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A critique of taming of the shrew
A critique of taming of the shrew
A critique of taming of the shrew
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Throughout the Taming of the Shrew, the idea, and action of deception become prevalent within the analysis of the main characters. A maze is created through the deception of the character’s behavior and the elaborate exchange of clothing and roles. The plot of the play revolves around how the characters disguise themselves and pretend to be other people, all in order to gain the favor of a girl. Shakespeare uses deception and blindness to fuel an environment of humor and dramatic irony to create a comedic play for his audiences. Throughout the play, Shakespeare uses deception to increase the level of dramatic irony within his viewers. The play begins with deception, a lord brings a drunken man into his home and uses servants to convince …show more content…
The audience is privy to all the scenes, that’s what makes the play possible. The audience knows what is going on when the characters themselves do not. As each character disguises themselves, the audience can follow along which creates the humor aspect of the play. “His characters are manipulated into situations which are humorous and as a result mistaken identity or absurd confusion ensues. Thus, the characters are revealed only in terms of what they do”(Champion). As the play continues more deceptions seem to occur, and one begins to ponder whether Shakespeare meant for a deeper meaning in his plays. Once might conclude that he was trying to prove that sometimes being yourself does not always work at first, but in the end being yourself is what truly matters. Katherine never pretended to be anyone but herself, despite the horrible things her peers said about her. In the end, she found a loving husband that loved her for her. To truly be oneself, one has to fully accept whom they are inside and out. Shakespeare was trying to convey this message to his audiences through his
The Taming of the Shrew is a comedy written by William Shakespeare between 1590-1594. In many ways, it can be likened to a romantic comedy film, and in a romantic comedy, many things can be expected. Usually, films in this genre center on ideals like the power of true love. The audience can also expect a romantic comedy to involve funny plot-lines, a resolution between the two main characters and sometimes, another love match. In this essay, I will explain how Act Five, Scene Two is an appropriate ending for Shakespeare's The Taming of the Shrew.
The entirety of “The Taming Of The Shrew” is essentially a giant parody. Full of imitations and disguises itself, Shakespeare focuses on a typical situation in his society, several men trying to court a woman, and having to deal with an intolerable woman. Through this imitation, the ridiculousness of the characters can be seen. This absurdity is incredibly obvious to us today, because our society
Othello, Hamlet, and Henry IV, Part 1 explore these concepts in various ways. Shakespeare’s plays show that people are not black and white. They react and act differently to situations. Their motives can either be transparent or ambiguous. Their masks may hide the truth for a time, but reality has a way of coming back around. The complexity of humans seemed to greatly intrigue Shakespeare, yet with characters like Iago, Hamlet, and Hal, Shakespeare realized that he could never fully figure out the human puzzle; so he created his own puzzles of the will, motive, and
An exploration of Shakespeare’s presentation of trickery and deception in his play ‘Much Ado about Nothing.’
In Shakespeare's The Taming of the Shrew the elements of farce are exemplified in terms of character, plot, and writing style. The stereotyped characters in The Taming of the Shrew are typical of a farce. Katherina is an outstanding example of a farcical character. Katherina, although stereotyped as a boisterous shrew, can be portrayed as a person needing sympathy due to Baptista's favoritism. The quote, "She is your treasure, she must have a husband: I must dance barefoot on her wedding day…" (A. II S. 1 L. 36-37), makes it obvious that Baptista favors Bianca. In terms of plot, Shakespeare devises the plot to resemble a situation comedy. Although the subplot is more romantic, both the subplot and the main plot revolve around the principle of a favoristic father who is outwitted by his child and her lover.
A Shakespearian comedy is made up of primarily five components. Cross-dressing and disguising constitute the first of these factors, which is immediately evident in the Induction, where two characters entirely transform into different identities. One example is Christopher Sly, a tinker who is convinced he is a Lord. This becomes apparent in his query “Am I a Lord…?” (Ind.2.68) to which his servants respond by saying “O, how we joy to see your wit restored!” (Ind.2.78). In the same scene we also have a page dressed up as a lady because he was commanded to do so by his Lord. The Lord says “And see him dressed in all suits like a lady.” (Ind.1.106). Shakespeare incorporates this particular male playing a female into his play to further add humor to it. It also foreshadows that the rest of the play will have characters dressed up as people they are not supposed to be. The first character in The Taming of the Shrew who adopt a pseudo identity is Lucentio, who pretends to be Cambio, a schoolmaster, so he may pursue Bianca’s love. His servant, Tranio, who dresses up proudly as him, assists him in his venture. This is made explicit when Tranio says, “I am content to be Lucentio” (1.1.216). The pu...
