continue his use of iambic pentameter:
TRA. Let us entreat you stay till after dinner.
PET. It may not be.
GRE. Let me entreat you.
PET. It cannot be.
KATH. Let me entreat you.
PET. I am content. (III.ii.170-175)
Petruchio’s stubborn character is emphasized through his denial to attending dinner. Being his wedding night, the characters expect him to stay for a fancy dinner with his new wife. However, he even denies his bride with Katherine’s request for him to stay. Shakespeare’s use of rhythm in iambic pentameter and parallel structure expresses Petruchio’s selfish tendencies. Gremio’s request for him to stay, even after expressing his discontent with Petruchio, shows his growing impatience with Petruchio. Throughout Act III, Shakespeare expresses a rising discontent with Petruchio’s selfishness by characterizing him through parallel structure in views from opposing characters.
In Act IV, Shakespeare illustrates the cruel nature of Petruchio through a monologue that details his plans to tame his wife, Katharina. They have just arrived at his country home and Petruchio is not pleased with the way his servants got everything ready. After deeming the meals prepared by his staff as insufficient, he shares the motivation behind his finicky tendencies:
ReplyDeletePET. She ate no meat today, nor none shall eat.
Last night she slept not, nor tonight she shall not.
As with the meat, some undeserved fault
I’ll find about the making of the bed,
And here I’ll fling the pillow, there the bolster,
This way the coverlet, another way the sheets…
This is a way to kill a wife with kindness;
And thus I’ll curb her mad and headstrong humor (IV.i.185-197).
In this monologue, Shakespeare demonstrates the nefarious ways of Petruchio, while simultaneously developing a grimmer tone for the rest of Act IV. Petruchio essentially aims to cause Kate great discomfort under the pretense of love; he will veto every preparation of her food and bed because it is “not good enough” for his beloved Kate. He aims to slowly malnourish her in order to strip away her clever personality and sharp temper. He wants her to be pleased by his desire to only give her the best, while gradually being weakened to only obey his wishes. He will starve her by finding an “undeserved fault” (187) in the food, meaning a fake inadequacy in order to keep her famished. He continues on to say how he will find similar “faults” in the way the bed is made to keep her tired and emotionally drained. Petruchio believes that starvation and exhaustion will ultimately lead to Kate’s complete submission to her husband. The monologue ends with, “This is a way to kill a wife with kindness; And thus I’ll curb her mad and headstrong humor” (196-7) to fully display his plans to subdue Katharina. He wants to kill his wife’s spirit with kindness rather than with violence and force, in order to paint himself as a devoted and caring husband, rather than the inhumane, manipulative one that he truly is. This monologue gives the audience some insight into why Petruchio is treating Katharina so poorly; he is taming the shrew.
Do you think that the idea of “killing a wife with kindness” is meant to be comical or is it used to illustrate a darker, more dramatic aspect of the play?
What Petruchio is doing to Kate is certainly not kind, even if Petruchio justifies his actions as being for her own good, so in a way the phrase "kill a wife with kindness" could be intended as being so absurd it is comical. However, the word "kill" does create a darker tone. Kate (and all humans) need food and sleep to live, and it is possible that Petruchio could starve Kate to death. Of course, this is not his intent (he wishes only to "curb her mad and headstrong humour"), but what he does is dangerous and entirely inappropriate, no matter how hard he tries to appear "kind" while doing it. The phrase also creates a darker tone because the reader knows that Petruchio recognizes he's being unkind.
DeleteI think that this idea of killing her with kindness is a new twist on allowing Katherina to decide for herself how she wants to approach the situation because rather than pressuring her with force, he's allowing her to make her own decisions and reactions allowing her to believe that he isn't trying to change her and that it is love. Do you think that this strategy will work and be affective? Will it tame her or change her?
DeleteAt the end of scene 4, Petruchio has faith that he is beginning his process of taming her, as he shows Kate to bed without eating, "That is, to watch her, as we watch these kites. That bate and beat and will not be obedient. She eat no meat to-day, nor none shall eat; Last night she slept not, nor to-night she shall not;" (IV.i.169-172) The reasoning behind his actions were more shocking than the actual action. Sleeping and eating are the two most essential things in life, and Petruchio knows deep down that she will not die, but instead surrender to him. There is dramatic irony in this scene and in Petruchio's plan because it is obvious to all of the readers that his plan will backfire on him because Kate is very stubborn, and this plan of his is cruel beyond measure. However, because Petruchio knows that Kate will not react positively to him upholding his dominance over her, basing it off of how she responded to him wooing her, his goal is to make her view it as though he is acting this way with her best wishes in interest. Petruchio knows if he does not tame Kate, she will always fight with him and the marriage will not work out, and he will no longer get his money. Because Kate has spoken up for herself her whole life, the transition to soon become like any other wife during this time period will be filled with frustration and bitterness. This corresponds with the reoccurring theme of changing who you are to get what you want, as Kate must realize that her happiness will only come if she listens to her husband and does as he says.
