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The portrayal of women in Shakespeare's plays
Shakespeare on women in the taming of the shrew
Shakespeare on women in the taming of the shrew
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It is a prevalent belief among men that women should be tamed to achieve a more harmonious relationship. The concept of dominance prevails in Shakespeare’s plays Much Ado Nothing and The Taming of the Shrew. Katherina and Beatrice in Shakespeare’s The Taming of the Shrew and Much Ado about Nothing (respectively) respond differently to men in a chauvinistic society. Katherina initially presents herself as the quintessential shrew, resulting in the despair of other men who want to court the already tamed Bianca. Her cleverly witty speech and debasing treatment and disposition towards men can interpreted as a method to weed out the weak men from the strong men or as a means to show the independent nature women may choose to employ. Undeniably, towards the end of the play, she appears to adopt a more docile demeanor, possibly the result of Petruchio’s unorthodox taming methods. In Much Ado About Nothing, Beatrice advances the idea that going against the passive role society demands for women yields better consequences. She appears to have a better, more trusting relationship with Benedick than Hero has with Claudio; yet, at the end of the play, it is not clear what genuine emotions lay beneath the surface: Does she really in love? Although Katherina and Beatrice are fundamentally similar, through an analysis of their initial reaction to their future husbands and analysis of the events in the plays’ plots, Beatrice establishes greater control of her husband.
Beatrice’s dialogue with Benedick in Much Ado about Nothing establishes her control over him, dissimilar to the discourse between Katherina and Petruchio in The Taming of the Shrew. Beatrice’s first lines reveal much about her attraction to Benedick. “I pray you, is Signor Moun...
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...a combination of both and to no avail. A more mature aspect in Beatrice’s personality is that she acknowledges her love for Benedict and tries not to fight them. Katherina does not acknowledge her love or admiration for Petruchio, making her taming more difficult. While Beatrice engages in a battle of the wits with Benedict and results in Benedict’s giving up, Katherina is the one who gives in to Petruchio’s advances and becomes his wife. This dichotomous outcome illustrates and Beatrice’s initial control over Benedict. This control is further illustrated in the plot of the play. Making Benedick challenge and possibly kill his best friend, Beatrice shows her power and control over him. The opposite is true in Katherina’s case.
Works Cited
Shakespeare, William. The Riverside Shakespeare. Ed G. Blakemore Evans, et al. 2nd ed.
Boston: Houghton Mifflin, 1997.
Feminist critics of Much Ado About Nothing, like Sylvia Townsend Warner, praise Beatrice for being "free and uninhibited" ("Women as Writers," Warner, 272). Beatrice is a strong female character who marries only after asserting her disapproval for the traditionally voiceless role of women in marriage and courtship relationships of the 16th and 17th c. Beatrice is a fearless verbal warrior, and Benedick is her greatest challenger. Their verbal bantering allow for each of their strengths and opinions to show, and together they glory in the challenge of their next duel.
Benedick and Beatrice both benefit from the deceit that they encounter. At first, both are enemies in a battle of insults and wit, until they are each fooled into thinking that the other loves them. When Benedick hears that Beatrice is supposedly attracted to him, he thinks that it is “a gull, but that the white-bearded fellow speaks it: knavery cannot, sure, hide itself in such reverence” (111). Little does he know, Leonato, the "white-bearded fellow," is also in on the joke (111). Benedick starts to admire her when he is aware that Beatrice might actually be attracted to himself, as well. She is also astonished when she first hears that he loves her. However, when Beatrice comes to terms with their affection, she hopes "Benedick [will] love on... And [she] Believe it better than reportingly" (134). In other words, she falls in love with Benedick as soon as she believes that he, too, is fond of her. They each start to fall in love with one another under the pretense that other was hiding their affection from them. Now that they are both in love, they start to open up to each other and prove that the deception they endured was worth it in the end.
In the opening scene of Much Ado About Nothing, Beatrice says some harsh things about Benedick (1.I.37-43). She seems to be unprovoked but very rigid in her opinion of him. In Leonato's house, the discussion of Beatrice and marriage leads her uncle to conclude that, "Thou...
Over the past 400 or so years since Shakespeare wrote _The Taming of the Shrew_, many writers, painters, musicians and directors have adapted and reformed this play of control and subjugation into timeless pieces of art. In _10 Things I Hate About You_ and Kiss Me Kate from two very different times in the twentieth century, and paintings of Katherina and Bianca from the late nineteenth century, the creators of these adaptations have chosen to focus on the role of the two main female characters in the play. The ideas surrounding these women have changed through the years, from Katherina and Bianca simply being young women who deviated from the norm of Shakespeare’s time to women who embody feminist ideals and stereotypes of the more modern world.
