Taming Of The Shrew Essays (Examples)

ii., 164). This could be taken literally and superficially as a direct commentary on the place of women in marriage and in society, or it could be that Katherine is simply going along wt things for now, either as a part of a plan with Petrcuhio (the couple wins quite a lot of money for her obedience), of for her own motives. Like Sly, she sees no reason to disturb things when all is generally well, but is likely in far more control than it may appear.
This interpretation is, of course, only one possibility, and it is not the one that Franco Zeffirelli went with when he directed Elizabeth Taylor and Richard Burton in a famous film version of the Taming of the Shrew. In the "wooing" scene, for instance, though Katherine (Taylor) delivers nearly as good as she gets throughout, she is quite obviously made the weaker of the…

Taming of the shrew is one of the most memorable and prominent Shakespearean comedies. It revolves around patriarchic themes such as taming of wild woman, a man's domineering character, female subjugation etc. But while many critics feel that the play chronicles the domination process in a marriage where Petruchio, the male lead finally overpowers his wild and aggressive wife, Katherine Minola, closer analysis of the play reveals that this is not exactly true. The play actually deals with equality of power issue. It shows that in a successful marriage, both husband and wife must come to terms with shifting of power from one spouse to another. In this play too, Katherine successfully overpowers Petruchio on many occasions while it may seem that Petruchio was the one who had been trying to dominate Kate. Their courtship and marriage, while it may appear, as one-sided domination spree in fact characterize fluid exchange…

" (Act II, Scene I, Lines 339-340). He tells them:
"Tis deeds must win the prize; and he of both

That can assure my daughter greatest dower

Shall have my Bianca's love." (Act II, Scene I, Lines 356-358)

Gremmie and Tranio (Lucentio) proclaim their wealth and Gremmie is "…out-vied." (Act II, Scene I, Line 398). Baptist accepts Tranio's (Lucenio's) offer provided his father, Vincentio, can assure that if he dies before his father Bianca still receives her dower, tells them that he can marry her the week after Petruchio and Katherine are married. If not than Germio can have her hand. This presents a problem so Tranio, being a faithful servant, decides to get "…a father call'd 'supposed Vincentio," (Act II, Scene I, Line 422) to make the promise.

It is interesting to note that while Baptist needed no such promise for the hand of Katherine he viewed Bianca as a commodity to be bargained…

Taming of the Shrew, by William Shakespeare. Specifically, it will show how the play demonstrates the comedic aspect of thematic concern with love and beauty. In Shakespearean Comedy, a shallow, often narcissistic type of love at the start is not only grounded too heavily in "beauty" of the conventional sort, but also leads to a mistaken notion of what beauty really is.
LOVE AND BEAUTY IN "TAMING OF THE SHEW"

Taming of the Shrew" is a classic Shakespearean comedy in every sense. It is not only funny and amusing for the audience; it contains themes they can connect with, basic themes such as love and beauty. Early in the play, Katherine appears anything but beautiful, for she is sharp-tongued and disagreeable, arguing with anyone who might show the slightest interest in her, including the newly arrived Petruchio.

Petruchio: Come, come, you wasp, i' faith you are too angry. Katherine: If I be…

Pretending to do her will in everything and to seek only her absolute contentment, Petruchio exercises Kate's patience by letting her famish and by depriving her of sleep, under the pretense that the food is not good enough for her and the bed not well made. He then calls the tailor over, offering her beautiful and costly attires with which he again finds fault and consequently refuses to buy them. He thus curbs her will by making her dependent on his own temper and desires. hile it can be said that Petruchio's purpose is to tame Kate by turning her own weapons on herself, the way in which he abuses of his power is obviously degrading for the wife. Petruchio's method of taming is thus to ignore Kate's temper and simply reverse the terms. Thus, he tells everyone that she is the contrary of what she appears to be,…

In Shakespeare, Bianca puts on a perfect performance of gentility and submissiveness -- the perfect daughter, until she is married. The audience sees her abused by her sister; in a way Petruccio will later abuse Katherine. "Good sister, wrong me not, nor wrong yourself, / to make a bondmaid and a slave of me;/That I disdain: but for these other gawds, / Unbind my hands, I'll pull them off myself, / Yea, all my raiment, to my petticoat;/or what you will command me will I do, / So well I know my duty to my elders." (2.3) it is difficult to imagine Bianca Stratford being so submissive to Kat at anytime -- only after marriage, does Shakespeare's Bianca's true "headstrong" spirit emerge. "The more fool you, for laying on my duty," she says to her new husband, now she has snared him. (5.2) Thus, in the film, Bianca Stratford…

Shakespeare's play's Taming of the Shrew female lead, Katherine by answering the question that whether she was eventually tamed or not. The orks Cited four sources in MLA format.
Character Analysis of Katherine

Taming The Shrew by illiam Shakespeare is a comedy play tactfully and purposely divided into five entertaining acts (Plot Structure). The induction highlights the possible reasons for the play's existence followed by an introduction all the characters playing a vital role in developing the theme of the play and the development of the gist of the story, in the first act (Plot Structure). The taming (the main purpose of the play) of the female lead begins in the Act II and III with Katherine getting married to Petruchio. The climactic act is the act IV when the aim of cultivating and changing Kate to a productive human being is accomplished (Plot Structure). The final Act V establishes the…

shakespeare's, "The Taming of the Shrew" Katherine is made to wed Petruchio in order for a suitor to wed her younger more attractive sister, Bianca. Over the years there have been many adaptations of the play and even though it is a comedy, it still covers serious and all too somber subject matter. Women and their role in society has recently undergone a series of transformations. No longer are they expected to stay at home and raise the young, at least in modern societies. They can work and make their own living. However, in "Taming of the Shrew," Katherine is tranformed into an obedient wife through a series of "abusive" strategies that removed any semblance of resistance she once possessed. This family tension of husband and wife along with the tension of sisters (Katherine's at times harsh treatment of Bianca) provides the means of modifying and altering for changing…

PETRUCHIO: They shall go forward, Kate, at thy command.-- Obey the bride, you that attend on her./Go to the feast, revel and domineer,/Carouse full measure to her maidenhead,/Be mad and merry, or go hang yourselves;/but for my bonny Kate, she must with me./Nay, look not big, nor stamp, nor stare, nor fret, 230I will be master of what is mine own./She is my goods, my chattels, she is my house,/My household stuff, my field, my barn,/My horse, my ox, my ass, my any thing,/and here she stands, touch her whoever dare!

Shakespeare 175)

The quote gives great insight into the end note of a marriage created in haste, with the intentions of personal and familial gain and with the closing of the marriage as a "contract" including the exchange of large sums of money for the groom and his family. Petruchio, makes his deal, getting his bride (then leaving her behind) and…

The Merchant of Venice, though ostensibly a comedy, is one of the more serious plays in the comedic genre. The Taming of the Shrew is far more humorous and light hearted, but it is not without its lessons. The specific lessons vary greatly depending on one's interpretation of the play, especially in performance, but one key lesson that most of the female characters fail to learn is the advantage of working in tandem with their husband. Petruchio manages to win a substantial amount of money through his new wife Kate's quick obedience; she has learned through the course of the play to at least give the appearance of docility and subservience, which the other women lack -- they have failed to learn anything from her transformation, seeing no problems in themselves form the outset. This failure costs them some cold, hard, cash.

It is in Julius Caesar, however, that Shakespeare most…

My story being done,
She gave me for my pains a world of sighs:

She swore, in faith, twas strange, 'twas passing strange,

Twas pitiful, 'twas wondrous pitiful:

She wish'd she had not heard it, yet she wish'd

That heaven had made her such a man: she thank'd me,

And bade me, if I had a friend that loved her, should but teach him how to tell my story.

And that would woo her. Upon this hint I spake:

She loved me for the dangers I had pass'd,

And I loved her that she did pity them.

This only is the witchcraft I have used:

Here comes the lady; let her witness it.

Translation

Setting: The inside of the administrative building. Nighttime. Othello is wearing a suit, and is confronted by the school's president, 'Dr. B,' and several members of the administration in their pajamas.

John Othello: Look Dr. B, I know it's not easy when your little girl leaves you. Lord knows…

Juliet herself, though ostensibly a virgin, is certainly not innocent in this regard; though certain strains of chauvinism have been purportedly found in this and others of his plays, Shakespeare certainly cannot be accused of granting males a monopoly on lust. In the shorter monologue that she delivers in the same scene, unaware of Romeo's presence, she famously asks, "hat's Montague? It is nor hand, nor foot, / nor arm, nor face, nor any other part / Belonging to a man" (Riverside 1114, II. ii. 40-2). She does not mention a mind, a spirit, or any other intangible qualities that might make her protestations of a deep, emotional love somewhat more believable, but instead focuses on the physical aspects of Romeo (including the suggestive "any other part belonging to a man") -- the true root of her desires.

It is not love, then, that causes these two teenagers to be drawn…

I Ching Principles in a Western Poem
The Taming of the hrew

Act IV. cene I.

Hall in PETRUCHIO' Country House.

Enter GRUMIO.

Gru. Fie, fie, on all tired jades, on all mad masters, and all foul ways! Was ever man so beaten? was ever man so rayed? was ever man so weary? I am sent before to make a fire, and they are coming after to warm them. Now, were not I a little pot and soon hot, my very lips might freeze to my teeth, my tongue to the roof of my mouth, my heart in my belly, ere I should come by a fire to thaw me; but I, with blowing the fire, shall warm myself; for, considering the weather, a taller man than I will take cold. Holla, ho! Curtis.

Enter CURTI.

Curt. Who is that calls so coldly?

Gru. A piece of ice: if thou doubt it, thou mayst slide from my shoulder…

" James a.S. McPeek
further blames Jonson for this corruption: "No one can read this dainty song to Celia without feeling that Jonson is indecorous in putting it in the mouth of such a thoroughgoing scoundrel as Volpone."

Shelburne

asserts that the usual view of Jonson's use of the Catullan poem is distorted by an insufficient understanding of Catullus' carmina, which comes from critics' willingness to adhere to a conventional -- yet incorrect and incomplete -- reading of the love poem. hen Jonson created his adaptation of carmina 5, there was only one other complete translation in English of a poem by Catullus. That translation is believed to have been Sir Philip Sidney's rendering of poem 70 in Certain Sonnets, however, it was not published until 1598.

This means that Jonson's knowledge of the poem must have come from the Latin text printed in C. Val. Catulli, Albii, Tibulli, Sex. Aur. Propertii Opera omnia…

The films Pickford brought to life as a producer later in her career were often nothing like those she starred in as an actress: For example, "in 1945, during the independent production boom at the end of orld ar II, she organized Comet Pictures to make medium-budget films with Ralph Cohn, the son of Columbia Pictures cofounder Jack Cohn. At Comet she produced probably her finest later film, the noir hit Sleep, My Love (1948)" as well as the broad, comedic-style films My Little Chickadee (1940) with .C. Films; Love Happy (1950), with the Marx Brothers comedy and (briefly) Marilyn Monroe and the war movie the Story of G.I. Joe (1945) (Aberdeen 2005).

Pickford defended the role of independent producers in 1934, in a speech that noted that for film to continue to remain relevant in the 20th centuries, it must be innovative and challenging, particularly given that radio and (then…

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"Sonnet 130" by Shakespeare and "Sonnet 23" by Louis Labe both talk about love, as so many sonnets do. Their respective techniques however, differentiate them from each other. Shakespeare uses a rhyme scheme that became known as Shakespearean rhyme scheme or English rhyme. He writes about love in a sarcastic manner though. He is mocking the traditional love poems and the usual expressive manner in which women are often compared to. It is ironic in a way because Shakespeare himself also uses the very techniques in his previous writing when he is writing from a man's point-of-view and describing a woman. But in this sonnet he uses the technique of mocking this exaggerated comparison. Usually women are compared to having skin as white as snow, however, in reality, Shakespeare points out, women don't really fit this description, "If snow be white, why then her breasts are dun."

