Shakespeare's Women: Kate
Katherina seems to finally have been tamed by Petruchio and is willing to serve on a hawk or hound, and in the end his trust in Katherina does of course pay off . The relationship between Katherina and Petruchio completely changes by the. Ironically, the tempestuous relationship between Petruchio, who's "come to wive it wealthily" and Katherina -- say Kate -- the "irksome, bawling. "The Taming of the Shrew" by William Shakespeare is a humorous play which focuses on Petruchio and Katherina's relationship. It explores ideas of marriage.
For this to work, Bailey says, Petruchio must never appear to be superior to Kate. It becomes punitive, and you start to think, 'This is dead and ghastly. Gregory Doranwho directed the play for the RSC insuggests that Petruchio doesn't know how to handle their relationship because he is as much of an outcast as Katherine.
He points out that both characters are frequently described as mad: That's what Kate and Petruchio are struggling against.
He sees Petruchio as a man whose pride is piqued by encountering a woman capable of outwitting him. He's constantly having to improvise. When Petruchio says he will deny Katherine sleep and food, he is describing the way birds of prey are socialised, with owner and animal enduring the same deprivations. There remains a difficulty in these "torture" scenes: Katherine barely speaks, whereas Petruchio never shuts up.
According to Lisa Dillon, playing Katherine in Bailey's production, this contrasts with Katherine's long final speech in which she advises wives to be gentle to their husbandsshowing how much she has changed. Petruchio gives her the power of speech and language: That is not a woman being crushed. Bailey and Dillon argue that Katherine is rescued by Petruchio: Another is found in De Rebus Burgundicis by the Dutch historian Pontus de Huyter, where Philip, Duke of Burgundyafter attending his sister's wedding in Portugal, finds a drunken "artisan" whom he entertains with a "pleasant Comedie.
He could also have known the Duke of Burgundy story as, although De Rebus wasn't translated into French untiland into English untilthere is evidence the story existed in English in a jest book now lost by Richard Edwardeswritten in Katherine and Petruchio by James Dromgole Linton c.
The basic elements of the narrative are present in tale 44 of the fourteenth-century Spanish book Libro de los ejemplos del conde Lucanor y de Patronio by Don Juan Manuelwhich tells of a young man who marries a "very strong and fiery woman. Such characters also occur throughout medieval literaturein popular farces both before and during Shakespeare's lifetime, and in folklore.
Written for his daughters as a guide on how to behave appropriately, de la Tour Landry includes "a treatise on the domestic education of women" which features an anecdote in which three merchants make a wager as to which of their wives will prove the most obedient when called upon to jump into a basin of water. The episode sees the first two wives refuse to obey as in the playit ends at a banquet as does the play and it features a speech regarding the "correct" way for a husband to discipline his wife.
Shroeder conjectured that Chevalier de La Tour Landry's depiction of the Queen Vastis story may also have been an influence on Shakespeare. Like Shrew, the story features a family with two sisters, the younger of whom is seen as mild and desirable. However, in "Merry Jest", the older sister is obdurate not because it is simply her nature, but because she has been raised by her shrewish mother to seek mastery over men.
'Taming of the Shrew': Marriage advice from Shakespeare? | Oregon ArtsWatch
Ultimately, the couple return to the family house, where the now tamed woman lectures her sister on the merits of being an obedient wife. The taming in this version is much more physical than in Shakespeare; the shrew is beaten with birch rods until she bleeds, and is then wrapped in the salted flesh of a plough horse the Morrelle of the title. Warwick Bond and Frederick S. Schwoerer illustration of Act 4, Scene 1 Petruchio rejects the bridal dinner.
Engraved by Georg Goldberg c. InJan Harold Brunvand argued that the main source for the play was not literary, but the oral folktale tradition. Brunvand discovered oral examples of Type spread over thirty European countries, but he could find only 35 literary examples, leading him to conclude "Shakespeare's taming plot, which has not been traced successfully in its entirety to any known printed version, must have come ultimately from oral tradition.
George Gascoigne 's English prose translation Supposes was performed in and printed in Erostrato disguises himself as Dulipo Tranioa servant, whilst the real Dulipo pretends to be Erostrato.
Having done this, Erostrato is hired as a tutor for Polynesta. Meanwhile, Dulipo pretends to formally woo Polynesta so as to frustrate the wooing of the aged Cleander Gremio. Dulipo outbids Cleander, but he promises far more than he can deliver, so he and Erostrato dupe a travelling gentleman from Siena into pretending to be Erostrato's father, Philogano Vincentio.
However, when Polynesta is found to be pregnant, Damon has Dulipo imprisoned the real father is Erostrato. Soon thereafter, the real Philogano arrives, and all comes to a head.
