The Taming of the Shrew by William Shakespeare

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Introduction

(Shakespearean Criticism)

The Taming of the Shrew

The Taming of the Shrew was likely written in the early 1590s, although estimates have ranged from the late 1580s to 1600. No specific source has been identified for the play. Scholars once believed the anonymous The Taming of a Shrew (1594) to be the source, but most critics now regard the anonymous piece as a “bad” quarto, likely an erroneous and possibly pirated version of the play known today. The premise of The Taming of the Shrew was apparently appropriate material for comedy during Shakespeare's time, but most modern audiences find the notion of Petruchio “taming” his spirited wife Katherina (Kate) neither amusing nor acceptable. Katherina, forced by her father to marry Petruchio, is subjected to a variety of disciplinary tactics considered demeaning and cruel by most playgoers today. Commentators are particularly interested in Katherina's submission at play's end, which so offends modern beliefs on gender equality that sexual politics often become the focus of critical concern.

One of Petruchio's taming techniques involves control of Katherina's access to food. Brian Morris (1981) notes that: “Katherina is denied her bridal dinner (III.ii), starved at Petruchio's house (IV.i), mocked with the promise of food by Grumio (IV.iii), and not finally satisfied until Lucentio's banquet in V.ii.” Joseph Candido (1990) also highlights the emphasis on eating and drinking throughout the play, describing the deprivation of food as an essential part of the taming process and Petruchio's refusal to partake in his and Katherina's wedding feast as a marker of his own social iconoclasm. Another means of subduing Katherina employed by her husband involves the dispute over her wardrobe. Margaret Rose Jaster (2001) discusses Petruchio's control over Katherina's apparel, commenting that although critics and audiences often consider the dialogue in these scenes to be harmless banter, the exchanges are not as benign as they may seem, since clothing is so closely associated with identity—both personal and social. “Although Petruchio employs less physical abuse than traditional tamers, we cannot blithely disregard any attempts by one party to control another's identity through this most intimate device,” maintains Jaster.

Frances E. Dolan (see Further Reading) surveys the critical controversy surrounding the relationship between Katherina and Petruchio, contending that even “in its own time the play was one text among many in heated debates about women's status, marriage, and domesticity.” Modern critics and audiences alike are inclined to consider Petruchio's behavior harsh, domineering, and offensive rather than amusing and romantic. Some scholars, however, have attempted to recast Petruchio's behavior into more acceptable categories for contemporary audiences. Morris, for example, considers Petruchio's role as that of a teacher, rather than a tamer; he acknowledges that education “is a means of reducing the individual to...

(The entire section is 74,221 words.)