Hamlet is a play by William Shakespeare about a prince named Hamlet who was spoken to by the ghost of his dead father telling Hamlet to kill his uncle Claudius (the new king) because Claudius killed him. The story revolves around Hamlet's dillema of how to kill his uncle while being deceptive enough so that no one finds out about the ghost. This essay will prove how deception is often used in Hamlet for many reasons. Claudius uses deception to protect himself from being prosecuted for his crime of killing the King. No one knows what the deal is with Gertrude because she deceives everybody by keeping to herself all the time keeping everyone from knowing anything. By using quotes from the book I will prove how these two (Claudius and Gertrude) and among a few others , use deception for different reasons and in different ways. A lot of the times it is to protect someone, or themselvs because they believe that the truth will hurt more than their lies.
(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.
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.
Many would perceive madness and corruption to play the most influential role in Hamlet. However, it could be argued that the central theme in the tragedy is Shakespeare's presentation of actors and acting and the way it acts as a framework on which madness and corruption are built. Shakespeare manifests the theme of actors and acting in the disassembly of his characters, the façades that the individuals assume and the presentation of the `play within a play'. This intertwined pretence allows certain characters to manipulate the actions and thoughts of others. For this reason, it could be perceived that Shakespeare views the `Elsinorean' tragedy as one great puppet show, "I could see the puppets dallying".
It is no surprise there is truth and deception in Hamlet, considering Shakespeare’s other plays. Truth and deception are two words that mean different things to many people with each having great importance. Both terms being opposite of each other peak anyone’s curiosity. The words said together make you think about if the statement or situation wondering if it is true or is it false? Truth and deception is one of 18 easily identifiable themes, which help create the play Hamlet. In one of the first scenes, Hamlet starts betraying his feelings about his father’s death.
Themes of memory and dreams echo throughout the works of Shakespeare, just as these concepts still resonate in postmodern literature. In The Taming of the Shrew the lower class drunken character Christopher Sly is picked up off the streets by a nobleman and, for sheer amusement, dressed up to be a lord. Though at first skeptical of his identity, as Sly remembers who his father is, what his profession is, and what his hobbies are, the poor drunk man soon believes the nobleman that his memories are false and that he is in fact of noble blood. Though the audience knows of the game, and what Sly's background actually is, Sly himself contemplates the difference between his dreams and his memories, blurring the boundaries of the dream world and waking life. Sly ponders, "do I dream? Or have I dreamed till now?" considering the possibility that his memories are nothing more than dreams and that he has now awakened to his true identity. In this sense, Sly is battling with the contradictions of the condition of the liberal human subject. Sly has been taught by society to believe that his memories form his identity, but at the same time his surroundings suggest something other than those memories and thus he no longer is sure of who he really is. Sly is still guided by the notion that memory forms identity and so he assumes that his memories are false and that his new identity has been his all along.
Shakespeare used foolish characters in his plays to make points that he considers highly important. I had previously supposed that Shakespeare was an entertainer who sprinkled his writing with observations about humanity and its place in the world to please critics. However, I discovered that he was a gifted writer who had a penetrating understanding the condition of humanity in the world and sprinkled his plays with fools and jokes meant for the common man as a way of conceding to his audience's intellectual level. Or, as Walter Kaufmann said in his essay "Shakespeare: Between Socrates and Existentialism," Shakespeare "came to terms with the obtuseness of his public: he gave his pearls a slight odor of the sty before he cast them." Kaufmann continues his essay by saying that Shakespeare, unlike many modern artists, "turned the challenge of a boorish, lecherous, and vulgar audience to advantage and increased the richness and the subtlety of drama." (Kaufmann 3)
...disguise to add comic effect by encouraging humour of an audience via the ‘theories of laughter’. Comic effect is accurately demonstrated by Shakespeare’s incorporation of confusion, disorder and farce. However, it can be concluded that Shakespeare’s use of mistaken identity and disguise was for the purpose of more than just for comic effect, but to highlight the audience more serious topics and challenge social norms and values of the period. Ironically, it can be inferred that Shakespeare has masked his underlying purpose of mistaken identity and disguise with comedy.
Shakespeare uses the idea of disguise in many of his plays. It is used as an escape from the characters’ personalities and sometimes for comic effect. In As You Like it, the disguise becomes very comical as in the time it was written only men could act on stage. This could lead to much confusion and comedy in the roles of those in disguise. Disguise can give the freedom to a character to act how they like and a chance for them to show their views. It was in the 16th Century that there became an increased sense of self consciousness and identity. This led to people creating an image for themselves. If one can create a self, they can create many different versions of themselves each showing a different aspect of that person. This links in very well with As You Like It because in the play, Rosalind creates many different disguises of herself. At one point she is disguised as a boy acting as Rosalind. Rosalind and Celia are the main focus for disguise in As You Like It. To ensure safety on their travels in the forest of Ardenne, they disguise themselves – Rosalind as a boy named Ganymede and Celia as a peasant named Aliena. Their names are also important to disguise. Aliena is similar to the Latin ‘Alius’ meaning other. Ganymede was a Trojan mythological hero. Rosalind also uses her disguise to test Orlando’s (the man she loves) feelings for her.