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Women's role in the taming of the shrew play
Elaborate the theme gender in the taming of the shrew by shakespeare
Women role in the taming of the shrew
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In The Taming of the Shrew by William Shakespeare, he creates a plotline where the characters are either deceptive or deceived. Through this topic of deception, Shakespeare conveys a central message of, how people often deceive others by not being who they truly are in order to get what they want. A prominent example of a character deceiving another character is Lucentio pretending to be Cambio (a music teacher) in order to spend time with Bianca, and eventually have her marry him. In Act I, Scene I, lines 196-197, Tranio tells Lucentio, “You will be schoolmaster and undertake the teaching of the maid.” He does this to deceive Baptista and Bianca in order to spend time with her, as Baptista will not allow suitors for Bianca, and the only way
In literature, deception can provide motivation for the characters, provide comedy, play a part in the advancement of plot or exist as a sub-theme. The works considered in our studies thus far provide prime examples of the use of deception in the aforementioned ways. This essay will focus on the act or acts of deception in Tartuffe by Molière, Phaedra by Racine, and The Marriage of Figaro by Beaumarchais.
Incomplete An exploration of Shakespeare’s presentation of trickery and deception in his play ‘Much Ado about Nothing.’ In William Shakespeare’s play ‘Much Ado about Nothing’, there are many instances of trickery and deception, which seem to surround the whole of the play. These instances are as follows: Don Pedro wooing hero for Claudio, Don Pedro wooing hero for himself, Claudio pretending to be Benedick to find out information from Don John and Borachio, Don John and Borachio both know that Claudio is not Benedick but trick Claudio into thinking that they believe that Claudio is in fact Benedick, Benedick pretending to be somebody else whilst talking to Beatrice, Beatrice pretending to believe that she is in fact talking to Benedick, Beatrice having romantic feelings for Benedick, Benedick having romantic feelings for Beatrice, Beatrice not having romantic feelings for Benedick, Benedick not having romantic feelings for Beatrice, Hero is unfaithful with Borachio, Hero is dead, and Antonio having another daughter.
Women are ambiguous characters throughout texts such as The Odyssey and The Taming of the Shrew. In these two stories, there are female characters that are deceitful and beguiling towards men. Kirke and Bianca are two comparable characters that display such behavior. I will explain how both characters display ambiguity by hiding their true nature behind actions that they wouldn’t normally take; therefore these female characters are being deceitful to those who fall for their actions.
Deception, loyalty and ambition are three factors that contribute to Macbeth’s downfall at hands of Macduff. Macbeth, the tyrant king, is the protagonist in William Shakespeare’s Macbeth. This paranoid man kills and lies, however, he too, was once a loyal Thane (of Glamis) to the noble King Duncan once upon a time.
"Women have a much better time than men in this world; there are far more things forbidden to them." -Oscar Wilde. This quote embodies the fight over gender roles and the views of women in society. Taming of the Shrew deals with Kate and Bianca, two sisters who are at the time to he married off. However, suitors who seek Bianca as a wife have to wait for her sister to be married first. Kate is seen as a shrew because she is strong willed and unlike most women of the time. In his 1603 play The Taming of the Shrew, William Shakespeare enforces traditional gender roles and demonstrates how little say women had in society. He accomplishes this through the strong personality of Kate, Baptista 's attitude towards his daughters as transactions, and
To agree with the statement, disguise and deception is used widely by Shakespeare. Throughout the play we only see Viola in her disguise as ‘Cesario’. From Act 1, Scene 2, we see her planning on using the disguise of a man to serve Orsino. The interactions between her and the other characters show dramatic irony as they do not realise who Cesario actually is, however the audience does. Orsino, at the start of Act 2, scene 4 says “Now good morrow, friends; Now, good Cesario.” Orsino does not know the actual person he is talking to when he praises Cesario, just the same when he says Cesario is “semblative a woman’s part”, saying that Cesario looks like a woman. For Shakespeare’s audience there was a heightened level of irony because at that time only males were allowed to act and in Elizabethan times society was very patriarchal. Women were seen as the less dominant sex and to see female characters portrayed like this in the play, particularly Viola, gives a different impression on the audience that the female characters can have just as much comical effect as the male characters, if not more. It was a man playing a woman, in disguise as a man, providing much confusion and ironic humour. This quote shows how the ignorance of the characters make them seem more ridiculous and their actions seem more amusing (just like Orsino), making the whole play more entertaining. This quote also shows how anti heroism is used to create more comedy as Orsino’s authority is seen as a parody by his ignorance of the situation. When Orsino says ‘good Cesario’, he is showing to the audience that he believes he knows this person well, and that is why he uses the repetition of ‘good’ before Cesario and before ‘friends’. The audience, however, do know abou...