ReplyDelete(I’m doing act 5 also because i want less homework :) )
ReplyDeleteWithin Act 5, Petrucio proclaims to Katherina "First kiss me, Kate, and we will." (V.i.124). Katherina replies to him, saying, "Nay, I will give thee a kiss. (kisses him) Now pray thee, love, / stay." (V.i.130-131). Katharina had obeyed his order, along with bringing the other two women to their men as asked. Petruchio’s line is used in Act 5 as well as in act 2 to demonstrate how far Katherina's character has developed. Rather than being bitter and dogmatic, Kate is now respectful and eager. However, although Kate's character has greatly developed, this line is also used to show that no matter how much she has changed, she remains to be Kate, as she is clever, she has simply adapted to the new man in her life. Petruchio uses a proud tone when addressing the room about his bride and how she will keep showing how she is a much better maid than Bianca, "Nay, I will win my wager better yet, And show more sign of her obedience, Her new-built virtue and obedience. See where she comes, and brings your froward wives As prisoners to her womanly persuasion." (V.ii.129-134) Overall, The passage is utilised to portray how there is something deep down inside a person that makes them who they are, and that can never be changed. Petruchio is capable of altering some of Kate, but in the end, it is impossible to change her true personality.
In Act Four, Petruchio uses falconry imagery to describe the way he plans to “tame” Katharine now that she is married to him and residing in his house:
ReplyDeleteThis have I politicly begun my reign,
And ‘t is my hope to end successfully.
My falcon now is sharp and passing empty;
And till she stoop she must not be full-gorged,
For then she never looks upon her lure.
Another way I have to man my haggard,
To make her come and know her keeper’s call,
That bake and beat and will not be obedient (4.1.182-190).
This extended metaphor begins with the line “my falcon now is sharp and passing empty” (4.1.184). Petruchio is comparing Katharine to a hungry falcon that has not been fed. The word “stoop” has two meanings in this context, meaning both to obey and to swoop to the lure (in the sense of falconry). Petruchio is saying that until Katharine (the falcon) obeys him (in falconry, the falcon would be considered obedient if it swoops to the lure when called), he won’t feed her (or, in other words, the falcon won’t be “full gorged’). If a falcon is satiated, it won’t pay attention to the lure, a fake pigeon, because it won’t want to eat it. Following this line of thought, Petruchio concludes that if Katharine is comfortable and satisfied, she won’t obey him because she won’t need anything from him. The falconry metaphor continues with the lines “Another way I have to man my haggard, / To make her come and know her keeper’s call” (4.1.187-188). “Man” also has two meanings: to tame and to be a man to something. When Shakespeare uses words apply both to falconry and Katharine’s situation, he strengthens the link between the two and the efficacy of falconry as a metaphor. Petruchio suggests that he must find another way to tame the falcon so that it will come when it is called because this falcon will “bake and beat,” meaning that it will flutter in resistance to training. Later in his monologue he states that he will deprive her of food and sleep until she is broken. The use of falconry imagery dehumanizes Katharine, making her into an animal used for another person’s pleasure and entertainment. Petruchio doesn’t see Katharine as an equal; he sees her as a being that he can train and tame. In this passage, and Act Four as a whole, the reader discovers why the play is titled The Taming of the Shrew. When Petruchio denies Katharine food and sleep, he is treating her like an animal (a wild falcon) that can be broken, giving the relationship an extreme imbalance in power. Before this monologue, one of Petruchio’s servants, Peter, remarks, “He kills her in her own humour,” as though Petruchio is simply giving Katharine a taste of her own medicine (4.1.174). Is he simply treating her the way he was treated when he was courting her, or has Petruchio gone too far and crossed into the realm of domestic violence?
I found Shakespeare use of metaphor in Petruchio’s speech very telling. Like you analyzed, Petruchio’s comparison of Kate to a falcon, and his method of taming as falconry reveals just how low Petruchio views his spouse as: simply a challenge meant to be tamed for his use. During their courtship in the second act, Katherina did act “shrewish” as the male characters describe her. Instead of acting as a mild, docile woman, she openly retaliated back to Petruchio’s play on words with equal wit. She quite clearly insults Petruchio, declaring her sour face is because of a crab, and in Petruchio’s questioning, remarks that if she had a mirror she’d show it, the crab, to him. But the difference here in Kate’s shrewishness from Petruchio’s method that “kills her in her own humor” is that Petruchio enjoyed the witty banter, while Kate acutely doesn’t enjoy being starved, and withheld of any rest (Shakespeare 4.1.174). So Petruchio is not simply giving a taste of her own medicine, rather he’s forcing it down her throat and more. Indeed, Petruchio purposely withholding essentials from Katherina is no equal treatment with that he received, it steps into physical, psychological abuse. But in Petruchio’s perspective, the way Kate behaved to him corresponds to the way he treats her. Of course, “The Taming of the Shrew” is meant to be a comedy, so this treatment likely is meant to be taken in dark humor. But in answer of your question, in plain: Petruchio has stepped into the figure of a manipulative, domestic abuser.
