The Taming Of The Shrew: An Critique Essay, Research Paper
The Taming of the Shrew: An Review
The Taming of the Shrew is one of the earliest comedies written by
sixteenth and 17th century English bard, William Shakespeare. Some
bookmans believe it may hold been his first work written for the phase every bit good
as his first comedy ( Shakespearian 310 ) . The earliest record of it being
performed on phase is in 1593 or 1594. It is thought by many to be one of
Shakespeare & # 8217 ; s most immature dramas ( Cyclopedia 1106 ) .
In The Taming of the Shrew, Petruchio was the lone suer willing to
tribunal Kate, the more unwanted of Baptista & # 8217 ; s two girls. Kate was ne’er
described as unattractive ( Elizabeth Taylor played her function in one movie of the
production ) , but was known for her nagging behaviour around all of Padua.
Bianca, on the other manus was really sweet and charming and beautiful ; for these
grounds many suers wooed her. Kate was presented to be much more intelligent
and witty than Bianca, but, ironically, she could non vie with Bianca
because of these witty rejoinders and acerb comments she made ( Dash 830 ) . All
of the work forces who desired Bianca needed person to get married Kate, as it was customary
for the older girl to be married before the immature 1. Finally, Petruchio
came along to tribunal Kate, stating he wanted to get married wealthily in Padua. It
appeared, though, as if Petruchio was the sort of adult male who needed an resistance
in life. The nagging Kate, who was known to hold a crisp lingua, really
adequately filled his demand for another powerful character in a relationship
( Kahn 419 ) . When Petruchio began to court Kate, everybody was instead surprised,
but Signior Baptista agreed when Petruchio wanted marry her on Saturday of the
hebdomad he met her. Clearly, he was non opposed because he wanted to travel rapidly and acquire
Kate married so she would non be in Bianca & # 8217 ; s manner any longer. Petruchio showed up
to the nuptials late and in unusual garb, but however they were married
that Saturday. Petruchio began his celebrated procedure of chastening his bride.
From the beginning, Petruchio wanted to rule a relationship of two
ruling personalities. He sought to chasten her in a nonviolent but still
slightly barbarous manner. Petruchio & # 8217 ; s method of & # 8220 ; chastening & # 8221 ; Kate featured striping
her of the things she had taken for granted and been given all of her life, and
he sardonically acted as if it was in her best involvement ( Leggatt 410 ) . In the
name of love, Petruchio refused to allow her eat, under the pretence that she
deserved better nutrient than what was being given her ( Nevo 262 ) . Similarly,
Petruchio did non believe that her bed was suited for her to kip in, so his
retainers took turns maintaining her awake and denying her the slumber that she so
urgently needed. When the seamster brought in what seemed to be a really reasonably
cap, Petruchio refused to allow Kate hold it, despite her ceaseless supplication to maintain
the cap ( Legatt 410 ) . Petruchio took the stance that Kate was his belongings, as
he pointed out in the 2nd scene of act three:
I will be maestro of what is mine ain.
230 She is my goods, my movables, she is my house.
My family material, my field, my barn,
My Equus caballus, my ox, my buttocks, my anything? .
Petruchio & # 8217 ; s words left no uncertainty as to his belief in the patriarchal
matrimony system that existed during Shakespeare & # 8217 ; s clip, possibly presented in
slightly of an overdone signifier ( Kahn 414 ) .
As fatigue, hungriness, and defeat set in on Kate, her wildcat
personality began to weaken perceptibly. Because of the weakness of her
state of affairs, she began to demo entry to her hubby. When Kate mentioned the
Sun in a conversation, Petruchio absurdly disagreed with her and told her it was
the Moon. Kate proceeded to hold with him, to which, of class, he changed his
head back. Kate & # 8217 ; s response was that it changes even as his head, and this was
the first mark of her entry to Petruchio ( Evans 32 ) .
Petruchio & # 8217 ; s actions were really utmost during the drama, but as Kate caught
on to their function playing their relationship improved ( Nevo 262 ) . Many bookmans
feel that, despite Kate & # 8217 ; s submissiveness in the shutting scene of the drama, she
would go on to be a strong resistance for Petruchio. Her representation at
the terminal of the drama, nevertheless, is really docile and submissive. There were several
points in the drama during which she demonstrated her new found domesticated
personality. First, she showcased it by stating what Petruchio wanted her to,
irrespective of the absurdness of the statement. In add-on to the already
mentioned sun-moon incident, Kate referred to the old and creaky Vincentio as
a? immature budding virgin, just and fresh and sweet & # 8217 ; ( Evans 32 ) . In consequence,
Petruchio was showing absurdness by being absurd, and Kate responded to his
preposterousness. Another point in the drama where Kate displayed her
compliance was when she came at Petruchio & # 8217 ; s name. When one of the work forces
proposed a Washington ger on whose married woman will return foremost when they are all called,
Petruchio responded by raising the stake significantly. He reasoned that he would
bet that much on his hound, but his married woman merited a much larger stake ( Leggatt
413 ) . Petruchio displayed complete trust in Kate in that state of affairs, and she
came through for her adult male. Many critics have pointed out that the wager scene is
dominated by reversals: quiet Bianca talked back, while the nagging Katherina
came across as an obedient married woman ( Kahn 418 ) . Kate enjoyed winning the bet for
Petruchio merely as Petruchio delighted in doing ( and raising ) it ( Leggatt 413 ) .
However, Ruth Nevo pointed out that Kate did non merely win the bet, but her
address testifies a generousness worth far more than the two hundred Crowns of the
delighted in censuring the other ladies for their unconventional behaviour.
She particularly enjoyed warning Bianca for her indecent behaviour ( Dash 835 ) .
