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The Taming of the Shrew is perhaps one of Shakespeare's most controversial plays by modern standards. Hinging on the courtship between the arrogant Petruchio and the "shrew" of the title Katherina, it is unclear whether Shakespeare's blatantly misogynistic themes were in earnest or tongue in cheek. The charming and tender Bianca is forbidden to marry until her elder sister, Katherine is spoken for. Bianca's suitors enlist Petruchio to woo Katherina for her dowry. Petruchio embarks on his own brand of psychological torture and in so doing manages to "tame" the stubborn Katherine who morphs into the faultless submissive wife.
The Arden Shakespeare series is, for my money, the premier set of editions for the rigorous study of Shakespeare's plays. In the case of one of Shakespeare's most popular (and most troubling) plays, editor Brian Morris makes a compelling case for Shakespeare's version of this play being the source rather than the revision of the stage tale, since there is another play with similar title from the same period which tells, much less poetically, the same story, of a man who brings his intended bride into compliance (and, perhaps, agreement) with his will. Despite its long popularity, the play has especially in the past century come under scrutiny and criticism for its apparent delight in the subjugation of women to the power and will of their husbands. Morris gives some credibility to the notion that there is a more feminist point of view in the play than is generally suspected, though I doubt it will convince the most fervent dismissers of the play. Sexual politics aside, it is a deliciously funny, witty play, and Morris's introduction, with historical context for both the writing and the performing of the play, along with the invaluable footnotes to the play itself, make this edition of The Taming of the Shrew a necessity for anyone who wants to understand Shakespeare's work. ( )
Was Shakespeare a misogynist? He certainly agreed with the patriarchal hierarchy of his day, as is evidenced through the trials and travails of his female characters. One can argue that characters like Lady Macbeth, Ophelia, Juliet and Desdemona are punished for stepping outside of their roles prescribed by society. Some of their infractions are so minor as to be unnoticeable to a modern audience; what, after all, was Ophelia's crime? Her devotion to Hamlet? Her naivete? Do some of these characters resemble the ingenues in horror movies, whose only crime seems to be their virginal womanhood and budding sexuality?
Kate is the titular Shrew in this comedy, and she meets her comeuppance through her marriage to the manipulative and psychologically abusive Petruchio. His one saving grace is that he does not physically abuse Kate (which would have been acceptable to Shakespeare's audience), but some of the methods he uses to break her will (starvation, sleep deprivation) would do our "enhanced interrogators" at Gitmo proud.
While Kate eventually disavows her shrewishness (ie independence), her sister Bianca is shown to be disobedient to her new husband Lucentio. Through this tidy bit of irony, we get the impression that humans are not really "tameable" - and through the frame story involving the drunken and ingenuous Sly, we see that men are not necessarily deserving of their place at the top of the patriarchy. ( )
I listened to this, and enjoyed it. I still can't quite get over the speed of the marriage or the way Kat seems to submit, but in this it was played with more humour and it felt a little like they were baiting each other than either actually believed what they were saying. Had entirely forgotten that the main event is supposed to be a play that is laid on. The fact that the first play is never resolved feels rather odd. ( )
I always pick these up if I plan to see the play performed, and I put this down for several weeks when my plans changed. Reading and giggling at the first two acts and hearing good buzz about a local production convinced me to finish it and see it performed. It’s…not my favorite, read or performed, although the performance I saw, with only five actors playing multiple roles, certainly showcased their talents. For me, there’s just no getting past that last monologue, even if there are multiple ways to interpret it. Is Kate “tamed”, or is she just playing along to get along? The way the actors performed it, it was almost like Kate and Petruchio were sharing a private joke. Whatever the interpretation is, the play just wasn’t as funny to me after the first couple of acts. As always, the Folger’s edition helped me better understand the language, with facing pages explaining unfamiliar words and expressions. ( )
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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; And by my father's love and leave am arm'd With his good will and thy good company, My trusty servant, well approved in all, Here let us breathe and haply institute A course of learning and ingenious studies.
Sly. I’ll pheeze you, in faith. Hostess. A pair of stocks, you rogue! Sly. Y’are a baggage; the Slys are no rogues. Look in the chronicles: we came in with Richard Conqueror. Therefore, paucas pallabris; let the world slide. Sessa!
Citazioni
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He that runs fastest gets the ring.
Signior Hortensio, 'twixt such friends as we Few words suffice; and therefore, if thou know One rich enough to be Petruchio's wife, As wealth is burden of my wooing dance, Be she as foul as was Florentius' love, As old as Sibyl and as curst and shrewd As Socrates' Xanthippe, or a worse, She moves me not, or not removes, at least, Affection's edge in me, were she as rough As are the swelling Adriatic seas: I come to wive it wealthily in Padua; If wealthily, then happily in Padua.
