The Kindling of Collective Kindness There is an element of superfluity in Kate’s final speech of The Taming of the Shrew. As a simple demonstration of her having been tamed and transformed, the speech is nearly overdone: earlier in the scene, after all, Baptista readily acknowledges that Petruchio has presented him with “another daughter,” “changed as she had never been,” in effect suggesting that Kate’s final speech serves a different purpose (5.2.119-120). Rather than adding an exclamation point to whether Kate has indeed been “disfigured,” which would thereby merely confirm the prediction made by the bellyaching Grumio, Shakespeare mobilizes her last speech to elaborate in what way and on what terms Kate has become a new Kate. Through her pronominal shifts and the sore but spirited self-castigation in her tone, Shakespeare presents Kate as a disempowered agent forced to face the failures of her erstwhile practices of resistance while negotiating the possibilities of her imposed re-presentation. While undoubtedly the happenstance of Petruchio’s brutal impositions and restrictions, consenting to this new representation does not amount to a “simple” submission: Shakespeare signals a trace of a still headstrong element of resistance in Kate’s very first injunction to Bianca and the Widow: “Fie, fie, unknit that threat’ning unkind brow” (5.2.166, 141). “Unkind” does more than restate and disavow the character of Kate’s former disposition: its surreptitious insinuations, along with its placement within an impassioned imperative construction, set the tone of the speech. In addition to reactivating under a new guise a semantic strain operative throughout the play (beginning with the Lord instructing his huntsmen to dupe... ... middle of paper ... ...lent outbursts…. As Kate subsequently suggests, she had been a wager of war. That she then deems such war-waging to be shamefully “simple” informs most provocatively the tenor of her revamped self-presentation: in a more basic sense, it indicates a certain lack of craft and sophistication in the method of her resistance (OED, s.v. “simple,” a. 3.a.); more tellingly, however, it indicates the uncompounded character, the severed and severing solitariness of this former method (OED, s.v. “simple,” a. 11.a.). This recognition is what transforms Kate from a free-floating radical fated for a short life of highly reactive volubility into a subject willing to play an artificially composite role. Through this change, Kate gains the ability to engage the “we” entailed by this role and capitalizes on its potentially fortifying fictionality.
Shakespeare’s portrayal of power reflects the conflicting influences of Medieval Morality plays and Renaissance literature during the Tudor period, demonstrating that the text is a reflection of contextual beliefs. The Third Citizen’s submission to a monotheistic deity in the pathetic fallacy of “The water swell before a boisterous storm – but leave it all to God” qualifies the theological determinism of power due to the rise of Calvinism. Pacino embodies Richard’s desire for royalty in LFR through the emphasis on celebrity culture, as he is determined to film himself in close-up, which although emphasizes the importance of Pacino, leaves out the broader scene. Soliloquies are substituted with breaches in the fourth wall, and his metatheatrical aside to the audience “I love the silence… whatever I’m saying, I know Shakespeare said it”, subverts the cultural boundaries which, deter contemporary American actors in performing Shakespeare. Shakespeare’s breach of the iambic pentameter in “Chop off his head…And when I’m king” strengthens the Renaissance influence, as Richa...
One of the most emotional and moving scenes in William Shakespeare's tragedy Hamlet is in Act III, Scene I lines 90-155 in which the title character becomes somewhat abusive toward his once loved girlfriend Ophelia. It is interesting to examine the possible motives behind Hamlet's blatant harshness in this "Get the to a nunnery" scene toward the easily manipulated and mild mannered girl. While watching Kenneth Branagh and Mel Gibson's film adaptations of the play, the audience may recognize two possibilities of the many that may exist which may explain the Prince's contemptible behavior; Kenneth Branaugh seems to suggest that this display of animosity will help the troubled man convince his enemies that he is in fact demented, whereas the Mel Gibson work may infer that Hamlet's repressed anger toward his mother causes him to "vent" his frustrations upon Ophelia, the other female of importance in his life.
Another instance in which it may seem to some people reading the play that Kate is being controlled by...
