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The nature of the domestication
The nature of the domestication
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The Taming of Katherine
In Shakespeare's time, the ideal wife was subservient to her husband, and it was the husband's inherent duty to take care of his wife's money, property, and person, including both physical and moral welfare. If a man's spouse proved rebellious, he had the right to physically brutalize her into submission. This social phenomenon of domesticating an unruly woman as one might an animal was the inspiration for The Taming of the Shrew. Kate fits the stereotype of the shrewish woman at the play's outset and the Renaissance ideal of the subservient, adoring wife by the play's close, but her last speech as the final monologue of the play-rightly interpreted-undercuts her stereotype.
Even before his initial encounter with Katherine, Petruchio knows exactly how to handle her resistance. In a short monologue, Petruchio proclaims in great detail just how his unorthodox approach will work. He plans not to use violence, but psychological warfare. For every evil Katherine displays, Petruchio will praise the opposing virtue in her character-even if it does not exist:
"Say that she rail, why then I'll tell her plain
She sings as sweetly as a nightingale.
Say that she frown, I'll say she looks as clear
As morning roses newly wash'd with dew
...If she deny to be wed, I'll crave the day
When I shall ask the banns and when be married" (II, i).
Petruchio plans to win this woman over by simply confronting her temper with flattery. Of course, the infamous Kate lives up to her reputation and is every bit as cold and difficult as Petruchio has been told to expect. After observing arguments, base insults, and even a blow inflicted upon Petruchio, the audience begins to lose faith in Petruchio's unusual methods. This extremely clever gentleman, however, will not easily give up such a dowry.
Still, he does not wish to waste a vast amount of time and energy on a woman that could just as soon walk away and leave him looking foolish despite his best efforts. He knows that, in order to tame her, he must first obtain her. Though little ground has been gained in the fight against her inflexibility, Petruchio, upon Baptista's return, tells him the outcome of his meeting with Kate. He speaks of a bond so natural and strong that they have agreed to marry on the following...
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...etermination. The final scene of the play depicts Petruchio's final test of obedience. Confident in Katherine's level of devotion, he wagers against the two other newlywed husbands, Hortensio and Lucentio. The bet-testing the obedience of their wives-holds very high monetary stakes and important bragging rights. The clear winner turns out to be Kate. Not only is she the only wife to report when beckoned, but she also delivers a lengthy speech outlining the virtue of an obedient wife and the importance of the husband's role as lord and protector when she says:
"...Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; one that cares for thee,
And for thy maintenance; commits his body
To painful labour both by sea and land
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe;
And craves no other tribute at thy hands
But love, fair looks, and true obedience..." (V, ii).
Of course, everyone observing this incredible change in Kate's character is astounded, as she has demonstrated, most convincingly, just how effective Petruchio's work has been. And thus Petruchio's unconventional methods have tamed the cursed shrew.
The scene starts off Katherine terrorizing her sister, the men all introducing themselves, and Hortensio being hit by a lute. Katherine is eventually brought out to met Petruchio and they are left alone. Petruchio takes to calling Katherine by “Kate”, wriling her up. Kate begins to insult her suitor without hesitation. They then engage in an argument, which was more along the lines of clever puns and metaphors thrown to and fro. It then ends in Kate hitting Petruchio and his response being they will be married on Sunday, “will you. nill you”.
...Petruchio mistreat his servants. After coming home from the wedding, Petruchio says, "Here, sir! here, sir! here, sir! here, sir!/You logger-headed and unpolish'd grooms!/What, no attendance? no regard? no duty?/Where is the foolish knave I sent before?" (4.1.115-118). He continues to mistreat his servants right in front of Kate; he even hits a few of them. Kate sees this and realizes how poorly she has treated others in the past and realizes that she doesn't want to be a shrew any longer.
Katherina's development in the play, The Taming of the Shrew, is a complicated dilemma for the reader to figure out. Is she really tamed by Petruchio? Or does she figure out his game and decide she's better off playing along? Or does she recognize her own excessive behavior in his and decide to change of her own free will? Or does she really fall in love with Petruchio and wish to please her lord? I think her evolution is a combination of all of the above. But do we, as readers, want her to be tamed or was her initial independence a virtue?
Petruchio deprives Kate of all her fundamental needs and essentials to prove he is going to be a master tamer to her. As soon as they get to Petruchio’s house and sit down for dinner, Petruchio refuses to eat the meal because he verbally expresses it is burnt and forbids Kate to eat the meal as well saying they will fast. Exhibiting his authority as a master tamer, Petruchio stops Kate from eating the meal to weaken her so she cannot resist him. Deprived of sleep, Kate angrily states, “But I, who have never known how to beg and never had to beg, am starved for food, dizzy with lack of sleep, kept awake with curses and fed with brawlings”(4.3.6). Petruchio believes that depriving Kate of her sleep along with food will make her unable to go against what he asks for and says. Getting ready for Bianca’s wedding, Petruchio takes on his role as a master tamer and shows Kate a new dress and hat he has had made for her but he changes his mind. He argues with Kate stating that if she were an elegant and graceful woman she could have the dress and hat, however she is not, therefore she does not deserve them. Depriving Kate of all her necessities, Petruchio believes he is acting as the best master tamer possible.
Shakespeare, sets up a teaching lesson, helping us to see the mistakes of our own judgment. When Baptista announces that Kate must marry before Bianca may take suitors, Gremio describes Kate by saying "She's too rough for me" (1.1.55). Later in the scene, Gremio reiterates his dislike for Kate, claiming she is a "fiend of hell" (88) and offering that "though her father may be very rich, any man is so very a fool to be married to hell" (124–126). He finishes by saying that to marry Kate is worse than to "take her dowry with this condition: to be whipped at the high cross every morning" (132–134). Hortensio, too, is quick to add to the situation, calling Kate a devil (66) and claiming that she is not likely to get a husband unless she is "of gentler, milder mold" (60).
