JonBenet Clarke Literatures in English, Unit 1

Lower Six Miss Durrant

THIS IS A SAMPLE STUDENT ESSAY AND IS

NOT INTENDED FOR REPLICATION.

ESSAY QUESTION: “Although the play is a comedy, Shakespeare’s presentation of

gender roles undermines the laughter.” Discuss the validity of this statement with

reference to ONE Shakespearean comedy.

The Taming of the Shrew by William Shakespeare is regarded by many as one of the

most controversial of Shakespeare’s plays today. The reason for this is clear - the reoccurring

theme of Sexism and Misogyny presented in the play is more distasteful to a modern, evolved

and differently cultured audience. The title itself evokes disgust in many, if not most of the

female individuals of modern audiences as it presents the idea that women are equal to a

specie that needs to be subdued to suit the desires of a more dominant specie (in this case that

“specie” is a man). The unfolding of the events of this play would be more agitating as the

audience realized that the “shrew” in this play is really a woman who simply asserts her

standards and opinion without approval from a man- and that the “taming” process is simply

silencing this woman. It is without a doubt that Shakespeare wrote his play to address the

beliefs, the culture and the societal structure of the Elizabethan era. With that in mind, the

question of whether or not The Taming of the Shrew is satirical should be considered before

one dismisses the piece entirely. The play may indeed be a satire- its main purpose may be to

criticize the beliefs that were held in that time in history. This play was therefore not written

to further promote the misogynistic principles that were perpetuated in the Elizabethan era,

but to instead question the sensibility of those principles. That is said to amplify the idea that

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although the presentation of gender roles is not necessarily comedic in itself, it does not

entirely subtract from the entertainment value of the play; the conventions and devices used

throughout the piece balance the bitterness with added humour.

Primarily, it is a fact that the theme of Sexism and Misogyny is strongly displayed by

many characters within the play. The main (if not only) victim of the poor treatment from

men among all the characters is Katherina Minola. Before meeting her, the audience is

informed about her in Act 1 Scene 1. Gremio states that “… though her father be very rich,

any man is so very a fool to be married to hell…” (Lines 120-121). This statement sets the

audience up to meet a boisterous, unlearned and unreasonably ill-mannered Katherine. The

“taming” process would have perhaps been fit for such a woman – one that lacks the ability

to conduct herself well; a woman who was animalistic in her relation to others. The audience

may be disappointed when it is revealed that Katherine is merely woman that defies the

standard idea of all that a woman should be. She is assertive, opinionated, outspoken,

independent (descriptions that suit most women today). The misogyny therefore lies in this:

that the males in this play wish to reduce Katherina to someone who she is not (dependent,

indecisive, docile, submissive, etc) Kate realizes and addresses this on the behalf of all

women: “I see a woman may be made a fool/ If she had not a spirit to resist.” (3.2.193-194).

The notion that a woman becomes a shrew when she does not wish to conform to the

patriarchal principles of society underscores the title and events of the play. The fact that a

woman is ostracized (given the animalistic title of ‘shrew’) when she has a strong personality

is what may stand out to any audience. This can remain with individuals throughout the entire

play, making them uneasy, annoyed or even furious.

Simultaneously, the disregard for women is further propelled by Petruchio. He can

fairly be given the title of the greatest sexist present in the piece. Petruchio asserts himself as

the only dominant individual in his relationship with Kate through the execution of many

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cruel ideas that include depriving her of sleep and food, entirely disregarding her opinions

and humiliating her in view of all. He reveals the reason for these spiteful actions in his

soliloquy in Act 4 Scene 1: “… And thus I’ll curb her mad and headstrong manner…” The

extent to which he goes to bend a woman into subservience is shocking and offensive. The

Petruchian ‘discipline’ administered to remedy something that is essentially without a fault is

enough to evoke indignation, and it has done so from as early as 1897. George Bernard Shaw

(Irish playwright and critic) expressed that the play was ‘altogether disgusting to modern

sensibility’. This play would not be well accepted in an age where every individual seeks to

gain rights for him/herself. Society is progressing from the traditional view that “Women are

made to bear…” (2.1.196). Society (to a large extent) no longer agrees with the underlying

values of Petruchio’s beliefs that lead him to want to “bring you from a wild Kate to a Kate/

Conformable as other household Kates.” (2.1.265-267). Therefore, one can indeed say that

the sexism presented within the play would lead to immediate dismissal by modern

audiences.

Notwithstanding, a fair judgement of the piece is not executed if the various

components that add comedy to the play are disregarded. It is proven that the oppression of

women is greatly displayed, however, the conventions and devices are not being completely

overshadowed by this and they are therefore not negligible. The series of wordplay carried

out by many of the characters will bring humour to audiences of any gender and era. Such a

case is evident in Act 2 Scene 1. The collision of the two most headstrong characters

(Katherine and Petruchio) results in sparks of wit, sexual innuendos and clever comebacks.

For instance, Katherina calls Petruchio a “movable” (2.1.191). He asks her to explain and she

clarifies that she is comparing him to “A joint stool” (2.1.193). Petruchio responds by saying

“Thou hast hit it. Come sit on me.” (2.1.194). The sole fact that Petruchio steered the

conversation into a sexual direction creates humour in the midst of the argument between the

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two. The same takes place in Act 1 Scene 2 when Petruchio and his servant Grumio are

introduced to the audience. The large issue that resulted from Petruchio’s request for Grumio

to knock at the gate for him is beyond absurd:

GRUMIO
Knock, sir? Whom should I knock? Is there any man has rebused your Worship?

PETRUCHIO
Villain, I say, knock me here soundly.

GRUMIO
Knock you here, sir? Why, sir, what am I, sir, that I should knock you here, sir?

Individuals from the audience are likely to react with a small chuckle or by shaking their

heads in disbelief as to how silly Grumio is.

Moreover, the dramatic irony that is present in the play certainly counteracts the

contemptuous treatment of women. The dramatic irony results from the many disguises that

characters take on as the plot unfolds. Tranio disguises himself as his master Lucentio, who

disguises himself as a tutor (Cambio). Hortensio also takes the on the persona of a tutor

(Litio). As the plot advances, a random Merchant poses as Vincentio, the father of supposed

Lucentio. The fact that many characters act in ignorance will trigger a response from the

audience as they are in on the plans that other characters plan to execute. An example can be

made of Baptista, who so fervently shielded his younger daughter from any suitors. He would

be made the subject of ridicule when he readily accepts the disguised suitors in his house and

presents them directly to Bianca. It cannot be said whether Baptista was really naïve or not-

how would he have possibly known the real identities and intentions of these men? They

were in fact presented as ‘tutors’ by the men who sought to woo his daughters and whom he

trusted. All that can be fairly deduced is that the readiness with which he welcomed them is

amusing: “You shall go see your pupils presently./ Holla, within!” (2.1.104-105). Another

instance (if not the most hilarious) is the meeting of the ‘two Vincentios’ in Act 5 Scene 1.

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Vincentio himself is introduced to the play and encounters the Merchant who is posing as

him. When the right father asks the usurper to see his son and he declines, he tries to wager

with him: “What if a man bring him a hundred pound or two to make merry withal?” (5.1.18-

19). What is ironic is the fact that the poser tells the real father to keep his money because his

‘son’ “… will need none so long as I live.” (5.1.21). By this time, Vincentio is confused as

the man claims to be the father of Lucentio and even solidifies his claim by stating boldly that

“… so his mother says…” (5.1.30). The conversation that takes place highlights two things-

that the old Merchant is a marvellous actor and that both parties are victims of dramatic

irony. Vincentio is oblivious as to what is happening. He cannot be blamed as he came with

the intent of seeing his son and is instead presented with a man claiming paternity of his

‘son’. The Merchant does not know that he is being gulled. He is just executing his end of the

bargain he made with the young man who ‘saved his life’. The Lucentio that is present at the

moment of this encounter is a fraud. All of this occurring at the same time would prove

farcical to the audience. It is therefore safe to say that the dramatic techniques add

entertainment value to the piece.

In addition, the comedic conventions that are present in the play season it with

humour. The convention of disguise is used so much in the play that the plot becomes almost

unbelievable. The audience is presented with so much deception to marvel (and laugh) at.

The way in which these characters act under these disguises is comical, as the audience

knows that they would not have had the opportunity to do certain things had they not masked

their identity. An example can be made of Lucentio (who is dressed as Cambio). He seizes

the chance to push his plans further into action by going directly to Bianca to profess his love

and out-woo all the other suitors. “Hic ibat- as I told you before; Simois- I am Lucentio; hic

est- son unto Vincentio of Pisa; Sigeia tellus- disguised thus to get your love…” (3.1.31-33).

The mere sight of the two suitors dressed as tutors who both ensure to woo a little during

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their ‘lessons’ not only brings suspense but causes the audience to laugh at the cunning ideas

of the characters present. Tranio’s exaggeration of ‘his’ riches in order to out-vie Gremio is

another instance that can be used. One can recall all the luxuries that Gremio stated he

owned- gold and chinaware, ivory trunks filled with more gold and expensive clothing and

imported luxury items. Tranio simply stated that he had many times the amount of wealth that

Gremio claimed to have. The audience knows that Lucentio is wealthy and may not have

suspected what Tranio was up to until he stated in his soliloquy that he has “…faced it with a

card of ten.” (2.1.399). To see a servant dressed as his master is comical enough. To see this

servant exaggerating the wealth that he (or even his affluent master) does not have is quite

entertaining. It is in this way that the convention of disguise brings laughter.

Conclusively, The Taming of the Shrew does indeed present the ideas of sexism,

misogyny and the oppression of women. This fact will cause many individuals to dislike this

play. However, the laughter is not entirely undermined as the devices and comedic

conventions compensate for the seriousness that the poor gender relations might have brought

to the play.