The second female character introduced, is not actually a woman but a Page, Bartholomew, dressed as such as part of the elaborate prank played by his master upon the tinker, Sly. It is hard to say whether or not the language he is instructed to use is based upon how his master imagines a woman would speak, “With soft low tongue and lowly courtesy, And say. ‘What is’t your honour will command” (Induction 1, Lines 110-111). Or how he would himself like a woman to speak, “Being all this time abandoned from your bed” (Induction 2, Line 111). Does this indicate that a gentlewoman of this time would be so forthright towards her Lord. Are the use of language and the subsequent imagery there for comic effect? Or to indicate that women are not as demure in private as they appear to be in public?
In The Taming of the Shrew the “Shrew” is Katherina Minola, the elder of two daughters to a Lord in Padua, Italy. Her temperament, character, and ill manner make it seem as if no man could control her, and it is her lack of willingness to be subservient that makes no man want to try to control her. Her younger sister however, is much sought after. She is docile, virtuous, and described has having “beauteous modesty” (Act 1, Scene 2, Line 248). Their father, Baptista, has forbidden Bianca to marry before Katherina. Bianca already has many suitors, when two strangers, Petruchio and Lucentio arrive in town. Lucentio falls in love with Bianca, while Petruchio seems interested only in money.
In Elizabethan times unmarried women may have been viewed with suspicion, and that a woman still single by a certain age would be imagined to have faults. In the case of Katherina, an unmarried elder daughter would be a burden on her family, an embarrassment to her father, and an obstacle to her sister, Bianca; especially as her situation appears to be self-inflicted, and she is unprepared to modify her behaviour to make her more suitable for marriage.
This can be seen when Baptista is talking about Katherina getting married. He tells Bianca’s suitors “That is, not to bestow my youngest daughter Before I have a husband for the elder.” (Act 1, Scene 1, Lines 50-51), who respond with knowledge of her reputation, making the comments “She’s too rough for me.” (Act 1, Scene 1, Line 55), and “No mates for you Unless you were of a gentler, milder mould.” (Act 1, Scene 1, Lines 59-60). These things are being spoken in front of Katherina although she were not there, and must’ve been humiliating. Perhaps this, along with the obvious inferred preference for her sister, both by her father and suitors, may go some way to explaining why she behaves the way she does. It is easy to empathise with the rejection she must feel, and understand how her anger is fuelled.
For although Shakespeare has used dramatic technique and language to portray Katherina in a bad light, there is also indication that she is a witty woman of high intellect. “A pretty peat! It is best put finger in the eye, and she knew why.” (Act 1, Scene 1, Lines 78-79). Here she openly stated that Bianca may be able to fool others, but she does not fool her. Katherina can see through Bianca’s acting. By using two diverse characters, Shakespeare has demonstrated how although the two women understand their roles; one’s actions are compliant, “Sir, to your pleasure humbly I subscribe” (Act 1, Scene 1, Line 81), and the others are rebellious.
Katherina: “What, will you not suffer me? Nay, I now see
She is your treasure, she must have a husband.
I must dance barefoot on her wedding day
And, for your love to her, lead apes in hell.
Talk not to me! I will go sit and weep
Till I can find occasion of revenge” (Act 2, Scene 1, Lines 31-36)
There is evidence from this passage of Katherina’s jealousy, and the hint that she’s tired of Bianca receiving all the positive attention and love from her father.
When hearing about the large dowry offered in marriage to Katherina, Petruchio decides to try and woo her. He quickly settles on the dowry, marries her, and takes her home against her will. This is when the ‘taming’ begins. When it is time for the pair to return to Padua for her sister’s wedding, the ‘taming’ is complete and Katherina can no longer resist Petruchio. Following a complex subplot Bianca is to be married to Lucentio, and Hortensio has married a rich widow.
There is much imagery used in the play, for the audience to base their assumptions upon. Particularly in the early scenes of the play, Katherina’s shrewish ways are commented on; and several times, Katherina is referred to as ‘the devil’. Katherina’s own father even brands her “a hilding of a devilish spirit” (Act 2, Scene 1, Line 26). Petruchio is looking for a wife, and is not troubled by her reputation, perhaps he sees her as a challenge to tame, and this attracts him.
“And do you tell me of a woman’s tongue,
That gives not half so great a blow to hear,
As will a chestnut in a farmer’s fire?
Tush, tush, fear boys with bugs!” (Act 1, Scene 2, Lines 201-203).
The idea of Petruchio’s stubbornness is familiar, as we have seen it before in Katherina. From their first meeting, we know that they’re both strong-willed and don’t back down in an argument, leading to turbulence between the two. In his attempts to woo her, he patronises her by calling her ‘Kate’ but also sends across the message that he isn’t going to treat her the same way everyone else does. Even at this early stage Katherina may be realising that she’s finally met a man she would consider to be her equal.
Shakespeare shows that a woman can match a man verbally and intellectually, not only with the language the characters use but also with the imagery the language suggests. And in the case of their first meeting, there is much innuendo.
Petruchio: “Who knows not wear a wasp does wear his sting? In his tail.”
Katherina: “In his tongue.”
Petruchio: “Whose tongue?”
Katherina: “Yours if you talk of tales, and so farewell
Petruchio: “What, with my tongue in your tail? Nay, come again. Good Kate, I am a gentleman -” (Act 2, Scene 1, Lines 208-213)
This passage personifies not only the conflict between Petruchio and Katherina, but also the sexual attraction underlying it. It underlines the play’s theme of domestication, as the title implies; with Petruchio determined to tame Katherina as though she were a wild animal. After the marriage Petruchio’s conduct changes, in a way that flatters Katherina, yet makes her feel mistreated at the same time. This begins upon the arrival at his country house. Where his refusals to allow a hungry and tired Katherina to eat or sleep, or to accept the fine garments he has ordered for her are presented by him not as a punishment but as a display of his love for her.
However, this is all part of his plan to domesticate her.
“This is a way to kill a wife with kindness,
And thus I’ll curb her mad and headstrong humour.
He that knows better how to tame a shrew,
Now let him speak – ‘tis charity to show.”
(Act 4, Scene 1, Lines 179-182).
Throughout this play, Shakespeare has used a variety of dramatic techniques; language, action, imagery, to express how the roles of women are perceived. From the insulting of the Hostess, and crude impersonation of the Page, to the continual elements of male domination within their discussions of women, Shakespeare is exhibiting, if not his own personal views, then possibly the general views of the time. Even the Widow that Hortensio marries is taken to be a good match.
“I will be married to a wealthy widow
Ere three days pass, which hath long loved me”
(Act 4, Scene 2, Lines 37-38)
When the three couples come together again, all the women have fulfilled their expected roles, and are married. But it’s now Bianca who appears to be the shrew, and our expectations of the Widow are also reversed. These two women, who on the surface had both deemed to be the ideal wife; subservient, domesticated, and loving towards their husbands, refuse now to meet the demands of their husbands.
Katherina on the other hand, is a changed woman, even lecturing Bianca and the Widow on their behaviour and attitudes towards their husbands. Her speech shocks everyone, and gives Petruchio more reason to be proud of that fact he has tamed her, and she’s proved it to everyone.
However, has Shakespeare used this device to emphasise a personal view that perhaps not only the best wife is a subservient one, but a happy one also.
There is much deception in this play, and I think Shakespeare carries that through in Katherina’s final speech, for although it seems to be entirely subservient perhaps having met her match she’s finally happy to fall into the role prescribed for her. While Petruchio believes her change is down to his own taming it is possible that she has changed of her own free will, gaining a role that has finally given her the attention, respect and authority she always felt she deserved.
