At the clip The Taming of the Shrew was written, the traditions and imposts were of a extremist nature ; runing from adult females to working conditions. The chief impression of matrimony was perceived in a wholly different manner since some work forces married for wealth and some merely got married since it was about mandatory. You could state work forces were really much more dominant, since they were the ground tackle of control when it came to make up one’s minding who to get married, in contrast to the adult females who had no say in the state of affairs whatsoever. In this essay I will be discoursing my sentiments and whether or non I think that the representation of adult females in the drama is slightly the prototype of misogynism.
To many people who read and analyse The Taming of the Shrew, they may detect it as may be as being thoroughly misogynistic, an tormenting illustration of female representation in the sixteenth century England. However I think that this is far away from existent and highly superficial. The Taming of the Shrew offers many readings of its true significance and does really show some kind of relevant to a modern society, to an extent I think that The Taming of the Shrew is excessively misogynous for a modern audience to appreciate it as comedy and I have many factors to back up my sentiment.
In the drama Shrewish Kate is tamed by Petrucio who is described as ; A conscienceless, A corrupt and deceitful. Petruchio moves on to utilizing Kate ‘s male parents wealth as his lone ground to entrain on his matrimony, even though Kate tries her hardest to defy and avoid she is left with no pick. He abuses her by mortifying her and degrading her, all the manner up to the concluding scene where Kate openly. He embarrasses and degrades her, climaxing in the concluding scene where Kate abandons her independency with easiness by puting her manus under petruchio ‘s pes and carries on to talk all the other adult females about what they should be making and informing them of the traditional function of being a retainer within the barriers of matrimony.
“ Forward, I pray, since we have come so far And it be moon, or Sun, or what you please ” ( ACT IV SCENE V 12-13 ) . Here we can see that Kate and Petruchio become closer whenever Petruchio enables Kate to airt the aggression he directs at her at another victim. In this instance, Kate blamed her error on ‘the blessed Sun ‘ . But there is a definite suggestion of a spread emerging between how she views herself and how she reacts in relation to Petruchio when she refers to herself in the 3rd individual ‘ … whatever you have it named… it shall be so for Katherine ‘ . The linguistic communication of Kate and Petruchio reinforces the impression of partnership. In 16TH Century England, female address was associated with female independency which, was forbidden. However Kate is an self-asserting and articulate person as is clear in Act II Scene I when she labels Petruchio a ‘moveable ‘ an ‘ass ‘ and a ‘jade ‘ . Her pun with Petruchio in this scene clearly indicates they are suited: PETRUCHIO: I swear I ‘ll whomp you, if you strike once more KATE: So may you free your weaponries. If you strike me, you are no gentleman, And if no gentleman, so why no weaponries.
In the eyes of the women’s rightist critic throughout the drama Kate is non silenced, alternatively she propounds her positions and articulates male linguistic communication in a refusal to be controlled and categorised by the power constructions by which work forces subordinate adult females. Kate describes Petruchio as ‘no prick of mine, you ( Petruchio ) crow excessively like a poltroon ‘ . Her willing battle in conversations incorporating sexual wordplaies or insinuation emphasises her conversational para with Petruchio. Thus it is Kate who is educating Petruchio instead than the latter educating the former about the function of adult females in matrimony. By prosecuting in chatty statement, Kate ‘s refusal to conform to the conventions of 16TH Century England acts as a crisp warning to Petruchio that he can non merely snow her into matrimony.
There are many other grounds why this drama is non violative. The drama after all is a comedy, non a calamity or play. While it would be just to accept that a suppression of Kate would hold been appreciated by a sixteenth Century audience, it can be doubted as to whether this is what Shakespeare intended. Surely he would n’t desire to pique the state ‘s first female sovereign so abundantly? The audience is non supposed to deduce amusement from the ‘taming ‘ of Kate, but from the amusing and ludicrous manner in which their wooing and eventual matrimony is delineated – as about a conflict of peers. The fact that the drama has a happy stoping and that both are exultant accents this amusing genre.
The secret plan ‘s construction underlines the impression that this drama is a phantasy and non world. The phantasmagoric initiation scenes incorporating Sly, in which it is made clear that the pending public presentation is meant strictly for his amusement, introduces the subject of a drama within a drama and so is designed to detach the audience from the affairs of the secret plan. It besides represents a trail of witting fraudulence, which links to the misrepresentation of Kate and Petruchio over the bet. The changeless swapping of individualities among the other characters once more furthers the theory that all we are sing is simply role-play. In add-on, although characters such as Tranio and Lucentio are Italian by name, but they are surely non by nature, which once more serves as a amusing device that this drama is non to be taken earnestly.
The secret plan ‘s worthiness as a comedy for modern-day enjoyment every bit good as unfavorable judgment reflects the fact that the subjects considered within the drama are still of import in modern society. Indeed the drama raises a figure of pertinent inquiries about topics such as the function of adult females, the function of and significance of matrimony, and the grounds for matrimony, doing it a worthy piece of educational literature. One can merely happen the drama violative if one finds modern society offense because the subjects of misrepresentation, gender differences, greed and privation are prevailing in society today ( both to the advantage and disadvantage of adult females ) . The fact that we still live in a patriarchal society demonstrates that its construction has non basically changed and hence the drama can non be considered an mistiming. The Taming of the Shrew merely configures with the ideas of other writers or poets such as Chaucer who in his Merchants Tale depicted an about ludicrous matrimony where the bride deceives and outwits her male opposite number in order to derive the matrimonial domination. It is the drama ‘s strength that it can be interpreted in many different ways. In add-on to the decision that it depicts the suppression of adult females or the outwitting of work forces by adult females, a Marxist analysis may reason the drama as the gaining of position by the lower category person or as the force of love triumphing over privation. The fact that popular musicals such as Kiss Me Kate have been successful every bit good as many other similar productions highlights its worthiness as a drama and ground to go on with its production.
One ground why the drama should be continued in production is that it educates its audience about the historical contexts of 16TH Century Britain. Between 1550 and 1660 Britain was concerned with an intense preoccupation with adult females who are a seeable menace to the patriarchal system. Shakespeare was non entirely in composing about this topic, alternatively he actively engaged in the contentions of the twenty-four hours. The Taming of the Shrew challenges the premise that the married woman will merely subject to her maestro ‘s wants every bit good as inquiry whether this hierarchical construction can go on if it is threatened by rebellious behavior.
Based on legion reoccurring mentions, with some being aforementioned, throughout the drama The Taming of the Shrew, it is apparent to see how a adult female ‘s sentiment is easy disregarded, her position is automatically set a notch under work forces, and she is valued as one would value a impermanent ownership. For a adult female in the sixteenth century, life is a battle. Not merely are adult females unable to talk their heads, they are shunned if they do. Being considered lower-class is something each of them must populate with each and every twenty-four hours – the fact that they will ne’er be considered “ good plenty ” in the eyes of work forces. However, one must be seen as a human being before being put into an equal category with work forces. Unfortunately, this is a long manner off for adult females as they are seen as mere ownerships. The impact the male society has on the intervention of adult females is so huge that even person classified as shrewd can be “ tamed ” into following the outlooks of their society.