The Relationship of Petruchio and Katherine by Maeve Allan on Prezi
-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. Katherina and Petruchio are likely to have a happy and successful marriage Katherine and Petruchio are a suitable couple whose traits mix together to create. . The relationship between Petruchio and Katherina Paper her than he would on a hawk or hound, and in the end his trust in Katherina does of course pay off.
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.
The relationship between Petruchio and Katherina Paper
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. In an article listing over twenty examples of bad quartos, Kirschbaum did not include A Shrew, which he felt was too different from The Shrew to come under the bad quarto banner; "despite protestations to the contrary, The Taming of a Shrew does not stand in relation to The Shrew as The True Tragedie, for example, stands in relation to 3 Henry VI.
Alexander's theory continued to be challenged as the years went on. Houk developed what came to be dubbed the Ur-Shrew theory; both A Shrew and The Shrew were based upon a third play, now lost. Duthie refined Houk's suggestion by arguing A Shrew was a memorial reconstruction of Ur-Shrew, a now lost early draft of The Shrew; "A Shrew is substantially a memorially constructed text and is dependent upon an early Shrew play, now lost. The Shrew is a reworking of this lost play.
Duthie argues this other version was a Shakespearean early draft of The Shrew; A Shrew constitutes a reported text of a now lost early draft. In particular, he concentrated on the various complications and inconsistencies in the subplot of A Shrew, which had been used by Houk and Duthie as evidence for an Ur-Shrew, to argue that the reporter of A Shrew attempted to recreate the complex subplot from The Shrew but got confused; "the compiler of A Shrew while trying to follow the subplot of The Shrew gave it up as too complicated to reproduce, and fell back on love scenes in which he substituted for the maneuvers of the disguised Lucentio and Hortensio extracts from Tamburlaine and Faustus, with which the lovers woo their ladies.
Morris summarised the scholarly position in as one in which no clear-cut answers could be found; "unless new, external evidence comes to light, the relationship between The Shrew and A Shrew can never be decided beyond a peradventure.
It will always be a balance of probabilities, shifting as new arguments and opinions are added to the scales. Nevertheless, in the present century, the movement has unquestionably been towards an acceptance of the Bad Quarto theory, and this can now be accepted as at least the current orthodoxy. The Early Quartos series. Miller agrees with most modern scholars that A Shrew is derived from The Shrew, but he does not believe it to be a bad quarto.
Instead, he argues it is an adaptation by someone other than Shakespeare.
In The Shrew, after the wedding, Gremio expresses doubts as to whether or not Petruchio will be able to tame Katherina. As Gremio does have a counterpart in I Suppositi, Miller concludes that "to argue the priority of A Shrew in this case would mean arguing that Shakespeare took the negative hints from the speeches of Polidor and Phylema and gave them to a character he resurrected from Supposes.
This is a less economical argument than to suggest that the compiler of A Shrew, dismissing Gremio, simply shared his doubts among the characters available. For him, adaptation includes exact quotation, imitation and incorporation of his own additions. This seems to define his personal style, and his aim seems to be to produce his own version, presumably intended that it should be tuned more towards the popular era than The Shrew.
He points out that the subplot in The Shrew is based on "the classical style of Latin comedy with an intricate plot involving deception, often kept in motion by a comic servant. He points to the fact that in The Shrew, there is only eleven lines of romance between Lucentio and Bianca, but in A Shrew, there is an entire scene between Kate's two sisters and their lovers.
This, he argues, is evidence of an adaptation rather than a faulty report; while it is difficult to know the motivation of the adapter, we can reckon that from his point of view an early staging of The Shrew might have revealed an overly wrought play from a writer trying to establish himself but challenging too far the current ideas of popular comedy.
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The Shrew is long and complicated. It has three plots, the subplots being in the swift Latin or Italianate style with several disguises. Its language is at first stuffed with difficult Italian quotations, but its dialogue must often sound plain when compared to Marlowe's thunder or Greene's romance, the mouth-filling lines and images that on other afternoons were drawing crowds.
An adapter might well have seen his role as that of a 'play doctor' improving The Shrew — while cutting it — by stuffing it with the sort of material currently in demand in popular romantic comedies. Oliver argues the version of the play in the First Folio was likely copied not from a prompt book or transcript, but from the author's own foul paperswhich he believes showed signs of revision by Shakespeare. When Shakespeare rewrote the play so that Hortensio became a suitor in disguise Litiomany of his lines were either omitted or given to Tranio disguised as Lucentio.
