Research on Representations of Women in Shakespeare

Thus a woman's intent is to "serve, revel, and obey" (V.ii), but a man's is to "commit[] his body / To painful crowd both by sea and land" (V.ii). Second, it illustrates the maturation of Kate's character, which is the moral arc of the play, by means of the nature of her relationship with and percept of her husband.

What has to be down the stairsstood about Petruchio's project of frustrating Kate's attempts to go to sleep, to eat a regular meal, to assert her observations about whether the sunlight is the moon or the moon the sun, is that he is in love with her. The reasons for his infatuation may seem confusing, since Kate is so deliberately displeasing to everybody, including Petruchio, before and after the marriage. But a careful appraise of the text shows that Petruchio, who is a rich man and determined to communicate even richer by way of a proper match, is so aner self-possessed and confident of his unique ability to be the married equal of a shrew whose reputation precedes her. "I grade you, military chaplain, / I am as peremptory as she proud-minded; / And where two raging fires meet together / They do consume the social occasion that feeds their fury" (II.i). To put it another way, from the outset Petruchio has no post in marrying an ordinary girl. Rather, he is intrigued by the possibility of a wife with spirit, confidently anticipating that he can manipulate her into be intrigued by him. Webster cites "the full-strength, flaunting, undimmed vitality of his two protagonists" (139), and else

From a social promontory of view, Kate is powerless to physical object to the marriage. "I must, forsooth, be forced / To give my hand unconnected against my heart / Unto a mad-brain rudesby" (III.ii), she says, partly in deference to her father and partly in deference to Bianca's earnest and conventional wishing to wed. On the other hand, as Webster suggests, the comic tone of the accurate play depends partly on the way in which the sign meeting of Kate and Petruchio is portrayed. In other words, implicit in the distinct words between them and Petruchio's determination to play an extended practical(a) joke on Kate is that it has been love at first sight for them both.

Suppose that the two of them do actually fall precipitous in love at their very first strike; in his heart, each knows it of himself, but not of the other. . . .

And won thy love, doing thee injuries;

---. "sonnet CXVI." The Annotated Shakespeare. Vol. 3, The Tragedies and Romances. 3 vols. Ed. A.L. Rowse. New York: Clarkson N. Potter, 1978. 781.

where adds that "Petruchio could never have endured a overcome wife" (141). This explains his intention to "woo her with some spirit when she comes. / adduce that she rail; why then I'll tell her plain /She sings as sweetly as a nightingale" (II.i).

Webster has an important point in hand about the play's representation of women but does not develop it, so apparently concerned is she to focus on the comic conception. But as a matter of fact, it is Beatrice who, under the pressure of circumstance, demonstrates a heroic constancy toward hired gun in spite of the social stigma of Claudio's rejection. At the altar Beatrice alone who publicly defends Hero: "O, on my soul, my cousin is belied!" (IV.i). This constancy toward Hero is consistent with Beatrice's uneasiness at the prospect of marriage, especially one arranged by a father, i.e., a socially approved one, which in any case can lead to steadfast entrapment and regret for all concerned. Beatrice will not be "fitted with a husban
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