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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.
	The first example of deception we see is with the characters of Beatrice and Benedick. These two characters provide the humor throughout Shakespeare's comedy; their repartees and soliloquies tend to leave the reader smiling and anxious for more dialogue between them. Beatrice and Benedick have had a relationship prior to their battles of wit to which she alludes to in Act 2: "Marry, once before he won it for me with false dice; / Therefore your grace may well say I have lost it’ (2.1.265-7). We see that at one time in the past they had a relationship that somewhere went wrong. The deception of Beatrice and Benedick comes courtesy of Don Pedro in Act 2. In this scene, Don Pedro, out of pure amusement, asks Leonato, the governor of Messina, and Claudio, a lord attending on Don Pedro, for help to bring these two together: "If we can do this, Cupid is no / longer an archer; his glory shall be ours…" (2.1.363-4). In Act 2.3, Claudio, Pedro, and Leonato, see Benedick in the garden and decide that that is the right moment for them to try and trick Be...
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.
Sly, a drunk beggar, he immediately plots a practical joke to play on him. The
Deception is defined as a misleading falsehood. One is usually deceitful when there is a need to conceal the truth, or create a scheme to reveal the truth. This statement can be applied to the play Hamlet, where Shakespeare creates a society that is built upon deceit. Each character in the play experiences or enacts on some form of deceit in order to expose the truth or obscure the truth. There are no characters in the play that feel the need to be straightforward and seek the truth. As a result, the characters feel the need to continually be deceitful to cover up their past errors. Shakespeare displays various examples of deceit in the play such as dishonesty, antic disposition and betrayal. Through these forms of deceit, Shakespeare shows that deceit is an error each character makes that result in their downfall. If each character had not been deceitful, and had been straightforward about their problems, the ending of the play may have not been so tragic. The play Hamlet is a guide to show how using deception to seek the truth never prevails; all characters that believed it did were killed as a result of their deception in the end. Shakespeare effectively uses dishonesty, antic disposition, and betrayal which result in the demise of Ophelia, Hamlet and Claudius.
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.
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.
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
The passage below is found in the opening act of one of Shakespeare's most illusive plays of control and manipulation. The word "deception" is defined as "the act of misleading" or "to trick, cheat, lie, and mislead". From this definition, it is obvious that deception is normally perceived to be evil and results in the harm of others mentally and physically. It leads to broken hearts, untold truths, or even unpunished murder. However, in Shakespeare's The Tempest, deception is used as a virtuous art to manipulate an unjust situation and rectify it.
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.
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.
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.
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.