Erostrato reveals himself, and begs clemency for Dulipo.
Damon realises that Polynesta is truly in love with Erostrato, and so forgives the subterfuge. Having been released from jail, Dulipo then discovers he is Cleander's son. Date[ edit ] Efforts to establish the play's date of composition are complicated by its uncertain relationship with another Elizabethan play with an almost identical plot but different wording and character names, A Pleasant Conceited Historie, called the taming of a Shrew.
Different theories suggest A Shrew could be a reported text of a performance of The Shrew, a source for The Shrew, an early draft possibly reported of The Shrew, or an adaptation of The Shrew.
A terminus ante quem for A Shrew seems to be Augustas a stage direction at 3. Knack features several passages common to both A Shrew and The Shrew, but it also borrows several passages unique to The Shrew. This suggests The Shrew was on stage prior to June Oliver suggests the play was composed no later than He bases this on the title page of A Shrew, which mentions the play had been performed "sundry times" by Pembroke's Men.
When the London theatres were closed on 23 June due to an outbreak of plaguePembroke's Men went on a regional tour to Bath and Ludlow.
The tour was a financial failure, and the company returned to London on 28 September, financially ruined. Over the course of the next three years, four plays with their name on the title page were published; Christopher Marlowe 's Edward II published in quarto in Julyand Shakespeare's Titus Andronicus published in quarto inThe True Tragedy of Richard Duke of York published in octavo in and The Taming of a Shrew published in quarto in May Oliver says it is a "natural assumption" that these publications were sold by members of Pembroke's Men who were broke after the failed tour.
Oliver assumes that A Shrew is a reported version of The Shrew, which means The Shrew must have been in their possession when they began their tour in June, as they didn't perform it upon returning to London in September, nor would they have taken possession of any new material at that time.
The Relationship of Petruchio and Katherine by Maeve Allan on Prezi
She focuses on the closure of the theatres on 23 Junearguing that the play must have been written prior to June for it to have given rise to A Shrew. Secondly, Elam suggests that Shakespeare derived his Italian idioms and some of the dialogue from Florio's Second Fruits, a bilingual introduction to Italian language and culture. Elam argues that Lucentio's opening dialogue, Tranio, since for the great desire I had To see fair Padua, nursery of arts, I am arrived for fruitful Lombardy, The pleasant garden of great Italy.
Elam's arguments suggest The Shrew must have been written bywhich places the date of composition around — Greg has demonstrated that A Shrew and The Shrew were treated as the same text for the purposes of copyrighti.
There are five main theories as to the nature of this relationship: The two plays are unrelated other than the fact that they are both based on another play which is now lost.
This is the Ur-Shrew theory in reference to Ur-Hamlet. A Shrew is an early draft of The Shrew.
Oliver suggests, there are "passages in [A Shrew] [ In The Shrew, the Christopher Sly framework is only featured twice; at the opening of the play, and at the end of Act 1, Scene 1.
Pope added most of the Sly framework to The Shrew, even though he acknowledged in his preface that he did not believe Shakespeare had written A Shrew. By comparing seven passages which are similar in both plays, he concluded "the original conception is invariably to be found" in The Shrew. He reached this conclusion primarily because A Shrew features numerous lines almost identical to lines in Marlowe's Tamburlaine and Dr.
Instead he labelled A Shrew a bad quarto. His main argument was that, primarily in the subplot of A Shrew, characters act without motivation, whereas such motivation is present in The Shrew. Alexander believed this represents an example of a "reporter" forgetting details and becoming confused, which also explains why lines from other plays are used from time to time; to cover gaps which the reporter knows have been left.
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Chamberswho reasserted the source theory. Its textual relation to The Shrew does not bear any analogy to that of other 'bad Quartos' to the legitimate texts from which they were memorised. The nomenclaturewhich at least a memoriser can recall, is entirely different.
The verbal parallels are limited to stray phrases, most frequent in the main plot, for which I believe Shakespeare picked them up from A Shrew.
Now pray thee love, stay. Come, my sweet Kate. Of course it is Kate: Petruchio has asked Kate to perform. She has agreed, and her performance is marvelous.
And like all great performances, it depends on a great deal of trust in her director, Petruchio and her belief, if just for a moment, in the truth that may be contained in the words.
Can she imagine the sun as the moon, an old man as a young woman, a completely compliant wife? Of course she can! But why would she want to? We have seen what Kate and Petruchio have conquered, though: And perhaps their absolute individuality. Maybe Shakespeare is saying that one of the great consolations of marriage is the inside joke! Though we hope maybe Bianca and Lucentio will get there in the end.
No connubial bliss for Eliza and Henry, oh no. I somehow doubt it. Would he understand contemporary feminism? Did I feel ashamed to see it in the company of women?