(NewYork: Longman 1997), 110.Hortensio’s Role in Closing The Taming of the Shrew’s InductionThe minor characters in The Taming of the Shrew receive little critical attention and to anextent rightly so. As Laurie E. Maguire points out, “To say that Shakespeare’s [play] is. . .abouttaming is to state the obvious: the ‘wooing’ of Katherine by Petruchio, perhaps more than anyother main plot in Shakespeare, dominates performance and criticism.”1The minor charactersserve primarily, according to Larry S. Champion, as "comic pointers" to the main plot's action oras dupes to the more clever.2To relegate Hortensio to either of these categories, however,ignores his centrality as motivator of the main plot, and although David Bevington findsHortensio “laughably inept”3--he functions, in fact, as the main plot’s lynchpin. Hortensio isthe first to draw our attention to the shrewish Katherine, and it is he who seizes the opportunity Shrew--2Free, Mary. “Hortensio’s Role in Closing The Taming of the Shrew’s Induction,” RenaissancePapers 1999 (1999): 43-53.4See Martha Andrensen-Thom, “Shrew-Taming and Other Rituals of Aggression:Baiting and Bonding on the Stage and in the Wild,” Women’s Studies 9, no. 2(1982): 121-143; Ann Barton, Introduction to The Taming of the Shrew, in TheRiverside Shakespeare, 2d ed., gen. ed. G. Blakemore Evans (Boston: Houghton,1997),138-41; Emily Detmer, “Civilizing Subordination: Domestic Violence inThe Taming of the Shrew,” Shakespeare Quarterly“ 48, no. 3 (fall 1997): 273-294; Jean E. Howard, Introduction to The Taming of the Shrew, in The NortonShakespeare, gen. ed. Stephen Greenblatt (New York: Norton, 1997), 133-141;Natasha Korda, “Household Kates: Domesticating Commodities in The Taming of theShrew,” Shakespeare Quarterly 47, no. 2 (summer 1996): 110-131; and Murray J.Levith, Shakespeare’s Italian Settings and Plays (New York: St. Martin’s,1989), 46-53.5See Richard A. Burt, “Charisma, Coercion, and Comic Form in The Taming ofthe Shrew, Criticism 26, no.4 (fall 1984): 295-311; and Jeanne Addison Roberts,“Horses and Hermaphrodites: Metamorphoses in The Taming of the Shrew,”Shakespeare Quarterly 34, no.2 (summer 1983): 159-171.to suggest Katherine as a wife for Petruchio. More important to my purpose, however, isHortensio's function in the play's final two acts. While several critics–Martha Andrensen-Thom,Ann Barton, Emily Detmer, Jean E.
Great deceptions, elaborate schemes, and complex lies can create some the most engaging, maddening, and brilliant plots and Shakespeare’s tragedy Othello comes riddled with all three. Deception plays a key role, driving the entire play forwards, but as with any written text meant for viewing that contains significant amounts of deceit, the true mindsets and views of the deceiving become lost, hidden behind their spoken lies and the deceived lose their autonomy, becoming obscured in other’s plots. Without a way of seeing into the true beliefs of a character, no analysis can be completed, as no evidence hints at their genuine feelings. Shakespeare solves this issue by creating counterparts to reveal the minds of those who put forth a false shell
In The Taming of the Shrew, the concept of love is a means of emotional manipulation, and manipulation is nothing more than a means of control between men and women. William Shakespeare critiques the patriarchal social structure by ironically employing the manipulative stance Petruchio takes towards winning Katherine as his wife by charming her with words and manipulating her psychologically, and then taming her after their marriage through legal, physical, financial, and psychological control and manipulation. Though Petruchio may think he yields power over his wife, Katherine uses obedience as a tool of manipulation and has the control of the household, as can be seen by her ironic speech at the end of the play, where she claims women must serve their men. Shakespeare uses the irony of a man using manipulation as a tool for control to magnify the significance of the power women yield through manipulation, thus proving that men and women engage in a power-shifting struggle.
Era of Status A famous Proverb once said, “Those that marry for money sell their liberty”. Marrying for wealth is a price someone would pay for losing the freedom of love. Through many generations money is still the basis of a few marriages instead of the courtship of love.
In Othello by William Shakespeare, each character has a personal motive that causes them to deceive each other. First, Desdemona elopes and marries Othello, a North African Moor, without telling her father Brabantio. Next, Brabantio refuses to believe that Desdemona could have run away with Othello so he tells himself that magic must have played a role in her betrayal. Finally, Iago deceives multiple people throughout Act 1 beginning with enraging Brabantio and ending with planning to share a false rumor about Cassio with Othello. Deception and dishonesty are inevitable, and sometimes can occur by accident. However, most of the time, people lie to and deceive others in order to benefit themselves or protect others from getting hurt.
William Shakespeare attained literary immortality through his exposition of the many qualities of human nature in his works. One such work, The Merchant of Venice, revolves around the very human trait of deception. Fakes and frauds have been persistent throughout history, even to this day. Evidence of deception is all around us, whether it is in the products we purchase or the sales clerks' false smile as one debates the purchase of the illusory merchandise. We are engulfed by phonies, pretenders, and cheaters. Although most often associated with a heart of malice, imposture varies in its motives as much as it's practitioners, demonstrated in The Merchant of Venice by the obdurate characters of Shylock and Portia.
Another deceitful person is Decius, the example of manipulation that includes Decius occurs in Act Two. My question for you is; Is it only the people who are stupid who get tricked into manipulation or is it even powerful people? Well, let’s see what the Tragedy of Julius Caesar has to say about that. This is where one of the most important manipulations occurs, and it occurs as Caesar is about to go to the Capitol. The manipulation doesn’t start until after Calphurnia (Caesar’s wife) starts having nightmares about Caesars death.
Sly, a drunk beggar, he immediately plots a practical joke to play on him. The
A Deceitful Heart “The heart is deceitful above all things, and desperately sick; who can understand it?” (Jeremiah 17:9). The world in which we live has been tainted with sin, and the devil does not cease to attack us. Although the devil and the world may both contribute to falling into sin, the individual is ultimately responsible for his or her own sin. In the passage taken from Jeremiah, it is understood that the heart is a metaphor for the emotions and will of humans.