DeleteThis comment has been removed by the author.
ReplyDeleteLater in the fourth act of “The Taming of the Shrew,” Petruchio tests Katherina’s progress. On the road back to Padua, Petruchio remarks how bright the moon shines, and Katherina incredulously corrects him—it’s the afternoon. Petruchio threatens to return back, and Katherina, exhausted from sleeplessness, hunger, and abusive treatment, concedes:
ReplyDeletePET. I say it is the moon.
KATH. I know it is the moon.
PET. Nay, then you lie: it is the blessed sun.
KATH. Then, God be bless’d, it is the blessed sun:
But sun it is not, when you say it is not;
And the moon changes even as your mind.
What you will have it named, even that it is;
And so it shall be so for Katharine. (Shakespeare 4.5.16-22)
This is the turning point where one often argues as proof of Petruchio’s success in “taming” the shrew, or at the very least, getting Kate to act as Petruchio demands. Shakespeare uses repetition of “it is the moon” in the first lines, where Katherina repeats Petruchio: “I know it is the moon” (4.5.16). With this repetition of Petruchio’s lines, it reveals Kate’s submission to Petruchio. Shakespeare also structures the first two lines in dependence on one another, demonstrating Katherina’s line as completing Petruchio. This symbolizes that Katherina serves in accompaniment to Petruchio, that everything Petruchio believes, Kate must follow as Petruchio demands her to submit: “It shall be moon, or star, or what I list,” (4.5.7). Petruchio continues to test Katherina’s obedience by changing his mind, that “it is the blessed sun.” (4.5.17). Again, Shakespeare repeats this in Katherina’s line, demonstrating her compliance. Katherina then declares that anything Petruchio declares and names becomes the actual name “for Katharine” (2.5.22). This scene imitates the earlier scene in act two where Petruchio uses puns on the name “Kate”, teasing her but also placing himself in a dominant position, saying that he’ll call her whatever name he wants at his pleasure. Upon the entrance of the true Vincentio, Petruchio goes on to ridiculously describe him as a maidan with, “war of white and red within her cheeks!” and continues on in hyperbolic language (4.5.30). He tests Katherina again to see if she learned to agree with Petruchio and to hold her tongue. And in equally exaggerated diction as Petruchio, Katherina addresses the aged Vincentio: “Young budding virgin, fair and fresh and sweet, / Wither away, or where is thy abode?” (4.5.36-37). Kate learns to play along to Petruchio’s whims, and instead of pointing out the obvious, goes along with Petruchio’s claim. Again, Petruchio changes his mind and corrects Kathrina that the maiden is truly an old man, exclaiming that he hopes she’s not mad, humiliating her in front of Vincentio. Petruchio does all this for the purpose of “taming” her by using humiliation. Instead of retorting at Petruchio as she does at the end of their wedding, Katherina continues to play along using hyperbolic language and apologizing to Vincentio. Petruchio may not necessarily be truly “taming” Katherina, as Kate may be choosing to go along with his desires. But, Shakespeare using repetition, syntax, and hyperbolic diction reveals Petruchio’s abuse and verbal play has forced Katherine the curst into a passive state.
January 3, 2015
ReplyDeleteAct 4 opens up very darkly and grimly with Grumio complaining about how mistreated he felt. Grumio used negative diction to spark the tone for the upcoming act, “Was ever man so beaten? Was ever man so rayed? Was ever man so weary?” (Taming of the shrew Act 4, Scene 1). Later within the act we learn that Petruchio had beat Grumio for Katherine falling off her horse. Grumio is upset and goes on in his rant to compare himself in a metaphor to a little pot to state in a very descriptive way Petruchio's harsh behavior for Grumio. The reader feels slight confusion because Grumio seems confused as well with Petruchio’s behavior leading the reader to question Petruchio’s actions and weather he to was pretending to be someone he wasn’t in order to get what he wants as well. In this case, what Petruchio wants is the taming of Katherine. This small rant by Grumio also shows characterization.
Within Taming of The Shrew, it had become a pattern that those who were wealthier often spoke in rhymes, riddles, and with alliteration to show their high class and education. You can tell by the way Grumio speaks within Act 4 scene 1, in rhymes and with alliteration, that he is being characterized as educated or that he is purposefully intelligence to emphasis Petruchio's character, “on all tired jades, on all mad masters, and all foul ways!”. Threw Petruchio’s interactions and back and forth banter with Katherine, you get the sense that Petruchio enjoys intelligence. This would then make sense to why Grumio was chosen as Petruchio’s right hand.
Cameron Kays
I agree that Petruchio enjoys intellegence. In my analysis of him, i also shed light onto how this may be the reason he is intrigued by Kate because she can play games as well as him. Do you think Kate is intelligent, and may be part of the reason Petruchio decently enjoys her?
