Success of Petruchio in The Taming of the Shrew The Taming of the Shrew written by William Shakespeare depicts the common roles of men and women in the early seventeenth century. Shakespeare writes of Petruchio and Kate, a male and female who sharply oppose each other. Petruicho must "tame" his wife Kate without breaking her true inner spirit. Shakespeare touches on Kate's changing character and allows her to undergo three phases: Kate's character in the beginning, the methods Petruicho
by the attitude towards marriage shown in Petruchio and Kate’s relationship. First the relationship was started entirely against the wife’s will, and for the fiscal benefit of the husband, with no intent of love involved. This is especially shown when Kate walks onto the roof of her father's house. The first thing that Petruchio does is states his worries about loosing not Kate, but his "20 thousand crowns," that he was promised if he wed Kate. Petruchio used his wife only as a stepping block, and
that had trouble receiving affection? Her character was portrayed as a strong-willed hellcat who would just as soon devour any man that came near her. When Petruchio attempted to pay her compliments it seemed to take her off guard. In the end Petruchio breaks her of her rude behavior by acting just like her. Petruchio acting the part of the shrew turns into one. Portia in "The Merchant of Venice" had a considerable amount of intelligence. She is dictated by her father's
as his first comedy (Shakespearean 310). The earliest record of it being performed on stage is in 1593 or 1594. It is thought by many to be one of Shakespeare's most immature plays (Cyclopedia 1106). In The Taming of the Shrew, Petruchio was the only suitor willing to court Kate, the more undesirable of Baptista's two daughters. Kate was never described as unattractive (Elizabeth Taylor played her role in one film of the production), but was known for her shrewish behavior
who needed to be tamed. Petruchio came to Padua. Petruchio could tame Katherine for the right amount of money. Before Petruchio's arrival, Katherine, the terriable, untamed shrew, caused problems with everyone. All that knew her hated her. She felt very jealous of her beautiful sister Bianca, because of her suitors and her beauty. Katherine tries to start fights with Bianca all of the time. She even hit Bianca. No one wanted to marry Katherine until Petruchio arrives in Padua to find
the audience. He says that Petruchio comes wearing: New hat and old jerkin; a pair of old breeches thrice turned; a pair of boots that have been candle-cases, one buckled another laced; an old rusty sworde…with a broken hilt and chapeless; his horse hipped…with an old mothy saddle (Act III Scene II) This depiction of Petruchio conforms to Shakespeare’s technique of using false realities, in order to create humour. This can also be seen in the false identity that Petruchio puts forth in his quest for
as Petruchio's tamer. Katharina: The Whipped Shrew There is evidence that supports Katharina was tamed by Petruchio. For instance, in the opening of the play, Katharina is very vocal and aggressive. Men, women and children trembled whenever she came around, including her father and sister. By the end of the play, however, she is presented as being mild and submissive to Petruchio, leading up to her greatest speech in the dialogue of the play: Thy husband is thy lord, thy life, thy keeper
of a one kind of feminist critic, we could ask: wasn’t Kate’s “taming” the result of a brutal conditioning by a manipulative Petruchio who was a kind of shrewd “behavioral psychologist?” For at the close of the play, in this passage especially, Kate appears to have metamorphosed from an intractable, ill-tempered woman into a subdued, submissive “Stepford Wife” for Petruchio. And wasn’t her final speech a humilia... ... middle of paper ... ...nt to creating a deeper, more harmonious relationship
soliloquy, the audience is left with a proud feeling - proud of the fact that Petruchio tamed such a shrew so well. The men of the audience are about with feeling of satisfaction and justification. Shakespeare skillfully catered towards both sexes by using Petruchio much like the stereotypical action figure of today; a character who does the unbelievable effortlessly and leaves the audience in awe. In the play Petruchio, short after the inception of his skillful wooing, begins a plan "to kill
acts. As was stated, although Kate, in many instances, appears to be controlled by others, she is actually in control of her actions. She is the one who does everything, such as allowing herself to be married off to Petruchio. Some people may say that she was forced to marry Petruchio, but she could have just run away if she really hadn't wanted to marry him. In this instance, Kate's family, especially her father Baptista, and society were influencing Kate to make the choice to not run away and follow
