When Katherine Met Petruchio — Science Leadership Academy @ Center City
which focuses on Petruchio and Katherina's relationship. . character's or, perhaps more accurately, man's internal ideas, aspirations, goals, and actions. In the. -Patrick in the modern movie adaptation of the play (10 Things I Hate About You) is new to the school and somewhat of an outcast, and agrees. Category: Papers; Title: Katherina and Petruchio's Relationship to the Title of the Play more accurately, man's internal ideas, aspirations, goals, and actions.
He also has Petruchio present Baptista a music tutor named Litio Hortensio in disguise. Thus, Lucentio and Hortensio, attempt to woo Bianca while pretending to be the tutors Cambio and Litio. To counter Katherina's shrewish nature, Petruchio pretends that any harsh things she says or does are actually kind and gentle. Katherina agrees to marry Petruchio after seeing that he is the only man willing to counter her quick remarks; however, at the ceremony, Petruchio makes an embarrassing scene when he strikes the priest and drinks the communion wine.
After the wedding, Petruchio takes Katherina to his home against her will. Once they are gone, Gremio and Tranio disguised as Lucentio formally bid for Bianca, with Tranio easily outbidding Gremio. However, in his zeal to win he promises much more than Lucentio actually possesses.
When Baptista determines that once Lucentio's father confirms the dowryBianca and Tranio i. Lucentio can marry, Tranio decides that they will need someone to pretend to be Vincentio, Lucentio's father. Meanwhile, Tranio persuades Hortensio that Bianca is not worthy of his attentions, thus removing Lucentio's remaining rival.
Shakespeare In Action
Leslie illustration of Act 4, Scene 3 Petruchio upbraiding the tailor for making an ill-fitting dress. In Verona, Petruchio begins the "taming" of his new wife. She is refused food and clothing because nothing — according to Petruchio — is good enough for her; he claims that perfectly cooked meat is overcooked, a beautiful dress doesn't fit right, and a stylish hat is not fashionable.
Along the way, they meet Vincentio, who is also on his way to Padua, and Katherina agrees with Petruchio when he declares that Vincentio is a woman and then apologises to Vincentio when Petruchio tells her that he is a man. Back in Padua, Lucentio and Tranio convince a passing pedant to pretend to be Vincentio and confirm the dowry for Bianca. The man does so, and Baptista is happy for Bianca to wed Lucentio still Tranio in disguise.
Bianca, aware of the deception, then secretly elopes with the real Lucentio to get married. However, when Vincentio reaches Padua, he encounters the pedant, who claims to be Lucentio's father.
Tranio still disguised as Lucentio appears, and the pedant acknowledges him to be his son Lucentio. In all the confusion, the real Vincentio is set to be arrested, when the real Lucentio appears with his newly betrothed Bianca, revealing all to a bewildered Baptista and Vincentio.
Lucentio explains everything, and all is forgiven by the two fathers. Meanwhile, Hortensio has married a rich widow. In the final scene of the play there are three newly married couples; Bianca and Lucentio, the widow and Hortensio, and Katherina and Petruchio.
Because of the general opinion that Petruchio is married to a shrew, a good-natured quarrel breaks out amongst the three men about whose wife is the most obedient.
Petruchio proposes a wager whereby each will send a servant to call for their wives, and whichever comes most obediently will have won the wager for her husband. Katherina is the only one of the three who comes, winning the wager for Petruchio. She then hauls the other two wives into the room, giving a speech on why wives should always obey their husbands.
The play ends with Baptista, Hortensio and Lucentio marvelling at how successfully Petruchio has tamed the shrew.
Sources[ edit ] Although there is no direct literary source for the induction, the tale of a tinker being duped into believing he is a lord is one found in many literary traditions. 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.Stripping Shakespeare - #2 Tongues, Tails & Teases. Kate & Petruchio, Taming Of The Shrew
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. 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. 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. 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.
InLeo Kirschbaum made a similar argument.
The Relationship Between Petruchio And Katherina In The Play The Taming Of The Shrew
Was Petruchio effective in Taming Kate? Persuasive Essay words - 5 pages The play "The Taming of the Shrew" by William Shakespeare tells a story of love and marriage that takes place during the Elizabethean era. The two main characters of the play are Petruchio and Katharina. To the reader, Kate is depicted as a shrew; a nagging and scolding woman who refuses to abide by the rules of society. Petruchio, a man of Verona weds Kate and takes on the task to change Kate from her feared state as a bad-tempered woman into a The Relationship Between Katherine and Bianca in The Taming of the Shrew words - 5 pages Shakespeare's combination of widespread knowledge about a wide array of topics and his realism in his characters, he has become known as one of the greatest authors of all time.
Shakespeare Relationship Stats- Kate and Petruchio | Shakespeare In Action
As such, the relationship between Katherine and Bianca, in his play, The Taming of the Shrew, is especially realistically reflective of the psychological, social, and anthropological phenomenon of sibling rivalry.
In the end, it not only demonstrates the ancient Essay on the Growth of Katherina in Taming of the Shrew words - 6 pages The Growth of Katherina in Taming of the Shrew Although Katherina's final speech in The Taming of the Shrew may sound subservient on the surface, it actually reflects her growth and development into a stronger and more complex character.
Petruchio displays the qualities of a master tamer by making her agree with all of his opinions. Acting as a mirror image, Petruchio proves he holds the role of a master tamer and will do whatever he wants. In order to be a master tamer to Katherine Dreams, Identity and the Play within the Play in "Taming of the Shrew" words - 14 pages system because he cannot see beyond it and then emerges to see "reality.
Just like Sly, human experience is completely fabricated by means of the machine.
Just as The Taming of the Shrew contains a play within a play, The Matrix presents us The relationship between "Taming of the Shrew" and "10 things I hate about you" and the respective cultural context words - 3 pages playing the traditional gender role has changed over time. The main characters run parallel to one another between these texts as well as the strong connection of the values and themes of the society during the time.
Undeniably, the relationship between the two texts is significant because the cultural contexts evidently shows the maintenance and changes to the society over a long period of time.
For this play Shakespeare creates a play in a play concerning a wealthy characters, Bapista Minola, need to get his two daughters katherina and Bianca, married. It is a romantic comedy about the battle of the sexes whereas katherina, a well-spirited or 'shrewish' character, is trying to be tamed by Pertruchio, a young, greedy man from Rome, whose mind is clouded by wealth. I will be Examine the different ways in which Shakespeare presents issues connected with the marriage and male relationships in the play "The Taming of the Shrew" words - 5 pages In the following essay I will be analysing and exploring the ways that Shakespeare presents issues with marriage and male and female relationships.