DeleteI agree and disagree with your comment that Act IV opens up darkly and that sets the tone for the rest of the act. While there definitely is a darker tone at the beginning of the act compared to previous ones, I think it is more dark humor than a seriously dark tone. Since the very beginning of the play with the Induction, it was established that the play is comedic and not to be taken too seriously. The fact that it is a play within a play demonstrates this. While the play does indeed include much darker ideas in Act 4, I think the comedic tone of the play is maintained.
DeleteIn act IV, scene II, Shakespeare displays Hortensio’s fickle and hypocritical personality through negative diction, lack of punctuation and situational irony.
ReplyDeleteHor.: Would all the world but he had quite forsworn!
For me, that I may surely keep mine oath,
I will be married to a wealthy widow,
Ere three days pass, which hath as long loved me
As I have loved this proud disdainful haggard.
And so farewell, Signior Lucentio.
Kindness in women, not their beauteous looks,
Shall win my love: and so I take my leave,
In resolution as I swore before. (IV.ii.
Hortensio says that a woman’s personality is more important than her looks but before that he states that he is being married to a “wealthy widow”. His choice of adjectives isn't one based on her personality or nature but her materialistic qualities. He contradicts himself which characterises him as hypocritical and depicts situational irony. He calls Bianca a “proud disdainful haggard”, but in the earlier scenes when all the suitors had a chance, he called her “Sweet Bianca!” (Act I.i.133) and “He (Baptista) hath the jewel of my life in hold” (Act I.i.402). Hortensio now uses adjectives for Bianca which he used for Katherina. The lack of punctuation or enjambment in these lines make the lines sound fast paced and as though little thought has been put into them due to the juxtaposition of their meanings. This creates a comedic tone because of how puerile Hortensio sounds but also reflects the way men thought in those times. They wanted society to believe that their ulterior motive in marriage wasn't wealth or the woman’s good looks but her personality. Hortensio doesn't even tell Bianca that he isn't interested in her anymore, he talks about this to Tranio and then leaves which makes him seem cowardly. It made me wonder if Hortensio ever liked Bianca in the first place? Did he just want to court her to compete with the other suitors but when his chances of winning her diminished, he gave up?
I agree with your insight on Hortensio's false love of Bianca. Unlike Lucentio's claim of love at first sight, I believe Hortensio's only love is for money. In Act III, scene II, Hortensio foreshadows his short pursuit of Bianca when he states, "Yet if thy thoughts, Bianca, be so humble
DeleteTo cast thy wand'ring eyes on every stale,
Seize thee that list! If once I find thee ranging,
Hortensio will be quit with thee by changing" (III.ii.84-87).
This leads me to believe that Hortensio never truly loved Bianca, for he was quite willing to leave her, even towards the start of his pursuit.
In Act 4 of “Taming of the Shrew”, William Shakespeare alters the idea brought forth earlier in the play that one must use the means of disguise to meet an end. In the first few acts of the play, Lucentio disguised himself as a tutor while instructing his servant Tranio to disguise himself as Lucentio. Lucentio did this in order to execute a plot for him to marry Bianca. In Act 4, however, Lucentio and Tranio have begun to act as their true selves around Bianca. This decrease in the use of disguise is compensated for by the fact that they are now asking another man to disguise for them. The new person in disguise is a pedant, whom Lucentio and Tranio have enlisted to act as Vincentio, Lucentio’s father. In Scene II, Tranio talks of the idea of disguising the pedant to Lucentio, saying, “If he be credulous and trust my tale, / I'll make him glad to seem Vincentio , / and give assurance to Baptista Minola, / As if he were the right Vincentio. / Take in your love, and let me alone” (61). The fact that Tranio is planning to use deception to convince a man into deceiving others brings a new layer of complexity to the idea that a disguise is a good means to reach an end. Tranio recognizes that simply disguising himself and Lucentio is not enough. Instead, he must build a hierarchy of deception to truly achieve his master’s wish of marrying Bianca. The idea of creating a sort of pyramid of deception is commonly seen in many other stories of grasps for power, wealth, or other ambitious goals, so it is no surprise that this same concept was used even in Shakespeare’s day. This altering of the idea of using disguise contributes to a larger theme that plans must be able to evolve and adapt to change in order to be successful.
ReplyDeleteI totally agree with your idea of the pyramid of deception even back in Shakespeare's days. However, I would like to extent on your idea that using disguise contributes to a larger theme and plans must be able to evolve and adapt to change in order to be successful. I think that no how much someone changes his/her "appearance" , they are never completely transformed into the new person. They are still themselves, and must return to their true self eventually.
DeleteIn Act IV, scene ii, Hortensio drops the disguise charade and gives up his attempt to marry Bianca. This is largely due to the fact that he begins to see through to Bianca's deceptive nature. Hotensio is angered that Bianca appears to be falling in love with "Cambio", who is really Luciento in disguise. Before he leaves Bianca, Hortensio comes clean about his true identity, as well as Bianca's, to "Luciento", who is really Tranio. In response, Tranio exclaims, "O despiteful love! Unconstant womankind!/I tell thee Litio, this is wonderful!" (IV.ii.15-16). This line is humorous because Hortensio is the only one of the four characters who is in the dark about Luciento's disguise. This supports the characterisation of Hortensio as a fool, because he believes the no one but him would think of dressing up to try to win Bianca. This is ironic because later in the same conversation with Tranio, Hortensio declares that, "Kindness in women, not their beauteous looks, / Shall win my love, and so I take my leave, / In resolution as I swore before." (IV.ii.42-44). Even though he is characterised as a fool, Hortensio is the first to come to his senses and hit home one of the themes of the play, that good character is more important than good looks.