the Shrew William Shakespeare's comedy, The Taming of the Shrew illistrates the difficulty of trying to tame a headstrong, stubborn, and a high-spirited woman so that she will make a docile wife. The one attempting to tame Kate, the shrew, is Petruchio. They contend with each other with tremendous vitality and have a forced relationship. In contrast, there is another romantically linked couple who seemingly possess an ideal relationship. These young lovers, Bianca and Lucentio, share a love that
in Taming of the Shrew In the play Taming of the Shrew, a man named Petruchio attempts to tame a mean spirited woman named Kate. Much to Kate's chagrin Petruchio convinces her father that Kate loves him so they will now be married. Through several maneuvers to try and squash Kate's pride, Petruchio is met with strong resistance at first when he finds she can equal him in verbal back and forth. The fact that Petruchio could match Kate surprises her as well. Eventually, Kate sarcastically
should assert them. The second reason the bond survives is that Petruchio is strong enough to accept the fact that Katherine has a mind and, more importantly he loves her for that reason. Petruchio cleverly weaves the relationship into the framework of society without compromising the integrity of the relationship. Petruchio does this by comparing Katherine’s at attitude to repulsive clothing. Carefully and calculatingly, Petruchio forges a relationship that is envied by all who witness it.
transformed, rather she has just fallen in love with Petruchio, in essence she is free from torment because she is no longer seen as the shrew. In the beginning of the play Kate is “consistently in opposition to everything around her”2, meanwhile “Bianca obeys so gently and with such sweet submission that it is obvious why she is Baptista’s favorite daughter”2. In the end of the play, the roles switch and Katherina is submissive to every word of Petruchio and Bianca resists the commands of her new husband
appears that Katherine is directly opposed to marry Petruchio. Katherine even says that she was “… forced/ To give [her] hand opposed against [her] heart/ Unto a mad-brain rudesby, full of spleen,” (III.ii.8-11) when Petruchio is late arriving to their wedding. If Katherine truly were opposed to her union with Petruchio she would have not been this upset about being jilted. This fear of being jilted stems from having fallen in love with Petruchio. This goes against the appearance of hate that Katherine
reflects her growth and development into a stronger and more complex character. Without losing the forcefulness that she displayed earlier in the play, the delivery of her final speech exhibits the cleverness and deceptiveness that she has learned from Petruchio throughout the "taming" process. At the beginning of the play, Katherina is seen as the forceful sister and Bianca as the clever one. Katherina is described by Grumio as the "fiend of hell" (I.i.88) and by Tranio as "curst and shrewd" (I.i.180)
of the Shrew, by William Shakespeare, deals with marriage. The ideas explored are primarily shown through the characters of Petruchio and Katharina. We are introduced to the trials and tribulation's which present themselves in their everyday lives. The characters bring up a traditional concept of male domination. Through the play we see the need for domination through Petruchio, and the methods he uses to dominate. While these ideas of male domination have remained a constant throughout the years,
we see Katharina tying up Bianca, (2.I.29) and hitting her. This can be rejected as sibling rivalry, but later Katharina slaps Petruchio when he is trying to woo her (2.I.214). Katharina seems to have a physically violent side that isn't present in Beatrice. She also does not seem to have as strong as a character as Beatrice, especially when one considers that Petruchio was able to tame her in a very short time. In the opening scene of Much Ado About Nothing, Beatrice says some harsh things
The Wife The Taming of the Shrew and Today Today many wives always want to have same position with their husband. So that they always have conflict with each other. Why they always have conflict? Actually, it is effected by wife who changes the traditional role. As I remembered that wife and husband lived together very well in sixteenth century. They didn't have any conflict
The punishments Petruchio creates for Katherine’s scolds in The Taming of the Shrew are part of an ideological framework that outlines a patriarchal culture created by tradition and societal gender expectations. More specifically, the economical confinements and societal expectations of women shown in the play demonstrate an ideology of female inferiority, obtained through punishments for any acts of defiance. Throughout the play, Petruchio attempts to punish Katherine when she scolds in hopes of