For example, in Act 2, Scene 1, Tranio as Lucentio and Gremio bid for Bianca, but Hortensio, who everyone is aware is also a suitor, is never mentioned. In Act 3, Scene 2, Tranio suddenly becomes an old friend of Petruchio, knowing his mannerisms and explaining his tardiness prior to the wedding.
However, up to this point, Petruchio's only acquaintance in Padua has been Hortensio.
However, as far as Hortensio should be concerned, Lucentio has denounced Bianca, because in Act 4, Scene 2, Tranio disguised as Lucentio agreed with Hortensio that neither of them would pursue Bianca, and as such, his knowledge of the marriage of who he supposes to be Lucentio and Bianca makes no sense. From this, Oliver concludes that an original version of the play existed in which Hortensio was simply a friend of Petruchio's, and had no involvement in the Bianca subplot, but wishing to complicate things, Shakespeare rewrote the play, introducing the Litio disguise, and giving some of Hortensio's discarded lines to Tranio, but not fully correcting everything to fit the presence of a new suitor.
Upon returning to London, they published A Shrew insome time after which Shakespeare rewrote his original play into the form seen in the First Folio. Controversy[ edit ] Kevin Black in his "wedding outfit" in the Carmel Shakespeare Festival production. The Taming of the Shrew has been the subject of critical controversy. Dana Aspinall writes "Since its first appearance, some time between andShrew has elicited a panoply of heartily supportive, ethically uneasy, or altogether disgusted responses to its rough-and-tumble treatment of the 'taming' of the 'curst shrew' Katherina, and obviously, of all potentially unruly wives.
Do we simply add our voices to those of critical disapproval, seeing Shrew as at best an 'early Shakespeare', the socially provocative effort of a dramatist who was learning to flex his muscles? Or as an item of social archaeology that we have long ago abandoned? Or do we 'rescue' it from offensive male smugness? Or make an appeal to the slippery category of ' irony '? Hibbard argues that during the period in which the play was written, arranged marriages were beginning to give way to newer, more romantically informed unions, and thus people's views on women's position in society, and their relationships with men, were in a state of flux.
As such, audiences may not have been as predisposed to tolerate the harsh treatment of Katherina as is often thought. But that scene does not stand alone, and in the context of the other three, maybe we begin to see what Shakespeare was driving at? Finally Kate relents, after Hortensio, who is traveling with them, begs her to play along.
This is how she explains it to herself and Petruchio: Shakespeare scholar Stanley Wells points out that the great British actress Dame Peggy Ashcroft did exactly the same thing when she played Kate.
The thing is done! Kate understands the game, she finds pleasure in it, she actually enjoys the bond with Petruchio. Kate is slow to comply, and Petruchio starts to leave to return home. Now pray thee love, stay. Come, my sweet Kate.
Of course it is Kate: Petruchio has asked Kate to perform. She has agreed, and her performance is marvelous. And like all great performances, it depends on a great deal of trust in her director, Petruchio and her belief, if just for a moment, in the truth that may be contained in the words.
Can she imagine the sun as the moon, an old man as a young woman, a completely compliant wife? Of course she can! But why would she want to? We have seen what Kate and Petruchio have conquered, though: I actually think he's championing the woman's rights. Lucy Baileywho is directing the new RSC show, believes their attraction is instant, and what unfolds is "all foreplay to one event, which is to get these two people into bed". For this to work, Bailey says, Petruchio must never appear to be superior to Kate.
It becomes punitive, and you start to think, 'This is dead and ghastly. Gregory Doranwho directed the play for the RSC insuggests that Petruchio doesn't know how to handle their relationship because he is as much of an outcast as Katherine. He points out that both characters are frequently described as mad: That's what Kate and Petruchio are struggling against. He sees Petruchio as a man whose pride is piqued by encountering a woman capable of outwitting him.The Taming of the Shrew - Act 2 Scene 1 - Royal Shakespeare Company
He's constantly having to improvise. When Petruchio says he will deny Katherine sleep and food, he is describing the way birds of prey are socialised, with owner and animal enduring the same deprivations. There remains a difficulty in these "torture" scenes: Katherine barely speaks, whereas Petruchio never shuts up. According to Lisa Dillon, playing Katherine in Bailey's production, this contrasts with Katherine's long final speech in which she advises wives to be gentle to their husbandsshowing how much she has changed.
Petruchio gives her the power of speech and language: