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The Wooing of Katherina vs. the wooing of Bianca - Up to Act 4

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Introduction

The Wooing of Katherina vs. the wooing of Bianca - Up to Act 4 Katherina is seen essentially as an uncouth, shrewish devil in the first three acts of the play. Petrucio wooing of her is virtually non-existent, and, is seen more as a taming process rather than an act of courtly wooing. In contrast with this Bianca's wooing is the very picture of a romantic love affair - a lonely maiden, imprisoned by her greedy father at the insistence of her devilish sister. ...read more.

Middle

Instead, he looks upon her as a source of wealth, and, like all great fortunes, she can only be achieved with some suffering, thus resulting in the 'taming'/'wooing'. Up to, and including act 3, the closest thing to which Petrucio came of wooing is the first conversation which he has with Katherina. Here, Katherina is clearly hostile. However, Pertucio correspond to her taunts and takes opposites of exactly what she means, thus degrading her, as well as making her submissive. ...read more.

Conclusion

Therefore, when she is kept locked in her house by her father, two of her suitor's disguise themselves as tutors in order to woo her. Once again, a classic fairy tale. What follows is a series of complicated wooing procedures where Bianca is clearly in control. She has both the freedom and the opportunity to pick her suitors, as all of them come from wealthy backgrounds and would be accepted by her father. In conclusion, while Katherina is simply "carted" away by Pertucio, who then proceeds to tame her, Bianca's suitors employ a complex wooing dance in order to win her hand. ...read more.

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