Taming Of The Shrew Renaissance Women

The relationships between servants and masters closely reflect the gender relationships in Shakespeare's The Taming of the Shrew. Lucentio and Tranio's relationship as master and servant is an ideal of the Renaissance era. Tranio risks taking the place of his master because of his love for him and Lucentio always treats him with kindness and respect, almost like an equal. Lucentio's relationship with Bianca reflects his role with Tranio: Bianca shows respect for Lucentio as he cherishes her and treats her with kindness. However, Bianca fails to complete her role as an ideal wife by obeying her husband. however Petruchio and his servant, Grumio, have a much different relationship. Grumio often disobeys his master, while Petruchio insults

In the story "Taming of The Shrew" by William Shakespeare, we see the daily life of characters living in the Italian town of Padua. In this story, Lucentio brings his servants, Biondello and Tranio, to Padua. Soon, Lucentio sees a beautiful woman named Bianca which shifts his focus. The only problem is that Bianca can't get married until Kate get married due to a rule made by their father, Baptista Minola. At first, this seems like it is not a possibility to Bianca, as Kate is considered the "Shrew" and seems to not want to change her ways. Although she acts like this at the beginning of the book, we begin to see big changes throughout the book. These changes occur because Kate is a dynamic character, and there are many examples to prove this.

The Taming of the Shrew is one of Shakespeare's most famous plays, and has weathered well into our modern era. For all the praises it has garnered throughout the centuries, it is curious to note that many have considered it to be one of his most controversial in his treatment of women. The "taming" of Katherine has been contended as being excessively cruel by many writers and critics of the modern era. George Bernard Shaw himself pressed for its banning during the 19th century. The subservience of Katherine has been labeled as barbaric, antiquated, and generally demeaning. The play centers on her and her lack of suitors. It establishes in the first act her shrewish demeanor and its repercussions on her family. It is only with the introduction of the witty Petruchio as her suitor, that one begins to see an evolution in her character. Through an elaborate charade of humiliating behavior, Petruchio humbles her and by the end

Antonia’s character makes strong decisions, does outside labor, and most importantly — does not conform to her society’s rules. For

The relationships between servants and masters closely reflect the gender relationships in Shakespeare's The Taming of the Shrew. Lucentio and Tranio's relationship as master and servant is an ideal of the Renaissance era according to "An Homily on the State of Matrimony." Tranio risks taking the place of his master because of his love for him and Lucentio always treats him with kindness and respect, almost like an equal. Though they are not involved romantically, Lucentio and Tranio fulfill these ideals better than any marriage in The Taming of the Shrew. Lucentio's relationship with Bianca reflects his role with Tranio: Bianca shows respect for Lucentio as he

In Act II, scene I, two marriage proposals occur that are economic. The […] emotional connect between the women and their love interest contracts made by their father” (Women and Power par.1). Petruchio, a gentleman of Verona, comes searching for his fortune. His friend Hortensio tells him that he knows the right woman, but the obstacle is that she is the worst shrew. However, Petruchio does not care. He is sure that he can handle the situation, as long as she has a large dowry. Petruchio’s […] attraction for Kate and Baptista’s requirement that he woo his daughter change the nature of their relationship from a business proposal to one of attraction and, possibly, affection the relationship” (Women and Power par.1). Similarly, Baptista asserts that whoever can "assure my daughter greatest dowery / Shall have my Bianca’s love” (2.1.364-365). The oddly possessive “my Bianca’s love” highlights the patriarchal

In addition, Shakespeare intermingles the play with the idea of appearance versus reality, highlighting how truelove can exist within even the curst and is absent amongst even the most attractive. As the play progresses, we see how true this is, as Bianca and Katherina contrast one another on the interior as well, yet Katherina?s true love underneath, allows her to dwell in an effective relationship. As we know, Petruchio?s love is obvious yet Katherina?s shrewish nature masks her true love for Petruchio - proving the deceptiveness of appearances. On the other hand, even though Bianca has many desperate suitors we see how shrewish she really is as she questions, ?Am I your bird? (5.1)?. Bianca?s rhetorical question and indignant tone towards Petruchio highlights her lack of respect and her internal shrewish personality. Moreover, Bianca?s interior personality

Men had the authority to say whatever they wanted to, no matter what it was. Although they were allowed to do a lot more that women, they were also allowed to say a lot more than women. Men did not really have boundaries when it came to speaking. They were allowed to speak their mind and have an opinion. Men could speak to and about women in a disrespectful and derogatory way. Women were also allowed to have an opinion, but they were not allowed to express it to others. Women were voiceless. They were deprived of their right to speak. The title itself, The Taming of the Shrew, already proves how strong men were compared to women during that time period. If a woman wanted to speak their mind, they would be criticized and judged. They would gain a bad reputation because women were expected to listen to men and follow their commands. However, Katherine did not like that. Instead, she spoke her mind and refused to do certain things. As a result, nobody liked her. They viewed her as a “fiend of hell” (I.i.90). A man would not be called that though. On the other hand, if a man did the same thing, no one would care. “Much more of shrew of thy impatient humour.” (III.ii.29) This proves that even the woman’s father would call their daughter a “shrew”. This was also normal

Bianca was described as sweet and quiet. She never spoke out of turn, and was always obedient, qualities that men desired in their future wives. For the majority of the book, this is how Bianca acts, but the audience watching the play is able to see small parts where there is another side of Bianca a side that she keeps hidden from the males in her society. One clear example of this is in Act 1 Scene 1 when Bianca whispers to her sister Katherine so that no one else can hear her;

With regards to The Taming of the Shrew, it can be determined that the relationship between Baptista and his daughters is built on the boundaries put in place by gender roles. This becomes apparent when, at the beginning of the play, Hortensio and Gremio confront Baptista about his intentions regarding Bianca's courtship:

Soon Bianca cuts the conversation short by telling both of her school masters that she will not follow any sort of rules that are typically followed in the traditional teacher-scholar relationship. Up until this point, the audience—and the suitors—thought that Bianca was the subordinate daughter/sister but now everyone can see that she may not be as submissive as she seems and is only a less shrewish version of Kate (201). Bianca ends the argument between the Hortensio and Lucentio by telling them that it is only what she wishes that truly matters (202). This scene calls into question the idea of the “order of genders” by talking of the different subjects.

In Shakespeare's, "The Taming of the Shrew" the relationship between the sisters Katherine and Bianca appears to be strained with rampant jealousy. Both daughters fight for the attentions of their father. In twisted parallel roles, they take turns being demure and hag-like. Father of the two, Baptista Minola, fusses

Shakespeare brings us back to the sisters in act II scene 1. This is a

Kate is venting her anger that Bianca should be able to get suitors while she remains alone. Kate knows that she is a smart and fiery woman and wouldn't be satisfied with such wimpy men as Gremio and Hortensio. She needs a strong man to go with her own strong and powerful personality. When Baptista enters and comes to Bianca's rescue, we find out what is really the cause of Kate's behavior: She's angry that Baptista likes her younger sister better than her. Kate tells her father, that Bianca is his "treasure" and "must have a husband" while she, embarrassed, dances "barefoot on her wedding day" and leads "apes in hell" (II.1, 31–36).

Women and men’s role in Elizabethan society is completely different to modern society. The Taming of the Shrew by William Shakespeare shows exactly what the attitudes were like. For example, the scene when Katherina is fighting with her sister because Bianca has a number of suitors waiting for her but she refuses to tell Katherina which one she prefers. Katherina gets angry and aggressive towards Bianca because she doesn’t give her an answer, Katherina starts to attack Bianca. Their father enters into the room and says “For shame, thou hilding of a devilish spirit! Why dost thou wrong her that did ne’er wrong thee? When did she cross thee with a bitter word? Baptista is expressing why Katherina would