In equation with the Elizabethan era, Shakespeare offers us a male dominated society in his renowned tragedy, Othello. Consequently, this definitely persuades a negative attitude and demeanor towards the women of the times. The female characters in the play: Desdemona, Emilia, and Bianca; play relevant roles in contributing to one’s understanding of this exhausted Elizabethan view. In contrast to the larger portion of the play, Emilia, spouse to the scandalous Iago, takes an opinionated stand for Desdemona in relation to her wholesome gone sour relationship with the Moor of Venice, Othello. I recognize Emilia’s “Betrayal lecture” as a justified outlook in accordance with today’s period and events surrounding Desdemona’s and Othello’s fatal misunderstanding.
William Shakespeare is a master of satire, and it is very evident in his work “The Taming Of The Shrew”. His use of exaggeration is impeccable, and he managed to make the entire work one giant parody. Through this satire, he makes a very important social commentary, using his influence to bring new ideas into people’s minds, and make them realize the flaws in their
In act 5, scene 2 of “The Taming of the Shrew,” Kate Minola is ordered by Petruchio to reprimand her sister and friend. Doing as she is told, Kate gives a speech on how a wife should behave, leaving the audience to wonder if she was being sarcastic, or if she has finally been “tamed.” As a student who has seen the play, I believe this scene was meant to be perceived as sarcastic. The expressions of the actors, along with the witty lines produced by Shakespeare, makes me think that the last monologue had an underlying
In the play The Taming of the Shrew by William Shakespeare, Petrucio recognizes, respects and desires Katherine’s strength of character. Petrucio is a clever man who sees beyond facades because he uses them himself. (II, i 46) (II, I 283 - 89) He is stimulated by Katherine’s sharp tongue and harsh actions. He proves this many times throughout the play.
We can say a general understanding of altruism is a selfless behavior intended for the benefit of others at a personal cost to the individual who is preforming that behavior. These behaviors will have no obvious gain for the provider and could also have obvious costs for the one carrying out the behavior. Taking all of this into consideration can we say whether true altruism exists or not? It does not exist because no matter what you do whether it be giving a beggar a dollar or saving someone’s life you are going into a loss but you get something in return no matter what it is varying from fame to a feeling of satisfaction.
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).
Leverenz, David. 1980. 'The Woman in Hamlet: An Interpersonal View.' In Representing Shakespeare: New Psychoanalytic Essays, edited by Coppelia Kahn and Murray M. Schwarz. Baltimore and London: The Johns Hopkins Press, 110-128.
"Women have a much better time than men in this world; there are far more things forbidden to them." -Oscar Wilde. This quote embodies the fight over gender roles and the views of women in society. Taming of the Shrew deals with Kate and Bianca, two sisters who are at the time to he married off. However, suitors who seek Bianca as a wife have to wait for her sister to be married first. Kate is seen as a shrew because she is strong willed and unlike most women of the time. In his 1603 play The Taming of the Shrew, William Shakespeare enforces traditional gender roles and demonstrates how little say women had in society. He accomplishes this through the strong personality of Kate, Baptista 's attitude towards his daughters as transactions, and
The Taming of the Shrew by William Shakespeare is a play that is ahead of its time in its views toward gender roles within society. Katherine is a woman who is intelligent, and is not afraid to assert her views on any given situation. She is paired with another obstinate character in Pertuchio. The Marriage formed between the two is a match made in heaven for two reasons. First Because Katherine is strong enough to assert her views, and more importantly, she realizes when she 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.
...with] no emotion in [them]” (105). Before the coming to the war, Mary Anne is sweet, innocent, and curious. But now, she has matured and looks upon the world indifferently.
In Hamlet’s speech, Shakespeare’s efforts to target his Elizabethan audience develop the theme of the frailty of man. Shakespeare conveys this underlying theme of the play by subt...
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 dominion over Kate (that of the eccentric egomaniac). However, these false realities are not enough by themselves, as the audience has nothing to go by but what they see before them, and so they are not to know that this is not Petruchio’s true personality, and so Shakespeare employs another essential element of humour: he lets the audience know what is truly transpiring, while the characters themselves remain oblivious to the truth. He does this using a soliloquy, in which Petruchio states the strategies he shall use in order to tame Kate: