The Taming of the Shrew may be one of Shakespeare's most problematic plays due to the puzzle it presents with the Induction in which a full five-act play is framed within another play. The characters and story introduced within the Induction, on the surface, seem to have little or nothing in common with the main play and after the Induction, the characters are only once more briefly introduced. Critics disagree over and give various interpretations as to why Shakespeare included the Induction at all. It has been argued that the Induction and the character of Sly prepare the audience for the rest of the play by introducing the motifs of transformation, domestication, and the theme of how one's environment may determine one's behavior . Critics who agree with this argument like to draw parallels between Sly and Katherine where Katherine's eventual "taming" into a proper wife mirrors Sly's transformation into a lord.
Being pressed for time and money, Orson Welles tried his hardest to recreate an accurate depiction of the Shakespeare play, Othello. Unfortunately, it turned out less than spectacular, and it was a blemish on the otherwise great career Welles had as a director. Although some may say the use of shadows to show characterization was stellar, it was not enough to salvage the otherwise poor decision-making in the movie. The casting is the most striking different interpretation that Welles put on display in the movie. Emilia, who was Desdemona’s servant and Iago’s wife, was a voice for the women in Shakespeare’s original play.
Instead, would-be travellers to the world of Macbeth had better consider their options and ask specifically: what does Hecate add with her appearance and how do these additions impact the play? Some critics have made the mistake of trying to dismiss Hecate as a fetching song-and-dance girl. In his Introduction to Macbeth, editor Kenneth Muir remarks: "The Hecate passages were clearly invented to introduce the songs and Middleton is usually blamed for these insertions" (xxxiii). But more recent critics like Henri Suhamy take umbrage with both the form and the substance of this argument. Suhamy notes: "the direction printed in italics in the Folio, after line 33 (III,v)--"Musicke, and a Song"--does not mention any identifiable song, contrary to what is indicated by most editors" (274).
It’s an open ending to a good play, which ruined it for me. The ending I feel take away a lot from a play that was really well themed. If the ending had been more clear as to the state of mind of each character where the chain of power stood or even the future plans upon the return to Milan I think the play wouldn’t have me with the satisfac-tion of both the play and the movie. The movie makes you feel this way the most due to the fact you’re not reading and cant imagine things but you’re actually watching the story and it gives you that bad movie ending.
An Analysis of Saint Joan by George Bernard Shaw *No Works Cited Saint Joan is considered to be one of George Bernard Shaw's greatest works. The play deals with subject matter pertaining to events after the Death of Joan of Arc. In the play, Shaw avoids many problems identified by critics as prevalent in some of his other writing. Some have criticized Shaw, claiming that he tends to portray unrealistic archetypal characters, rather than well-rounded believable individuals. His plays have also been described as lacking action and being too didactic.
"Introduction," The Taming of the Shrew. Arden Shakespeare London: Methuen, 1981. Novy, Marianne L. "Patriarchy and Play in The Taming of the Shrew." English Literary Renaissance 9 (1979): 264-80.
She lives in the shadow of Hamlet. Shakespeare has given Hamlet a back story while the reader has no clue what Ophelia’s past is like. Lee Edwards, a feminist critic, “concludes that is impossible to reconstruct Ophelia’s biography from the text: ‘We can imagine character. She is always shown as dependent on men, specifically Hamlet. The reader knows nothing about her, save the pre-play course of her love story with Hamlet is known only by a few a... ... middle of paper ... ...rtunity to make decisions for herself rather she is subject to the decisions of the men in her life.
As Laurie E. Maguire points out, “To say that Shakespeare’s [play] is. . .abouttaming is to state the obvious: the ‘wooing’ of Katherine by Petruchio, perhaps more than anyother main plot in Shakespeare, dominates performance and criticism.”1The minor charactersserve primarily, according to Larry S. Champion, as "comic pointers" to the main plot's action oras dupes to the more clever.2To relegate Hortensio to either of these categories, however,ignores his centrality as motivator of the main plot, and although David Bevington findsHortensio “laughably inept”3--he functions, in fact, as the main plot’s lynchpin. Hortensio isthe first to draw our attention to the shrewish Katherine, and it is he who seizes the opportunity Shrew--2Free, Mary. “Hortensio’s Role in Closing The Taming of the Shrew’s Induction,” RenaissancePapers 1999 (1999): 43-53.4See Martha Andrensen-Thom, “Shrew-Taming and Other Rituals of Aggression:Baiting and Bonding on the Stage and in the Wild,” Women’s Studies 9, no.
The overall effect o... ... middle of paper ... ...nopsis.htm Dec. 20, 1998: 1. "To Strut And Fret Upon The Stage." http://www.io.com/~`jlockett/Grist/English/macbethsources.html Dec. 20, 1998: 1-4. "William Shakespeare's Macbeth." http://www.angelfire.com/biz2/NOTES/macbeth.html Dec. 20, 1998: 1-8.