ReplyDeleteThe use of made-up words in the first passage also highlight the chaos and confusion that is taking place. Shakespeare uses words such as "despiteful" and "unconstant", which are words that Shakespeare made up, to highlight the passage and show how the chaos can be quite beneficial to some, namely Luciento. He is using the confusion to benefit himself, effectively getting rid of Hortensio and tricking Baptista into consenting to his marriage of Bianca. Although these words are made up, they closely resemble real words. "Despiteful" is very similar to "spiteful", and "unconstant" is much alike to "inconsistent". Using the words in this way communicates that even though the characters are pretending to be someone else, they are never completely transformed into the new person. They are still themselves, and must return to their true self eventually, a prime example being Hortensio's breaking off of the disguise.
Similar to the popular view in Shakespeare’s time, which displays the superiority of men in a relationship, Petruchio’s dominant traits are evident in his methods of “taming” Kate. Throughout scene III, he contradicts Kate’s viewpoints and forces her to comply with his wishes. When planning to visit Baptista, Petruchio hires a tailor to create a gown and cap for Katherine. However, despite Kate’s liking to the outfit, Petruchio contradicts her plead:
ReplyDeleteKATHERINE: Why, sir, I trust I may have leave to speak,
And speak I will. I am no child, no babe.
Your betters have endured me say my mind,
And if you cannot, best you stop your ears.
My tongue will tell the anger of my heart
Or else my heart, concealing it, will break,
And, rather than it shall, I will be free
Even to the uttermost, as I please, in words.
PETRUCHIO: Why, thou say’st true. It is a paltry cap,
A custard-coffin, a bauble, a silken pie.
I love thee well in that thou lik’st it not. (IV.iii.75-85).
Boldly, Kate faces Petruchio, claiming her right to speak, a rare and daring occurrence for a woman in Shakespeare’s time. Earlier in the play, Katherine is characterized as “hellish” by her own father for her bold statements, helping her to acquire her poor reputation. Despite this, Petruchio chooses to woo her for the dowry provided by Baptista through marriage. In Act IV Hortensio displays his respect for Petruchio’s challenge of creating a “proper woman” out of Kate by attending Petruchio’s “taming school” in order to learn how to handle his future bride. However, Petruchio’s method is not favored by Kate, as she states, “My tongue will tell the anger of my heart / Or else my heart, concealing it, will break, / And, rather than it shall, I will be free”, displaying her anger and discontent towards the inhumane way she is treated by Petruchio, from lack of sleep to lack of food. Unlike many women in this time, Kate chooses to challenge her husband and boldly share her frustration. Yet, Petruchio twists her words, saying “thou lik’st it not”, while Kate portrays her fondness of the cap. Petruchio’s deceitful, and seemingly disrespectful, methods of taming Kate prove successful later in the play as she increasingly becomes obedient to his demands.
As the title of the play suggests, the final act of “Taming of the Shrew” concludes the story by completing Katherina’s transformation into a tame, obedient wife. Katherina is not the only person being “tamed”, however. The final scene exhibits a tone of calmness and tranquility. The previous four acts of the play built up the action and fed off of outrageousness, so the final scene of the play comes off as all the more peaceful. The opening line of the scene, spoken by Lucentio, perfectly illustrates this: “At last, though long, our jarring notes agree” (80). Lucentio acknowledges the fact that the road up to this point has been quite the opposite of peaceful for all in the play. Similarly to how the hardships engineered by Petruchio influenced Kate to become “tamed”, the conflict and deception of the previous acts have had a wearing effect on all of the characters. The subduing of the character’s quarrels contributes to the tone of peacefulness. After the first line, Lucentio goes on to invite Petruchio and Katherina to dine with him, along with Hortensio and the Widow. It is particularly significant that he is being so benevolent to Hortensio, because the two characters were competitors for Bianca’s love in Act II. Lucentio specifically says, “And thou, Hortensio, with thy loving widow, / Feast with the best, and welcome to my house” (80). Shakespeare gives Lucentio benign language, using such words as “loving”, “best”, and “welcome”. The friendly quality of Lucentio’s words reflect the tone of calmness that the final scene embodies. So, it is not just Katherina that becomes “tamed”, as the title of the play suggests. On a higher, non-literal level of analysis, the title of the play represents the journey of all the characters in the play. They all begin the play as shrewish and belligerent towards each other, but by the end, they have all agreed to resolve their conflicts and make peace. Therefore, they have been “tamed”.
