The next change seen in Kate is how obedient she has become when Petruchio and her are heading to Bianca’s wedding. Petruchio says that the moon is out, when in actuality it is daytime. Petruchio and Kate have a brief disagreement until she finally rolls over and says “Forward, I pray, since we have come so far, And be it moon, or sun, or what you please. An if you please to call it a rush candle, Henceforth I vow it shall be so for me”(IV.iv.206). This shows that she is obedient and even if what Petruchio is saying is completely false she will obey and agree.
However, when Kate realizes “Daniel had become fundamental” (161) to her life, she decides to bring Daniel back to Crow Lake. This decision is vital for their relationship, and it also indicates that Kate eventually begins to face the problems in her life, and tries to resolve them.
their past relationships with their mother. These characters behavior is being shaped to fit their society’s requirements.
The relationship between Kate and Petruchio is completely different from the love of Bianca and Lucentio. "Kate is a neglected, hurt, and humiliated daughter who disguises her grief from herself as well as others with a noisy shrewish temper" (Craig 342). She has a fiery disposition and a reputation for reacting violently to people. The challenge of capturing her is Petruchio's real attraction to her. He can be seen as a rough, unfeeling, greedy, "swash-buckler" who cares nothing for Kate's feelings (so long as she has money). "
In addition, Kate’s final monologue, also in Act 5, scene 2, tells the audience a lot; about the play itself, as well as the society in Shakespeare’s era. On face value, Kate’s final monologue seems to be a long lecture about serving your husband, no questions asked. “Then vail your stomachs, for it is no boot, / And place your hands below your husband’s foot” (v, ii, lines 92-3, page 221). However, Shakespeare gave Kate the last word in the play, a sign of her consistent power and control. As well, her monologue can be perceived as quite ironic. Kate is aware of the beliefs about how women in the household should act and, as clearly portrayed throughout the entire play, the role Petruchio has been trying to get her to fill. By playing along fullheartedly with society’s expectations, in front of the large audience of guests, Kate becomes “truly tamed” - or just incredibly
Lastly, her family betrayed her by not listening to her side of the story after her sister told lies about her, and they betrayed her when they acted as if they did not care if she moved out of the house. In all of these actions, the family itself and certain members of the family are portrayed as uncaring, unsupportive, disrespectful, conniving, deceitful, and hateful to Sister. Through every action of the family, Sister is treated harshly, and she tries to not let this bother her. Yet, anger and bitterness build up inside of her until she cannot take it anymore. Consequently, it built up so much inside of her that it severely affected Sister so profoundly that she moved away from her home to get away from her family.
In the first section, Desmond focuses on “movement style and meaning” (pg. 31). She explains how movement is learned through our communities. In some locations, some dances may be seen as proper because that is what they learned in their community, but if performed in another community, those people may see their dance as “improper.” Desmond provides the example of how in the nineteenth century the waltz was seen as “too sexually dangerous” when introduced in North America and Europe. Their reasoning
Throughout her early childhood, she ignores her father's drunken escapades, and thinks of him as a loving father and excellent teacher of the wild. It isn't until her junior year of high school that she realizes the indisputable flaws her father has. She resents Dad's drinking and how he constantly lets her and the rest of the family down yet never openly admits it or allows his flaws to be discussed. Jeannette also begins to resent her mother, whom she’s never been close to. Some cause of her resentment includes her mom’s refusal to hold down a job long enough to provide her kids with a stable food supply, especially since Rex won’t be providing like he says he will. This resentment eventually motivates her to move away from her parents and Welch. She ends up in New York City with her sister Lori in which she focuses on her studies and becomes a successful journalist. Jeannette is a natural forgiver and it shows even when she moves away from her parents, but this doesn’t stop her from being haunted by her past and with her transition from poverty into the upper-middle class. By the end of the novel, Jeannette is a symbol of the resilience and
Kate is also very tough and modest like most men, who are raised and taught to hide their emotions in public. However deep inside Kate is still a female. In the second investigation which Kate had with Ellen, Kate does end up allowing herself to break down with tears in the midst of her conversation about her dead lover Anne. Here, Forrest shows that even though some women are masculine, they are limited to an extent because they are in custody to the biological determinism which determines the limits for the advancing of success based on sex (Rubin Thinking Sex). It is important that Forrest was able to show both sides of Kate: the tough masculine side and the soft elegant feminine side.
Kate decides to have Anna make a decision that can destroy a family. When one child in a family is sick. It can lead to the other children in the family to feel neglected. Parents often tend to focus on the child that needs more attention.
During the course of the entire play, all of the characters except Petruchio treat Kate with disrespect. Baptista, her father, is especially insensitive to his daughter's feelings. When Petruchio comes to inquire about Kate, he describes her as fair and virtuous woman. Her father neglects to acknowledge that it was possible that his daughter could have those fine qualities (II.i.42-63).
As the play continues, we learn even more about Kate. For example, when Kate and Petruchio go back to Baptista’s, Kate begins to see how Petruchio operates. She learns that if she does what Petruchio says, even if she knows it is not true, she will get something she wants out of it, like going back to her father’s house. Petruchio test Kate when they meet the real Vincentio on the road and he asks Kate if she has ever seen a finer young women. Knowing what he is up to, Kate shows her amazing wit and decides to play his game. She has figured out that Petruchio has a method to his madness and if she plays her cards right, their relationship can be a partnership with a series of actions and rewards.
Brian Friel and Colette Bryce, convey the impacts that Ireland had on their upbringing, challenging such traditional perspectives with the ambition in attaining physical and psychological liberation by breaking free from such political and social views. Brian Friel’s play Dancing at Lughnasa, a two act memory play published in 1990, presents a reflection of memories of Michael Mundy’s Summer in 1936, conveying the isolation and struggles endured by the Mundy sisters. The Full Indian Rope Trick, a collection of contemporary poems published in 2005, portrays Bryce’s views on the Irish social and political debates including the Troubles; alongside the political and nationalistic conflict in Ireland at the time; reflecting her life throughout her
Speaks her mind and acts a little like Kate did in the beginning at the end after she gets married