The Taming of the Shrew has received a great deal of critical commentary and, because of its subject matter, that commentary has reflected trends over the years. On Lucentio's orders, Tranio pretends to be Lucentio while Lucentio is pretending to be Cambio. Adapting the clothes metaphor, which recalls the leitmotifs of disguise and mistaken identities, Petruchio reaches a perfect understanding with Katherina in the wager scene, when he demonstrates not only the complete taming of his bride but also and above all his successful realization of a harmonious relationship of reciprocal trust. Joel Fineman is either reading wishfully or perversely when he argues that Petruchio's "lunatic behavior" is "a derivative example" of Kate's shrewishness; see "The Turn of the Shrew" in Shakespeare and the Question of Theory, eds. In this speech and in the later one at the wager, Kate helps to create her own role as obedient spouse. O, how I long to have some chat with her! " Let him come, and kindly. " The narrow, extended playing area did not always lend itself well to the sharply defined clarity of focus needed for farce. We then watch him move, step by step, towards Katherine. I particularly enjoyed the portrayal of Hortensio, whose absurdities and pretensions were deliciously mocked by Joanna Brookes, the actress playing the role, and also Graham Christopher's Bianca, whose modestly downcast eyes and pouting lips revealed rather than hid the steely determination beneath these surface tricks.
Incidentally, the suggestions about "practice" for Bianca, while juxtaposing her to Katherina, hint subliminally at her constantly ongoing if quiet rehearsal as understudy in the role of shrew. Edwards (Amherst: Univ. Indeed, his actions can be more directly seen as muscle flexing designed to achieve what he himself defines as his goals, "peace …, and love, and quiet life, / And awful rule, and right supremacy" (5. Here enters much of the thematic point of the ambiguous ending—again, attesting a moment of rather optimistic humanism, even in the form of the play; when the dichotomy between "formal" and "thematic" or contentual also becomes recognizable as dialectic, and the form can be seen as homologous with the relationships among the characters, then the open-endedness of the play vindicates the open-endedness of the central characters' relationship. 14 Each of these sentences, and many another in Heilman's essay, is couched in negatives or privatives: limit, without, not, lack, simplify, anaesthetize. Here, love; thou see'st how diligent I am To dress thy meat myself and bring it thee; I am sure, sweet Kate, this kindness merits thanks. Oxford: Clarendon Press, 1902), 2:225: "Behaue thy self modestly with thy wife before company, remembring the seueritie of Cato, who remoued Manilius frō the Senate, for that he was seene to kisse his wife in presence of his daughter. Muriel Bradbrook made clear what a new thing Shakespeare was making. Hortensio pretends to be the music teacher Litio. "An Allusion in 1593 to The Taming of the Shrew? " Clearly it is for actors and director to decide how to play this, but, whatever decision they make, the scene has to make sense in relation to the end of the play.
Poliziano (n. 16 above), p. 882: "pectora mentesque irrumpere. " He is eager to see her, and sets up in soliloquy a programme not based on violence ('raging fires') but on his actor's ability to present her with a new world for her to live in ('I'll tell her plain / She sings as sweetly …'). Not only do the other men fail to take serious offense at his violations of social decorum, but they second his metaphor, seeing Katherine as his opponent, a "soldier" (2. In the following excerpt, Sanders focuses on the importance in the play of clothing and images related to household management. Randall Martin (1991) urges that by understanding the contemporary context of The Taming of the Shrew we are better able to comprehend the play's handling of gender issues. Quite the contrary, they suggest that in a profound way, except for her agreeing to tell Petruchio what he wants to hear, she is the same Katherine at the end of the play that she was at the beginning, just as Christopher Sly, no matter how nobly dressed and waited upon, remains irreducibly himself in his every appearance. Much of the play's animal imagery is also an imagery of games and sport. Where in the shrew tamer to enforce her obedience ostentatiously demonstrates the husband's duty, in the tamed shrew to offer her obedience ostentatiously demonstrates the wife's duty—and in doing so protects not only Petruchio from the accusation that he is ruled by his wife, but also the other husbands from attack by their wives. When Baptista stipulates that Petruchio must first obtain Katherine's love, Petruchio replies that "that is nothing, " adding that he is "as peremptory as she proud-minded" and predicting that she will "yield" to him. Even though there may be ambiguities at the conclusion of Shakespeare's comedies, they are most joyous when couples join with the prospect of a happy marriage before them. Serban succeeded, notes the critic, in creating an atmosphere in which the nature of personal identity is explored. The food itself is burnt and dried, mere overcooked flesh that "engenders choler, and planteth anger. " The surest sign of that victory is the kind of public acknowledgment Katherine supplies Petruchio at the end of the play.
108-10) when she has won his wager for him. His lines about coming to wive it wealthily in Padua ring more memorably in an audience's ears than Grumio's deflation of them as histrionic bombast; a more balanced attitude comes out in his brisk handling of financial arrangements with Baptista. In doing both things, the play deconstructs two of the key oppositions—those between the rhetor-ruler and rhetor-tyrant, and the rhetor-king and rhetor-clown—on which the entire Renaissance discourse of rhetoric was based. So I to her, and so she yields to me" (2.
"The _____ of the Shrew". Equally generally, there are similarities in certain single lines where the reader, meeting the line on its own, would be hard put to it to place the line in the right play. And Petruchio's understanding of these subtleties is signaled in his response, "Why, there's a wench! Second, I will analyze the play not as a repetition of figures and structures, but as a representation, a modeling, of a rhetorical interaction, as it was imagined by Renaissance rhetoricians. The two suitors are Hortensio and Gremio, and Baptista has not given either man his consent to marry Bianca until Katherina is wed. For Miola, "In New Comedies like Eunuchus the virgo proves to be an Athenian citizen, and recognition of her true identity makes possible a desired marriage. Like the frame of a picture, these illusions could serve to focus the attention on events depicted within the frame or, finally, on the external world. The apprentice has within the world of the play access not only to that momentary social superiority but also access to the stage power of the female heroine. Kate shows herself as good at Petruchio's game as he; she has become sure enough of her domestic role to demonstrate, as he did, the opposite sex's duty "under name of perfect love. Daniell studies the play's views on marriage through an analysis of the theatricality in the play, and finds that by the play's end the violence and rebellion are contained, and Katherina and Petruchio are able to be themselves, with all their contradictions intact. Yet we only glimpse the way their bias works. Geoffrey Bullough (London: Routledge and Kegan Paul, 1957), vol. I receive form from the blows (I received).
I think that it is interesting historically—in tracing a tradition, in understanding sixteenth-century attitudes toward women—and that it is significant as part of Shakespeare's canon, as any work of his is. Shakespeare does not reveal it so obviously as he does in, say, Antony and Cleopatra, where the men who degrade and insult Cleopatra are clearly threatened by her and jealous because she is able to seduce Antony away from them. Hamlet says of the Players, about to enter: The clowne shall make them laugh That are tickled in the lungs, or the blanke verse shall halt for't, And the Lady shall have leave to speake her minde freely. They go back to the beginning, as it were, to watch a play that they are creating. Gremio has a curious part in The Shrew not paralleled by anything in the quarto. Most critics, however, have assumed that Petruchio does not allow Kate to do so. Whatever happened between them, they have been together, and not with the others, all through the play, as a rule.
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