ReplyDeleteIn act V, scene I, Shakespeare is able to characterise Tranio as a very loyal servant of Lucentio but also the power one experiences when under disguise. Tranio says, “Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman, Why, sir, what ‘cerns it you if I wear pearl and gold? I thank my good father, I am able to maintain it” (Act V.i.58-61). These lines use a lot of punctuation and the diction is polite and respectable which shows how calm and collected Tranio is even though he is blatantly lying. He addresses Vincentio as though they have never met before, showing no sign of doubt. His behaviour ties back to the Induction where Sly is believed into thinking he is a Lord and he speaks that way but his actions say otherwise. In Tranio’s case, he has seen how the lords and nobles behave all his life so it isn't hard for him to become one of them. The play has a motif of using disguise in order to achieve something, for Tranio it might have been to feel rich and powerful but in the end he doesn't really gain anything from pretending to be Lucentio. This makes me wonder why it is that Tranio would want to help Lucentio? What does he gain from it or is he just a selfless character?
ReplyDeleteIt also shows how little attachment or connection he feels towards Vincentio when he calls for the officer. It portrays how everything back then was based upon money rather than an emotional basis or attachment.
I really enjoyed your analysis, Sakina! Your connection between Tranio's behavior and that of Sly's in the induction is really interesting. In response to your question, I don't think that Tranio is selfless. I believe that he merely wanted to have the authority in his and Lucentio's relationship for a change. Lucentio relies on Tranio the entire play; not just to pretend to be him, but to also forge ways to keep the beguilement going. His master is actually asking him what they should do, as seen through, "And what of him, Tranio?" when the pedant enters the scene (Act IV.ii). Lucentio questions his servant on what they should do with this new character, illustrating all the power that Tranio holds. He could either use the pedant to help his master or to hinder him. I think that Tranio is glad to have the roles reversed and experience life through the lens of privilege and power. Through helping Lucentio, he simply gains a brief moment of a life he's never had.
DeleteI agree with your analysis of Tranio being a loyal servant, however, I would like to argue that Tranio's abundant use of punctuation characterizes him as nervous rather than calm. My interpretation was that he stutters, looking for words through the frequent pauses in the line, “Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman, Why, sir, what ‘cerns it you if I wear pearl and gold? I thank my good father, I am able to maintain it” (V.i.58-61). Also, throughout Act V Scene I, Tranio speaks very little. Although his false identity is the main source of conflict, he has very little to say in argument with Vincentio. Although Tranio maintains great loyalty and respect towards Lucentio, he remained timid in his disguise.
DeleteIn the beginning of Act V, all the disguises put on by Tranio, Lucentio and the Pedant are revealed to Baptista and Vincentio which creates a chaotic and comedic tone. During the violent scene where Vincentio argues with his servant Biondello for pretending to not know him, Petruchio and Katharina watch;
ReplyDeleteVincentio. Come hither, crack-hemp
Biondello. I hope I may choose, sir.
Vincentio. Come hither, you rogue. What, have you forgot me?
Biondello. Forgot you? No, sir. I could not forget you, for I never saw you before in all my life…
Petruchio. Prithee, Kate, let’s stand aside and see the end of this controversy (V.i.43-58).
Shakespeare repeats the phrase, “come hither” (43-45) to emphasize how angry Vincentio is at the betrayal of his servant Biondello. He follows this beckoning with insults, where “crack-hemp” means a rogue that will likely be hanged. Biondello responds initially to his master’s angry calling, by saying that he hopes he can do as he chooses, subtly implying that Vincentio cannot demand him to do anything, for he is not his employer. This banter continues, with Biondello claiming that he’s never seen Vincentio in his entire life. This angry persiflage results in Vincentio beating his servant for his extreme rudeness and disobedience. The disguises and trickery have backfired and now Biondello and Lucentio’s father are suffering from the confusion. Amidst the mayhem, Kate and Petruchio appear amused at the struggles of everyone else. In comparison they seem well off and compatible. The polite diction of Petruchio, “prithee” illustrates the now courteous, cordial nature of their relationship (58). They have become spectators to the kind of disagreement that they once had earlier in the play. The juxtaposition of Vincentio’s violent argument with Kate and Petruchio’s well-mannered relationship, illustrates comically the irony of the situation. Ultimately, Bianca, the reason why Lucentio had so many people don disguises, is causing all this destruction. Meanwhile, the once shrewish Kate is the obedient, object of Petruchio’s affection. They look down almost conceitedly at the ridiculous display occurring before them.
Overall, there is a comedic tone from the witty banter combined with the physical slapstick humor and the irony of the situation.
Your analysis was really great and I agree with it completely. Along with the juxtaposition of Vincentio’s violent argument, Bianca and Lucentio’s relation at the end also adds to the irony. Petruchio comment at the end of the play, “ ’T was I won the wager, though you hit the white;/ And,being a winner, God give you good night!” (Act V.ii.226-227). Petruchio is referring to how Bianca’s name which is white in Italian ,has a negative connotation. The word white is associated with being fair and maidenlike but in the way Petruchio uses it, he refers to the white spaces on a dartboard. His sarcasm shows the amusement he feels.
DeletePetruchio subtly changes his behavior in the closing act, showing affection to Katherina:
ReplyDeletePET. First kiss me, Kate, and we will.
KATH. What, in the midst of the street?
PET. What, art thou ashamed of me?
KATH. No, sir, God forbid; but ashamed to kiss.
PET. Why, then let’s home again. Come, sirrah, let’s away.
KATH. Nay, I will give thee a kiss: now pray thee, love, stay.
PET. Is not this well? Come, my sweet Kate:
Better once than never, for never too late. (Shakespeare 5.1.142-149).
Although Petruchio threatens to leave when Katherina refuses to kiss him, the tone of this scene evolved to more light-hearted teasing, similar to their verbal banter in their first encounter. This is not the first time Petruchio threatens to return back as punishment for Kate’s disobedience. On the road to Padua, Kate corrected Petruchio on his comment of how bright the moon shines, referring to the sun. Petruchio had purposely called the sun, “the moon”, and threatens to turn around (4.5.2). By doing so, Petruchio’s sole purpose of distinctly being wrong was to manipulate Kate. In this scene, Petruchio demands a kiss, repeating the phrase, “kiss me, Kate” from the second act (5.1.142). Shakspeare recycles this line in this scene to demonstrate the parallelity of the tone in this scene to their previous witty banter. Petruchio threatening to leave could be indeed serious, but in this context, it’s more flirtatious than commanding. This scene leans more towards a light and teasing tone by revealing that Petruchio does desire Kate’s affection. Katherina responds in slight shock, “What, in the midst of the street?” and Shakespeare repeats, “What”, in Petruchio’s following line: “What, art thou ashamed of me?” (5.1.143,144). Petruchio mocks Kate, mimicking her diction, but it’s not mean-spirited in that he asks if she’s humiliated by him. Interestingly, Kate responds that, “God, forbid,” of course she’s not ashamed of him, which reveals how much she developed from viewing Petruchio as a complete, “mad-brain rudesby” or an uncouth fellow (5.1.145, 2.2.10). Perhaps Petruchio is purely portraying affection to his wife, but from what the reader or viewer knows, Petruchio always has his ulterior motive to tame his “falcon” (4.1.184). A question arises, is Petruchio’s affection sincere, or is this wholly part of his clever plan of carving the obedient wife?
In Act V, the behavioral juxtaposition of Bianca and Katharina is prominent in such a surprising way. Up until this point, Bianca is portrayed in such an obedient, innocent manner. It is directly in contrast with her sister, Katharina, who is depicted as an independent, rebellious, and outspoken woman. In the finishing act of the play, the two sisters take on behaviors that suggest they traded personalities. The lines, "Nay, faith, I'll see the church o' your back; an then come / back to my master's as soon as I can," (V.i.4-5) said by Biondello, implies the elopement of Lucentio and Bianca. Had the topic of elopement emerged as a question earlier on in the play, the audience would have pointed the finger at Katharina, as it seems to be an action that perfectly matches her defying-society's-norms attitude. However, the audience notices a drastic shift in the two sisters' usual tendencies. Perfect and pure Bianca now shows her rebellious side as she engages in a form of marriage that is looked down upon and shamed, while Katharina shows increasing signs of being "tamed." This is evident when she says, "Nay, I will give thee a kiss: now pray thee, love, stay," (V.i.125) when she is the first of the wives to obey the command of their husband to come to them, and especially when she gives her long speech that essentially supports the total submissiveness of women to their dominant husbands. Although both sisters are dynamically characterized, I feel that Katharina's change is the most significant because everybody in the play (with the exception of Petruchio), as well as in the audience, thought it would be absolutely impossible to tame the "shrew," whereas Bianca simply lusted for a break from her always perfect appearance and mostly likely acted disobediently on impulse.
ReplyDeleteAt the end of Act Five, Katharine gives her longest monologue of the play in response to a request from Petruchio: “Katharine, I charge thee, tell these headstrong women / What duty they do owe their lords and husbands” (5.2.130-131). He requests this monologue after Bianca and the widow refuse to come to their husbands when they are called. Shakespeare uses a simile to compare a disobedient woman to an agitated fountain:
ReplyDelete“A woman moved is like a fountain troubled,
Muddy, ill-seeming, thick, bereft of beauty,
And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it” (5.2.142-145).
When dirt mixes with the water of a fountain, the fountain becomes muddy and loses its beauty. With this simile, Katharine implies that a woman with a temper who disobeys her husband is completely undesirable to all men because she is “dirty.” The water imagery implies that women should be a constant background presence, flowing steadily like a fountain and always there when her husband desires a drink. The monologue marks a dramatic shift in Katharine’s ideology; no longer does she stand up to Petruchio, acting as his equal. Now, Katharine appears to believe in the necessity of a power imbalance between husband and wife, claiming that “thy husband is thy lord, thy life, thy keeper” (5.2.146). Each of these positions places the husband in a role of greater power than the wife. When Katharine states that a husband is “thy life,” she suggests that there is nothing outside of him. A husband is not just the most important person in a woman’s life: he is her life. Katharine seems content with this imbalance, though:
“And for the 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” (5.2.148-154).
This passage is Katharine’s justification for readily accepting (and impressing upon the other women) her role as an obedient sheep. She states that husbands work long and hard to maintain a comfortable lifestyle for their wives while the wives lounge around at home. (This statement is interesting because women weren’t allowed to work during Shakespeare’s time, so they had no choice but to stay home.) In the passage, it appears that Katharine has internalized Petruchio’s “kill a wife with kindness” stint (4.1.202). Perhaps she believes that the starvation and sleep deprivation was for her own good. After all, if Katharine believes her “love, fair looks, and true obedience” are “too little payment” for the favor Petruchio has done her by marrying her, it would be no stretch of the imagination to see how she could think that starvation was the price she had to pay for an illusion of autonomy. However, this justification edges dangerously close to our modern culture of victim-shaming and –blaming victims of domestic violence. Katharine has chosen to conform to the gender roles of her time, but she couches her monologue in rhetoric that paints Petruchio as her savior and the “good guy,” not her oppressor. If she were to disobey her husband, “what is she but a foul contending rebel, / And graceless traitor to her loving lord?” (5.2.157-160). Katharine’s monologue presents a paradox: her marriage to Petruchio gave her the respectability and power to speak for so long, yet she uses this time to extoll the virtues of the oppressive gender roles of the time. Katharine allows herself to be tamed in order to gain the respect and freedom she always needed.
January 7, 2015
ReplyDeleteIn act five of Taming of the Shrew by William Shakespeare, I thought the it was quite humorous when Vincentio appeared at Lucentio’s house and met Tranio and Pendant. Throughout the entire play their had been a recurring theme that to get what you want, you must be disguised. When Lucentio and Bianca decided to be wed I anticipated that this theme of deception would be a downfall for the love birds. Katharina and Petruchio running into the real Vincentio foreshadowed the truth about Lucentio coming out, however I anticipated that Bianca’s father, Baptista, would become angry. When Vincentio showed up on Lucentio’s doorstep, Lucentio was able to sweet talk his way out of trouble and anger acceding his goal all goals.
“Love wrought these miracles. Bianca’s love
Made me exchange my state with Tranio,
While he did bear my countenance in the town;
And happily I have arrived at the last
Unto the wished haven of my bliss.
What Tranio did, myself enforced him to;
Then pardon him, sweet father for my sake.”
As a young child you are taught to never lie, that everyone always finds out the truth, that the truth will set you free. I thought that this story was a comical spin off those ideas. Taming of the Shrew has been one of the first stories I’ve ever read in which lying and deception was successful and ended positively for a character. The positive outcome for all the characters who had been built and formed on deception and lies implies that there would also be a positive outcome for the Lord and his servants in their deception of Sly. This was just another example of the similarities between the characters within the play, Sly, Lord, and his servants, and the characters within the play of the play, Lucentio, Baptista, Bianca, Tranio, etc. It was also ironic that the drama with Lucentio and Vincentio itself became a dramatic viewing within the eyes of Petruchio and Katharina which then would create a drama, a play, inside a play, inside a play.
Cameron Kays
I also saw the over all theme as a foreshadowing of the downfall of Katherina and Petruchio's relationship. Why do you think they lasted? Was Shakespeare trying to portray that is it in fact true that you can get what you want by acting like someone else?
DeleteShakespeare's portrayal of the fault in disguises proves evident in Act V of Taming of the Shrew. In the confrontation of Vincentio and Tranio, dressed as Lucentio, both character’s true ambitions are revealed. When Tranio first enters the scene, Vincentio asks,”what are you, sir? O immortal gods! O fine villain! A silken doublet, a velvet hose, a scarlet cloak, and a copatain hat!” (V.i.52-54). A copatain hat, described as “a hat with a high crown in the form of a sugar loaf” typically worn by a well dressed man, characterizes Tranio as wealthy, along with the other fine clothes that Vincentio points out. While disguised as Lucentio, Tranio maintains a high class dress, although he remains only a servant. Despite his dress, Vincentio sees through his disguise, revealing that Tranio is not the true Lucentio after all, portraying the motif that obscuring one’s appearance does not conceal their true self. However, Tranio also discovers a flaw in Vincentio’s appearance when he states, “Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman” (V.i.60-61). Shakespeare juxtaposes Vincentio’s sensible, proper appearance, or “habit”, with his aggressive tone through the anger he expresses with the other characters. Both the Pedant and Tranio refer to Vincentio as a madman in this scene, criticising him for his harsh tone, calling him a liar while they are the true convicts. Tranio points this out, characterizing Vincentio’s true nature to be one of anger and criticism, rather than polite such as his dress hints him to be. Shakespeare’s use of disguise throughout this scene illustrate the contrast between one’s appearance and their intentions, as portrayed through the characterization of both Tranio and Vincentio.
ReplyDelete