In the beginning, a lot of what we learn about Kate comes from what other people say about her. In Act I, she is only seen briefly and she speaks even less, but our picture of Kate is pretty clear. Shakespeare, sets up a teaching lesson, helping us to see the mistakes of our own judgment. When Baptista announces that Kate must marry before Bianca may take suitors, Gremio describes Kate by saying "She's too rough for me" (1.1.55). Later in the scene, Gremio reiterates his dislike for Kate, claiming she is a "fiend of hell" (88) and offering that "though her father may be very rich, any man is so very a fool to be married to hell" (124–126). He finishes by saying that to marry Kate is worse than to "take her dowry with this condition: to be whipped at the high cross every morning" (132–134). Hortensio, too, is quick to add to the situation, calling Kate a devil (66) and claiming that she is not likely to get a husband unless she is "of gentler, milder mold" (60). Tranio, Lucentio's servant, is perhaps the only man in this scene not to talk ugly about Kate, claiming she is either "stark mad or wonderful froward" (69).
Set in the sixteenth century, Much Ado About Nothing is revolved around the thought of love and marriage. Primarily, this is prevalent in the two main characters, Beatrice and Benedick. They have once been courted which suggests more maturity than the majority of couples in Shakespeare’s various plays. In the duration of the play, the violent language between Benedick and Beatrice is most evident through their ridicule. Both characters always speak critically regardless of whether they are talking to each other or out loud about one another. This is highlighted when Beatrice exclaims, “What should I do with him—dress him in my apparel / and make him my waiting gentlewoman? He that hath a / beard is more than / a youth, and he that hath no beard is less than a/ man; and he that is more than a youth is not for me, and he that is less than a/ man, I am not for him...
The Taming of the Shrew, by William Shakespeare, deals with marriage. The ideas explored are primarily shown through the characters of Petruchio and Katharina. We are introduced to the trials and tribulation's which present themselves in their everyday lives. The characters bring up a traditional concept of male domination. Through the play we see the need for domination through Petruchio, and the methods he uses to dominate. While these ideas of male domination have remained a constant throughout the years, however recently there has been a change toward equality.
...o asks Hero about Claudio she responds with: "So you walk softly, and look sweetly, and say nothing, I am yours for the walk, and especially when I walk away." (2.1.81-83). Beatrice is what a woman should be. A more modern view of feminism would have had Beatrice not only make her own decisions but follow through with them on her own. While Much Ado About Nothing seemingly questions the traditional gender roles of men and women in Messina through Beatrice's resistance to them, at the same time, the play decidedly ends Benedick saying, "Peace! I will stop your mouth" (5.4.96), silencing Beatrice with a kiss. Still, it cannot be denied that Beatrice, for a time, equates herself with men and the power they hold. Unfortunately, she gives in to love and in so doing, she relinquishes her independence and self-control in the male-dominated world of Much Ado About Nothing.
At the beginning, Benedick’s attitude is negative towards women in general. He swears he will never marry, as he is very critical of women and does not trust any of them not to cheat on him. He seems to oppose with Beatrice in a competition to outwit, outsmart, and out-insult each other. Obviously he has been in some sort of past relationship with Beatrice because when he meets her at the masked ball, she describes him as a selfish pig. We can infer that Benedick has some kind of deep feelings for her because after she insults him he is hurt and says, “Will your grace command me any service to the world’s end? I will go on the slightest errand now to the Antipodes that you can devise to send me on. I will fetch you a toothpick from the furthest inch of Asia . . . do you any embassage to the pigmies, rather than hold three words’ conference with this harpy” (II.i.229–235). This blatantly means that he does not wish to talk to her.
"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
The Taming of the Shrew by William Shakespeare is a play that is ahead of its time in its views toward gender roles within society. Katherine is a woman who is intelligent, and is not afraid to assert her views on any given situation. She is paired with another obstinate character in Pertuchio. The Marriage formed between the two is a match made in heaven for two reasons. First Because Katherine is strong enough to assert her views, and more importantly, she realizes when she should assert them. The second reason the bond survives is that Petruchio is strong enough to accept the fact that Katherine has a mind and, more importantly he loves her for that reason. Petruchio cleverly weaves the relationship into the framework of society without compromising the integrity of the relationship. Petruchio does this by comparing Katherine’s at attitude to repulsive clothing. Carefully and calculatingly, Petruchio forges a relationship that is envied by all who witness it.
Differences between Beatrice and Hero in the early scenes of Shakespeare’s play ‘Much Ado about Nothing’
Beatrice is, without a doubt, one of the strongest female characters that Shakespeare ever came up with in his time of writing. Shakespeare shows, through Beatrice, how every woman should act in an era where only the men were even able to have control. In this era, or the renaissance time, no woman had free will; they were always told what they could and could not do, as well as, who they were to marry. In the play “Much Ado About Nothing” Beatrice has many qualities but the ones that stand out the most in the play are: her independence, her feistiness, and of course her openness to defy male subjection.
...nt to creating a deeper, more harmonious relationship involved a mature acceptance of the dark, shadow sides of Kate. The “baggage” of her wounded past with all of its unmet needs had been waiting to be loved and transformed. In the radical courtship of Kate and Petruchio, all “buttons” got pressed, character armor was released, and in the mirror of lover and beloved, childhood vulnerabilities eventually diminished freeing up enormous reserves of creative energy. It is in this light that I appreciate Kate’s final impassioned speech to the other women who, in their selfish defiance of their new husbands had acted immaturely. For here, Shakespeare ironically exposes Bianca as the real, untamed shrew and reveals a very sagacious and loving Katherine.
of the men who desired Bianca needed somebody to marry Kate, as it was customary