Petruchio and katherina relationship counseling

'Taming of the Shrew': Marriage advice from Shakespeare? | Oregon ArtsWatch

It is not until Petruchio comes on the scene that Katharina begins to lose some of her Even after the marriage, Petruchio doesn't ever insult her but condemns Since Bianca does not protest to the guidance and advice of her father, he finds. Kate—if I may call her Kate—is stapelholm.infohio hears that directly from his dear friend Hortensio:“Her only fault—a. Whether you see the relationships in the play as harmlessly boisterous and knockabout Later on, having married Katherina, Petruchio says.

Finally Kate relents, after Hortensio, who is traveling with them, begs her to play along. This is how she explains it to herself and Petruchio: Shakespeare scholar Stanley Wells points out that the great British actress Dame Peggy Ashcroft did exactly the same thing when she played Kate. The thing is done! Kate understands the game, she finds pleasure in it, she actually enjoys the bond with Petruchio. Kate is slow to comply, and Petruchio starts to leave to return home. Now pray thee love, stay.

Come, my sweet Kate. Of course it is Kate: Petruchio has asked Kate to perform. She has agreed, and her performance is marvelous. And like all great performances, it depends on a great deal of trust in her director, Petruchio and her belief, if just for a moment, in the truth that may be contained in the words.

Can she imagine the sun as the moon, an old man as a young woman, a completely compliant wife?

The Taming of the Shrew - Petruchio and Katherina's relationship.

Of course she can! But why would she want to? We have seen what Kate and Petruchio have conquered, though: And perhaps their absolute individuality. Maybe Shakespeare is saying that one of the great consolations of marriage is the inside joke! Though we hope maybe Bianca and Lucentio will get there in the end. No connubial bliss for Eliza and Henry, oh no. I somehow doubt it. Would he understand contemporary feminism?

Did I feel ashamed to see it in the company of women? I confess I did not. Does that make me a misogynist? I certainly hope not. In that case, bring me my fair lady and some more light beer. In this speech, a drunkard has been tricked into believeing he's a lord.

We're not sure how this ends up, though, because it's never brought back into the play. We don't know if Sly actually becomes a Lord, or, at least, a sober upright citizen, although it seems doubtful when his first act is to call for beer.

But we do see how Kate turns out after Petruchio tricks her into thinking she is soft, beautiful and submissive. In his own warped way, Petruchio does seem to change Kate from being a heartless, cold shrew to a warm, loving wife. What we don't know for sure, though, is whether Petruchio actually tamed her into submission, or if she chose to "identify" herself with the behavior Petruchio wants because she loves him and wants to be his wife.

Whatever happened to the induction is for scholars to debate and directors to have fun with. I see the induction as a sort of instruction from Shakespeare on how to interpret this play.

The audience sees how silly it really is for Sly to accept the role projected on him. I believe Shakespeare cautions his audience to not be easily deceived about the identities of the "players". It is easy to assume that because Kate acts like a shrew and looks like a shrew that she has always been and always will be a shrew. Shakespeare wants his audience to not take Baptista's word for it when describing his daughters, just as it seems ludicrous for Sly to take the Lord at his word.

Though this is a subtle change, I think it enhances the "identity formation" interpretation by demonstrating how people can be a component in wrong or incorrect identity formation. This also warns us that Bianca may not be what she seems, so that her submissiveness is shown to hide willfulness when she is alone with her tutors and at her marriage banquet when she refuses to come when Lucentio, her husband, calls. Now instead of seeing Kate as the duped person and Petruchio as the puppetmaster, we see Petruchio as the easily-tricked Sly and Baptista as the self-indulgent Lord, seeking his own pleasure at other people's Kate's expense.

To answer this question, I find it necessary to rely heavily on how I would direct this play as a whole. I do not see Kate as being broken by Petruchio. After reading the information on falconry, I'm not sure that the falcon was ever made to be tamed or broken. Yes, Petruchio does withhold food and sleep from Kate, but there is not sense that this continues forever or to the point of starvation.

The next deprivation is of beautiful clothes, a less brutal depratvation, and the scene ends with Petruchio offering to take the blame if Kate feels ashamed of their clothes in front of her family at Bianca's wedding. Petruchio's insistence on control continues on the road, but now it is clear that he simply wants control of the game--it is not complete submission that he wants.

And he seems as delighted as Kate when she not only obeys his "perception" about Vincentio, but makes the game a merry one. Booth's quote is best, that the falcon and man are to be partners in what is a mutually gratifying relationship.