A nother blink of an eye when Kate obeyed her hubby & # 8217 ; s bizarre demands came as
slightly of a surprise after the bet scene. Kate returned with the chapeau
Petruchio had given her, and he instructed her to take off the chapeau, which Kate
really liked. She one time once more complied in forepart of the surprised crowd. As if
all of these symbols of her obeisance were non plenty, Kate showed one more mark.
As she concluded the scene and the drama, Kate prepared to set her manus beneath
her hubby & # 8217 ; s pes, and Elizabethan symbol of wifelike obeisance ( Kahn 419 ) . Kate
genuinely showed entry, obeisance, and regard to her hubby in the concluding
scene of the drama, gaining regard for herself in the procedure.
Many critics have observed and noted that Petruchio and Kate had a demand for
each other, being the strong personalities that they are. They thrive off of
the rational games they play throughout The Taming of the Shrew. Both have
a witty intelligence that made them attracted to each other. Besides, each of them
had something to turn out: Petruchio needed to corroborate his manhood, while Kate
needed to maneuver her demeanour toward the ladylike side of things. The whole secret plan
of the drama drives toward these ends. It was Kate & # 8217 ; s entry to Petruchio
which makes him a adult male, eventually and indisputably ( Kahn 419 ) . Kate earned
big regard from the other work forces in the shutting scene, as she proved to suit
the cast of the conventional adult female better than their married womans did ( Dash 835 ) .
Petruchio did non interrupt Kate & # 8217 ; s humor and will, as some might comprehend ; he merely
used them to his advantage, as is rather noticeable in the bet scene. This
showed how Kate was really a foil of Petruchio ( Nevo 262 ) . The moving done by
Kate and Petruchio lived up to the patriarchal ideals of their clip, but yet
the reader is led to believe that in the hereafter, there will still be resistance
in their relationship. Even in the concluding scene, Kate ne’er showed marks of
being a weak character, but instead the ability to be strong in any manner she needs
to be. In a sense, Kate and Petruchio had what one might name a symbiotic
relationship ; that is, they both had a strong demand for each other, which is
slightly self-contradictory, as both of them were ferociously independent characters.
The imposts and criterions of matrimonies during the Elizabethan Age that
Shakespeare wrote The Taming of the Shrew in are represented really accurately
throughout the text of the drama. There are intimations that the matrimony of Petruchio
and Kate may non hold precisely met these criterions, but for credence they
attempted to do it look that manner. In fact, neither of them were truly
accepted until they did that. The matrimonies of the clip were really male
dominated. This is why Petruchio & # 8217 ; s signifier of force was accepted ; because he
was the maestro of his belongings and could make what he wanted with it. Kate was
non the conventional termagant, because most & # 8220 ; shrews & # 8221 ; were adult females that were already
married and dominated their hubbies in their relationship. Kate & # 8217 ; s force was
really unacceptable in their society, because adult females merely did non make that at that
clip. Kate committed four physically violent Acts of the Apostless on phase: she broke the luting
over the Hortensio & # 8217 ; s caput, tied and all in Bianca, and hit Petruchio and Grumio
( Kahn 415 ) .
Petruchio, nevertheless, ne’er one time committed an act of physical force, but he
did, in the name of love, deprive Kate of her demands until she bent to his will.
Because Petruchio was a male, though, his force was more recognized by society
than was Kate & # 8217 ; s ( Kahn 414 ) . Petruchio & # 8217 ; s therapy for Kate has been compared to
keeping up a mirror and allowing the termagant see herself. Whenever Kate would
throw her fits, Petruchio would throw them right back, in possibly even more
overdone signifier. These provided the amusing facet of the drama, every bit good as
giving Kate a opportunity to look at her ain image ( Nevo 262 ) . This exchange of
functions, which landed Kate on the having terminal of all of those horrid fits,
took her out of herself. This redress appealed to the intelligent facet of
Kate & # 8217 ; s complex personality, and they brought about a alteration in her. This entreaty
to her intelligence is why Kate & # 8217 ; s will was non broken, but instead changed to
meet Petruchio & # 8217 ; s cast to some extent ( Nevo 263 ) . The patriarchal manners that th
vitamin E matrimonies took on during the Elizabethan age are really good represented in
Shakespeare & # 8217 ; s The Taming of the Shrew.
Cyclopedia of Characters II. Vol. 3. Capital of oregon: Salem Press, 1990. 1106-
Dash, Irene G. & # 8220 ; Wooing, Wedding, and Power: Womans in Shakespeare Plays & # 8221 ; .
The Critical Perspective Volume 2. Ed. Harold Bloom. New York: Chelsea
House Publishers, 1986. 825-833.
Evans, Bernard. Shakespeare & # 8217 ; s Comedies. Oxford: Oxford University Press,
Kahn, Copella. Untitled Essay. Shakespearian Criticism. Ed. Mark W.
Scott and Sandra L. Williamson. Detroit: Gale Research, Inc. , 1989.
Leggatt, Alexander. Untitled Essay. Shakespearian Criticism. Ed. Mark W.
Scott and Sandra L. Williamson. Detroit: Gale Research, Inc. , 1989.
Nevo, Ruth. & # 8220 ; ? Kate of Kate Hall & # 8217 ; : The Taming of the Shrew. & # 8221 ; Modern Critical
Reviews. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 253-
Scott, Mark W. and Williamson, Sandra L. , et al. , erectile dysfunction. Shakespearian
Criticism. Detroit: Gale Research, Inc. , 1989. 310-311.
Shakespeare, William. The Taming of the Shrew. Logan, IA: The
Perfection Form Company, 1986.