Louis Labe however, does…

Seeing that he was miserable, she told him he could either have her loyal but ugly or beautiful and unfaithful (Chaucer pp). The knight leaves the decision up to her thus, giving the old hag exactly what she wanted, to be in control of her husband. This decision resulted in the old hag becoming beautiful and loyal (Chaucer pp).
omen are central to this tale from the beginning to the end. The knight is saved by the queen, then is sent on a quest to find what appeared to be an impossible answer to a riddle concerning women, and then is saved again at the last minute by another woman who, although wise, was ugly and undesirable. However, he proved true, loyal and obedient, and granted the hag the one thing she wished, control over her man. And in doing so, he received what he truly wanted which was a…

health care promotion in the field of Canadian nursing. he author draws from several sources to describe the history of health care promotion in Canada and how it has changed over the years. here were nine sources used to complete this paper.
he field of health care in Canada is an ever evolving industry. Over the past few decades there have been significant changes in the method of delivery as well as the parameters of the job description (Mustard, 1991). Nurses used to be charged with changing bed pans and taking temperatures but the field has evolved to the point that nursing is a demanding and respected profession. oday, nurses work closely with physicians, nutritionists, patients and their families to coordinate and deliver the most optimum health care possible. In keeping with the new more broadly defined role that nurses play in the field of health care the promotion of…

Most Elizabethans believed their self-identity was wrapped up in a cosmic paradigm of fate and destiny, and were somehow controlled by the stars and planets and had a power over the baser side of man -- tools of God, but with certain amounts of free will. Thus, a very central idea in Shakespeare is this central view that an individual's identity is set by God, the Planets, the Universe, the Gods, and Nature. But in contrast, the idea of free will for the individual -- or even a single utterance or decision, can change forever the destiny of the individual. A superb example of this is in Romeo and Juliet.

Fate and chance surround the identities of the major and minor characters in RJ almost from the opening scene. Because the audience already believed that their destiny was predetermined, they saw the characters as having very little choice in their situation.…

Juliet's speeches to the Friar after learning that she must marry Paris in a week's time indicate this as she lists the horrors she would rather endure: "bid me leap... / From off the battlements of any tower...lurk / here serpents are; chain me with roaring bears..." (Riverside 1130, IV.i. 77-80). She continues in much the same vein, and this is not her only moment of such emotional extremity. To see this as comedic, it must be remembered that Juliet is only twelve years old, and Romeo probably around fourteen, and although people married younger in those days it is ridiculous to assume that they could possibly have had the same emotional maturity as other of Shakespeare's heroes and heroines.
In Baz Luhrmann's 1997 film version of Romeo and Juliet, certain aspects of the storyline are also ridiculously overblown. Luhrmann does not attempt to approach comedy in the tragic moments…

This is why Shakespeare included a character and plot of such low comedy in a play with such far-reaching and complex themes; in the end, all of the complexity boils down to a few very simple facts bout humanity. As Valerie Traub notes, "early modern England was a culture of contradictions, with official ideology often challenged by actual social practice," and Midsummer makes this exceedingly clear (131). Such contradictions necessarily lead to complications, as the central plot of the play (that of the lovers) clearly illustrates, and though these complications are comedic in their own way it is also hysterical watching someone who is unabashedly human -- and quite asinine in several senses because of it. His transformation is yet one more piece of honesty that Shakespeare includes in his commentary on humanity.

This aspect of both the character and the pay is captured brilliantly in Michael Hoffman's 1999 film adaptation…