Think you a little din can daunt mine ears? Have I not in my time heard lions roar? Have I not heard the sea puff'd up with winds Rage like an angry boar chafed with sweat? Have I not heard great ordnance in the field, And heaven's artillery thunder in the skies? Have I not in a pitched battle heard Loud 'larums, neighing steeds, and trumpets' clang? 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.
Father, and wife, and gentlemen, adieu; I will to Venice; Sunday comes apace: We will have rings and things and fine array; And kiss me, Kate, we will be married o'Sunday.
Why, Petruchio is coming in a new hat and an old jerkin, a pair of old breeches thrice turned, a pair of boots that have been candle-cases, one buckled, another laced, an old rusty sword ta'en out of the town-armory, with a broken hilt, and chapeless; with two broken points: his horse hipped with an old mothy saddle and stirrups of no kindred; besides, possessed with the glanders and like to mose in the chine; troubled with the lampass, infected with the fashions, full of wingdalls, sped with spavins, rayed with yellows, past cure of the fives, stark spoiled with the staggers, begnawn with the bots, swayed in the back and shoulder-shotten; near-legged before and with, a half-chequed bit and a head-stall of sheeps leather which, being restrained to keep him from stumbling, hath been often burst and now repaired with knots; one girth six time pieced and a woman's crupper of velure, which hath two letters for her name fairly set down in studs, and here and there pieced with packthread.
I see a woman may be made a fool, If she had not a spirit to resist.
Why, sir, I trust I may have leave to speak; And speak I will; I am no child, no babe: Your betters have endured me say my mind, And if you cannot, best you stop your ears. My tongue will tell the anger of my heart, Or else my heart concealing it will break, And rather than it shall, I will be free Even to the uttermost, as I please, in words.
For 'tis the mind that makes the body rich; And as the sun breaks through the darkest clouds, So honour peereth in the meanest habit. What is the jay more precious than the lark, Because his feathers are more beautiful? Or is the adder better than the eel, Because his painted skin contents the eye? O, no, good Kate; neither art thou the worse For this poor furniture and mean array.
Then, God be bless'd, it is the blessed sun: But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it named, even that it is; And so it shall be so for Katharina.
Fie, fie! unknit that threatening unkind brow, And dart not scornful glances from those eyes, To wound thy lord, thy king, thy governor: It blots thy beauty as frosts do bite the meads, Confounds thy fame as whirlwinds shake fair buds, And in no sense is meet or amiable. A woman moved is like a fountain troubled, Muddy, ill-seeming, thick, bereft of beauty; And while it is so, none so dry or thirsty Will deign to sip or touch one drop of it. Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks and true obedience; Too little payment for so great a debt. Such duty as the subject owes the prince Even such a woman oweth to her husband; And when she is froward, peevish, sullen, sour, And not obedient to his honest will, What is she but a foul contending rebel And graceless traitor to her loving lord? I am ashamed that women are so simple To offer war where they should kneel for peace; Or seek for rule, supremacy and sway, When they are bound to serve, love and obey. Why are our bodies soft and weak and smooth, Unapt to toil and trouble in the world, But that our soft conditions and our hearts Should well agree with our external parts? Come, come, you froward and unable worms! My mind hath been as big as one of yours, My heart as great, my reason haply more, To bandy word for word and frown for frown; But now I see our lances are but straws, Our strength as weak, our weakness past compare, That seeming to be most which we indeed least are. Then vail your stomachs, for it is no boot, And place your hands below your husband's foot: In token of which duty, if he please, My hand is ready; may it do him ease.
Come on, and kiss me, Kate.
'Twas I won the wager, though you hit the white; And, being a winner, God give you good night!
Ultime parole
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'Tis a wonder, by your leave, she will be tamed so.
Petruchio. Come, Kate, we’ll to bed. We three are married, but you two are sped. [To Lucentio] ‘Twas I won the wager, though you hit the white; And being a winner, God give you good night! [Exeunt Petruchio and Katharina] Hortensio. Now go your ways; you have tamed a cursed shrew. Lucentio. ’Tis a wonder, by your leave, she will be tamed so.
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This work is for the complete The Taming of the Shrew only. Do not combine this work with abridgements, adaptations or simplifications (such as "Shakespeare Made Easy"), Cliffs Notes or similar study guides, or anything else that does not contain the full text. Do not include any video recordings. Additionally, do not combine this with other plays.
Redattore editoriale
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The Taming of the Shrew is perhaps one of Shakespeare's most controversial plays by modern standards. Hinging on the courtship between the arrogant Petruchio and the "shrew" of the title Katherina, it is unclear whether Shakespeare's blatantly misogynistic themes were in earnest or tongue in cheek. The charming and tender Bianca is forbidden to marry until her elder sister, Katherine is spoken for. Bianca's suitors enlist Petruchio to woo Katherina for her dowry. Petruchio embarks on his own brand of psychological torture and in so doing manages to "tame" the stubborn Katherine who morphs into the faultless submissive wife.
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