Among the bevy of female characters to grace the Shakespearean stage, Katherine of Aragon in Henry VIII is perhaps the most enigmatic. Despite the range of possibilities in other female roles-such as Cordelia and Desdemona, in whom one certainly finds desirable traits-Katherine stands out as a tragic heroine: a secure, strong-willed woman who is articulate, passionate, charismatic, and altruistic. The unique qualities of Katherine are achieved through Shakespeare's careful accretion of rhetorical devices in her speeches. Interestingly, however, the paucity of critical attention given to Katherine's language suggests that many scholars have relegated this great lady to secondary importance in the grand scheme of the play.
Kate who never wanted to show any affection by the end is kissing Petruchio in the street. “Nay I will give thee a kiss. Now pray thee love stay” (Shakespeare Vii 148). Heath Ledger, as Patrick Verona, displays the mysterious charm necessary to make him seem like a rebel. He seems to be only in it for the money in the beginning much like Petruchio.
A long time ago, a drunken man fell asleep outside an alehouse. This man, Christopher Sly, was discovered by a mischievous lord who took him into his home. The witty lord then convinced Sly that he was a lord, as well. The lord then put on a play for him. The play, The Taming of the Shrew, was about the two young daughters of Baptista. The youngest daughter, Bianca, wished to wed but her father, Baptista, would not allow this until his eldest daughter, Katherina, was married. Under normal circumstances, it would be easy to find a husband for Katherina with all her beauty, but all her beauty was covered by her shrewd personality. By this time Bianca's suitors were growing very impatient, so they decide to team up and find a husband for Katherina. In jest they mentioned their plan to a friend, Petruchio, who surprisingly agreed to marry Katherina. All her beauty and wealth were enough for him. Katherina reluctantly was wed to Petruchio and she was taken to his home to be tamed. With Katherina out of the way, Bianca was now allowed to marry Lucentio, who offered her father the highest dowry for her. In the final scenes of the play, Katherina proves that she is tamed by winning an obedience contest at a dinner party. Katherina is now even more in accordance with her wifely duties than Bianca. A fare is a type of comedy based on a ridiculous situation. The Taming of the Shrew, an eminent example of a farce, is the first of three farces written by Shakespeare.
Claudio's interest in Hero is on account of her wealth, but her outward beauty also attracts him. Claudio is hence revealed to be a slave to social assumptions. He regards love and marriage as a sensible way in which to obta...
In the middle of this scene Kate and Petruchio find themselves making conversation. This is not the typical conversation between two people who are possibly getting married, but conversation none the less. Kate tears into Petruchio, but Petruchio fires back at Kate (usually taking Kate's insults and twisting them into sexual innuendos). Petruchio is aware that Kate is a shrew, but he still insists that they be married by saying "will you, nill you, I will marry you."
Called "cursed Kate" throughout the play, Katherine is openly jealous of the attention he sister is receiving, whereas she, because she speaks her mind, is being bypassed and even avoided in the wooing process. Katherine reveals this attitude in act 2 scene1, lines 31-35, "nay, now i see she is your treasure, she must have a husband; i must dance barefoot on my wedding day, and for your love to her, lead the apes to hell. Talk not to me i will sit and weep!...." This anger is not concealed, it serves to provide motivation as to why a rational person would rebuke petrucchio so rudely upon first encountering him. Katherine surely realizes that petruchio is interested in her for ulterior motives other than love. Be it purse that the dowry will bring or the actions of an...
... for both sides. In the case of Katherine and Petruchio, the battle is won because they both love each other and live happily ever after. The battle of the sexes between Bianca and Lucentio is lost because neither is willing to love each other.
This play has many themes of patriarchy concerning the roles of males and females in a marriage, the authority of fathers over their families, husbands over wives, and men over women (Bloom 13). In the title alone, there's the indication of the husband over the wife, the "taming" of the shrew (16), and the word shrew that is chosen to describe Katherine is somewhat demeaning. In modern day society there is no such boundaries put on women. There should not be one party who overpowers the other one. It is a marriage, a bond that is shared, and each should be respected in the same way. Today, women and men are equals in a marriage, or at least in the United States. Women are no longer as oppressed as they once were. This play is rather primitive on the views of women in society.
In The Taming of the Shrew, the concept of love is a means of emotional manipulation, and manipulation is nothing more than a means of control between men and women. William Shakespeare critiques the patriarchal social structure by ironically employing the manipulative stance Petruchio takes towards winning Katherine as his wife by charming her with words and manipulating her psychologically, and then taming her after their marriage through legal, physical, financial, and psychological control and manipulation. Though Petruchio may think he yields power over his wife, Katherine uses obedience as a tool of manipulation and has the control of the household, as can be seen by her ironic speech at the end of the play, where she claims women must serve their men. Shakespeare uses the irony of a man using manipulation as a tool for control to magnify the significance of the power women yield through manipulation, thus proving that men and women engage in a power-shifting struggle.
The concept that ‘things are not always as they seem’ is quite evident in the events surrounding, and including, Petruchio’s wedding ceremony. This particular scene in the play demonstrates how the use of false realities (a real situation falsely presented in order to deliberately deceive) can be used to create humour. Biondello describes Petruchio’s appearance to Baptista, and by doing so sets up the expectations of the audience. He says that Petruchio comes wearing: