English 105A: Handout (Taming of the Shrew)
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English 105A: Early Shakespeare
TA: Geoffrey McNeil
Fall 2002
Contents |
[edit] The Taming of the Shrew: Character Questions
[edit] Initial Questions
- There is a great deal of transference and transformation here as well. What does it mean that Tranio and Lucentio switch identities? How has Petruchio been “Kated” (3.2, 245) and what does this mean for their relationship? How does the assumption of identities (Pedant as Vincentio) and re-naming (Hortensio into Litio, Lucentio into Cambio) affect our understanding of these characters?
- How much of this is play? There are dozens of classical allusions, as well as dozens of references to acting and playing. Given the induction, are these characters real or only artificial and does it matter? Does it change our conception of what human beings are? Are we only performers?
- How much of this acting is more sinister? Christopher Sly at first believes he has gone mad when he awakes in the Lord’s bed (Ind. 2, 17); Grumio accuses Petruchio of madness (1.2, 18). Madness appears 18 times in the text – how does this complicate all this play?
- This text is, in some sense, about appearances: social, familial, sexual, physiognomic. The word “face” appears about 16 times, “countenance” shows up 8 times. How are all these appearances complicated by the “turning” that occurs? – “make” weighs in a whopping 38 times! How and why are clothes important here?
- How are social roles presented in this text? Christopher Sly is changed from a tinker (peddler, cardmaker, et. al.) into a Lord. Tranio is changed from a servant to a master. The seducers (Lucentio and Hortensio) become music teachers – and who does the real teaching?. What’s going on here?
- And Kate…what can we say about a woman who is referred to by more than 70, count them, different names. She is an animal (Shrew, a wild “cat,” turtle, wasp, hen, horse, ox, ass, falcon, deer), a demon (devil, fiend of hell, curst, a devilish spirit, the devil, the devil’s dam), a social creature (the elder, a wench, a sister, a gentlewoman, a maid, a herald, household Kate, a holidame), or, as Petruchio calls her, “my horse, my ox, my ass, my anything (3.2,233).” Is she a real person or only a blankness? How much of a voice does she really have – note how many lines she actually speaks compared to how often she’s mentioned? What does this say about women? About human beings as they relate to each other?
[edit] FINALLY
What do the many puns and malapropisms tell us about communication in Padua? Is it even possible? Why do the servants get some of the best lines – why does Grumio toy with everyone?
Petr. Here, sirrah, Grumio, knock, I say.
Grum. Knock, sir? Whom should I knock? Is there any man has rebused your worship?
Petr. Villain, I say, knock me here soundly.
Grum. Knock you here, sir? Why, sir, what am I, sir, that I should knock you here, sir?
Petr. Villain, I say, knock me at this gate And rap me well or I’ll know your knave’s pate.
(1.2, 5-12)
Bap. Leave you shall have to court her at your pleasure.
Grem. To cart her rather. She’s too rough for me.
(1.1 54-55)
Petr. Why, what’s a movable?
Kat. A joint stool.
Petr. Thou has hit it; come sit on me.
Kat. Asses are made to bear and so are you.
Petr. Women are made to bear and so are you.
(2.1 196-200)
[edit] More things to think about
What about love here? Is it only a show? Is it only a transaction? Is it only a role, an act?
What about the Taming? Can human beings be Tamed? Can women? Is Kate Tamed? Is she better or worse for it? Can/Should Bianca and the Widow be tamed also?
At the end of the play, is Kate broken? Fixed? Playing? Happy? Unhappy? Lying? Loving?