The fact is that the inherent talents of the falcon are superior to the human. In the same way, I see Kate's ability to maneuver herself in this male dominated community with wit and cunning as superior to Petruchio's attempts to "tame" her, particularly based on Kate's final speech in 5. Sure Kate responds to Petruchio as a falcon would return to its master who holds a piece of raw meat.

This decision, whether by habit or by choice, is beneficial to the falcon as well as the master. I think that Kate is "Falconed", which is a far cry from being tamed. Petruchio, like the falconer, has succeeded in convincing this wild creature to be his partner, smoothing her rough edges, without forcing her to give up her inbred qualities of cunning and wit. Kate and Sly look like social eccentrics. Sly is a drunkard who has trouble paying his bills, but when he awakens to treatment by the lord and his servants that represents an immense improvement to the dreary existence he had as a tinker.

Sly is enthusiastic about the his new identity, Am I a lord, and have I such a lady? Or do I dream? Or have I dreamed till now? I do not sleep: I see, I hear, I speak, I smell sweet savors, and I feel soft things. Slightly suspicious at first, Sly quickly abandons his skepticism for the comfort and luxury suddenly afforded him. As far as the text shows, then, Sly goes along with the new social setting he finds himself in.

Kate initially looks as uncomplying in her upperclass sphere as Sly has been in his lowerclass tinkerdom. Kate's identity as a shrew comes from her frustration at patriarchal traditions, compounded by her strong will and assertiveness. Since she is atypical of most young women at that time, Kate is somewhat ostracized and excluded from developing the usual social relations expected of young women of marriageable age.

Kate cites to her father how he treats Bianca preferentially, What, will you not suffer me? Nay, now I see She is your treasure, she must have a husband, I must dance barefoot on her wedding day And, for your love to her, lead apes in hell.

Talk not to me. I will go sit and weep Till I can find occasion of revenge 2. Bianca represents the ideal young female's roles and behavior in this society.

Since she conforms to the expected standards, she is more appealing and admired than Kate. By the end of the play, however, we see Kate's extreme compliance with Petruchio--identifying the sun as the moon, calling Vincentio a "budding virgin," and coming at Petruchio's demand at the wedding. They work together as a team, motivated by love and compatibility founded on trust. But Bianca has defied tradition--eloping with a man her father knows as Cambio the tutor.

True, Tranio is making financial arrangements for the "wooing," but the potential for disaster is shown when Vincentio shows up and is almost thrown in jail in order to keep Tranio out of trouble. Bianca's willfulness shows up further at the feast when she declines her husband's request to come to him. And Bianca calls Kate a fool when she drops her hat at Petruchio's command. Perhaps a little spunk is welcome in Bianca, but it is the initial eccentrics Sly and Kate who win the compliance award in the play.

Genre Meghan Hicks, student in English L, Spring Petruchio, the young man who comes to Padua to improve his lot, starts out as a greedy young man who wants to marry a woman for no other reason than her wealth. He says that it doesn't matter to him that the guys have told him Kate's a horrible shrew. He means that when Kate tries to fight with him, and he with her, eventually they will have nothing left to fight about, and will settle into a normal marriage.

Petruchio definitely keeps this attitude for the rest of the play: Petruchio expects Kate will be mean and hateful, but is surprised at her wit when she trades insults with him at their first meeting. I think at this point he becomes more interested in just the money aspect of the marriage to Kate; she is beautiful, but also as intelligent as Petruchio himself is.

He begins to see her as a challenge. He has to be married to her--he has already committed himself--but before he didn't think he had to like it.

Now he sees that marriage might be more than just a trade-off for money. Kate could make it much more interesting. When Petruchio marries Kate in ridiculous clothes, he is showing her that her outward appearance is silly. When he insists that she leave with him after the wedding, he is showing her that she, just like any person, cannot always have her way. He abuses the servants who serve him to show Kate how abusive she is to her family.

The Development of the Relationship between Petruchio and Ka by Kane Harris on Prezi

He witholds food and sleep from Kate to show her that she should not be too proud. And by Act 4, Scene5, he has accomplished his task. Kate now plays along with his jests, helping him tease Vincentio and joking about the sun and the moon.

They have burned out the raging fires between them. Now Petruchio sees Kate not as a shrew, or even as a means to an end. She is his wife, and surprisingly a good one: Petruchio goes through many ordeals trying to change Kate from a shrew to a wife, but in his changing Kate he is changed also. From the first moment he sees Kate, he no longer cares about the material benefits of his marriage to her.

By the end of the play, when Kate gives her speech about her duty to her husband, he has come to love and appreciate her for the wife she has become. Critics Alice Wong, student in English L, Spring95 I agree with Bean's third view, how Kate is tamed because she finds love and "a discovery of the inward self.

A romantic comedy treats Kate like an active and dynamic character instead of a static and stock character type of figure in farce. Petruchio throws Kate into a chaotic whirlwind by treating her absurdly and outside of her expectations.

Even in their first meeting, he calls her "mild" even though the text shows she clearly hits him. His taming is done in a manner that ultimately brings out Kate's inward self rather than merely punishing her. At first, it's true that he does deprive her of sleep and food and then of fancy clothing. But, true to the genre of romantic comedy, the affectionate and playful banter between Kate and Petruchio is genuine in 4.

At this point, she has been "tamed" and begins to spontaneously respond to Petruchio humorously and agreeably since there is a connection between them now.

She plays along with Petruchio when he calls the sun the moon and identifies Vincentio first as a budding virgin and then a reverend old man. Kate enjoys the exchanges with her husband because she is more herself with him than with any other person. This newly found security is reconfirmed again in 5. She complies because she knows his request is not motivated by ridicule or humiliation.

Rather, it is to show the cohesiveness of their marital bonds in front of the newlywed couples who previously doubted their ability to get along as husband and wife. Kate and Petruchio meet Staging1 Mollie Bean, student in English L, Spring The meeting of Kate and Petruchio is important to establishing how the two characters will interact throughout the rest of the play.

I think it would be interesting to have Kate listen in on Petruchio's speech that begins, "And woo her with some spirit when she comes! I would want the audience to see Kate react to Petruchio's obviously arrogant speech of how he will be in control of the wooing. For staging purposes, a simple garden wall placed upstage would work well. I would have Kate seen by the audience as storming into the garden area and stopping abruptly when she hears the spouting Petruchio. As she goes into the meeting with Petruchio, she has thoughts of outsmarting this man as she has all others, but by the end of the meeting scene, Kate realizes that this may not be as easy as she thought.

With lines like, "Asses are made to bear and so are you. Not only would this staging be helpful to strengthen the argument that Kate maintains her cunning and is not totally overrun by Petruchio, it also makes her "love" for Petruchio more understandable by allowing the audience to know that Kate has been in the know from the beginning, even though she winds up "obeying" Petruchio.

By the end of the meeting scene the once confident Kate is caught in a swirl of activity. She cannot dominate this man with words, and I would have Petruchio delivering his lines while walking around her. When she says she will see him hanged before marrying him, and when Gremio questions Petruchio about this response, Petruchio shifts the argument and says they have agreed she will remain cursed in front of others. The effect is of his tying her up, even though it is with words.

This same swirl of activity visits her again at the wedding. The last thing Kate would have expected of a suitor would be for him to show up in rags. That seems to be the game between these two lovers. One person tries to do the most unexpected thing and then the other returns with something even more unexpected--for example, when he carries her off as his chattel despite her earlier refusal to leave.

Finally, the game, as far as the play is concerned, culminates when Kate does the most unexpected thing. In directing this final scene, I would have Kate deliver her lines while walking around Petruchio, mimicing his earlier behavior. Like Kate, Petruchio would find himself being tied up by her words.

Wedding Plans and Wedding Bells Staging 2 Alice Wong, student, English L, Spring The video clips of Petruchio's behavior in deciding to woo Katherine, his first meeting with her and his wedding show Petruchio unchanged externally; he is still a bawdy, rude, outspoken, and uninhibited man with one goal: Raul Julia physically shows his avarice and interest in Kate in Act 1 Scene 2 when Hortensio mentions her wealth, And yet I'll promise thee she shall be rich, And very rich.

But thou'rt too much my friend, And I'll not wish thee to her 1. The minute Petruchio hears the word "rich" he moves toward Hortensio in an excited pace and manner. He is rapt with attention and confirms his ambition to Hortensio by saying, Petruchio: I come to wive it wealthily in Padua; If wealthily, then wealthily in Padua 1. With money on his mind and faced with a less-than-delicate lady as Kate, Petruchio fights fire with fire, or rather, wit with wit against Kate's anger and rage.

Verbally and physically, Petruchio lustily engages in "battle" with Kate. Act 2 Scene 1 has Petruchio conversing or rather, bantering with Kate. As the tension and scathing remarks between the two intensify, Petruchio puts a "hold" onto Kate's mind and body. The Papp production has Raul Julia grab Meryl Streep who winds up on the floor with him tickling her feet. In doing so, Meryl's Kate is forced to laugh, as if she was enjoying this act, while she is infuriated even more!

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