Dare to delve into the multifaceted world of love as William Shakespeare unveils its captivating complexities in The Taming of the Shrew. This timeless comedy masterfully contrasts conventional and unconventional love through its vibrant characters and intertwined plots. Witness the stark differences between the socially accepted, often superficial, relationships exemplified by Bianca's suitors – Lucentio, Hortensio, and Gremio – and the fiercely independent, deeply transformative bond forged between Katherina and Petruchio. Explore the Petrarchan ideals of romantic love, riddled with deception and societal expectations, as Lucentio and his rivals vie for Bianca's hand, employing disguises and flowery language to mask their true intentions. In sharp contrast, Petruchio's audacious and unconventional courtship of Katherina challenges the very essence of societal norms. Initially drawn to her wealth and the thrill of the chase, Petruchio embarks on a 'taming' journey that transcends physical dominance, delving into the realms of mutual respect and understanding. Unravel the nuances of their evolving relationship as Katherina recognizes Petruchio's genuine appreciation, leading her to reciprocate his affection and embrace a more balanced partnership. Shakespeare's genius lies in presenting these contrasting views, subtly championing the unconventional love between Katherina and Petruchio as a more authentic and enduring path to happiness than the shallow, performative affections displayed by Bianca's suitors. Journey through witty banter, societal satire, and profound insights into human nature, as Shakespeare invites you to question the true meaning of love, marriage, and societal expectations in this enduring exploration of relationships, power dynamics, and the transformative power of genuine connection. Discover why The Taming of the Shrew remains a cornerstone of English literature, offering timeless reflections on the complexities of the human heart and the courage to defy convention in pursuit of true love. Explore the themes of social class, gender roles, and the nature of performance within relationships, all woven into a narrative that is both hilarious and deeply thought-provoking. This is more than just a comedy; it's a profound exploration of what it means to love and be loved in a world defined by expectations.
Love concepts in Shakespeare’s The Taming of the Shrew
1. Introduction:
In his comedy The Taming of the Shrew, Shakespeare presents his audience with a variety of different concepts of love, such as romantic and rational love, mature and immature love, intimate and reserved love, paternal love and the love of a daughter. The concepts are represented by different characters and contrasted with each other.
I will elaborate on the contrast between the kind of love which is conventional and socially accepted, and the kind of love which is unconventional and, therefore, looked down upon by society.
2. Conventional and unconventional love in The Taming of the Shrew
2.1 The induction
The induction contrasts the two different concepts of love relationships quite sharply.
2.1.1 The lord and the page
The lord and the page represent the conventional concept of love, which is presented as the concept of love which is predominant in the upper class. In Ind.i.103-1281, the lord depicts the wife of a nobleman as her husband’s humble servant who is loyal and obedient to him as she is to her king.
The encounter between the page, whom Hehl calls “das ironisch verzerrte Spiegelbild der gehorsamen Ehefrau”2, and Sly shows another aspect of this concept of love, that is that of distance. Husband and wife call each other “lord” and “madam” (cf. Ind.ii.103-112). Intimacy is nothing which is desired, the partners treat each other with reserved politeness rather than with real affection.
2.1.2 Sly
Sly represents the socially less accepted concept of love which is more characteristic of the under class. He desires a certain amount of intimacy, mentally as well as physically. He wants to know his wife as an individual, that is why he wishes to know her name. Sly does not understand that he is supposed to call his own wife “madam”, and therefore he asks:
Alice madam, or Joan madam? (Ind.ii.111).
His concept of sexuality is quite pragmatic, as soon as he believes that he has got a wife, he wants to consummate the marriage, which seems most natural to him.
2.2 The comedy itself
The play itself consists of two plots, which are “constantly and firmly interwoven”3. The main plot deals with the relationship between Katherina and Petruchio; the sub-plot is about Bianca and her suitors. While conventional concepts of love dominate the sub-plot, the main plot deals with a relationship which is very special and unconventional4.
2.2.1 Conventional love: Bianca’s suitors
Bianca is wooed by Lucentio, Hortensio and Gremio, later also by Tranio who takes on Lucentio’s role in society. Bianca’s suitors all represent the conventional, romantic concept of love, especially Lucentio does. He immediately falls in love with Bianca when he sees her for the first time, without having spoken a single word to her; he falls in love with the picture of Bianca as he wants to see her. While telling Tranio about his feelings (cf. I.i.146-176), Lucentio uses about every cliché that love poetry offers him. He compares her to mythical women and praises her physical and mental beauty. Lines like
Tranio, I saw her coral lips to move,
And with her breath she did perfume the air;
Sacred and sweet was all I saw in her. (I.i. 174-176)
are purely Petrarchan and reveal his naive and immature character. Rohrsen refers to Lucentio’s speech to Tranio and points out, “Mit den wenigen Lyrismen in glattem Zeilenstil ist Lucentio als typischer ‘romanischer Verliebter’ kenntlich gemacht; in dieser Rolle verbleibt er bis zum Ende des Stückes,...”5
Hortensio and Gremio use equally poetic language when talking about their beloved Bianca. For example, Hortensio calls her “the jewel of my life” (I.ii.117), and Gremio uses the same imagery as Lucentio does. He says:
For she is sweeter than perfume itself (I.ii.151).
Apart from Petrarchan language, the wooing of Bianca’s suitors is marked by another characteristic, that is the fact that “In the courting of Bianca deception dominates.”6 Lucentio disguises as Cambio, Tranio as Lucentio and Hortensio pretends to be Litio. While Hortensio uses music to mask his wooing, Lucentio uses Latin. This shows that they neither want to reveal their nature nor do they want know Bianca’s, that is why their love remains superficial and does not include real intimacy.
Bianca’s suitors’ reactions to Katherina’s assumed wildness (cf. I.i.105-133) show that they “prefer the compliant woman to the defiant one who seeks to preserve her individuality”7. Although Bianca is not really as mild as she is said to be, she fits the conventional idea of a woman far better that Katherina does.
Schomburg criticises that all characters except for Katherina and Petruchio “sind von typischer Allgemeinheit und mit wenigen großen Strichen angedeutet”8. However, a more detailed characterization of the other characters is not necessary, as the figures in the Bianca-plot merely serve as types in order to emphasize the contrast between the two concepts of love.
2.2.2 Unconventional love: Petruchio and Katherina
Petruchio and Katherina both are unconventional characters, therefore their relationship, too, is very unconventional. When Petruchio hears about Katherina for the first time, he is attracted by two things, firstly by her money and secondly by “the challenge of capturing her”9.
Petruchio’s wooing is very different from that of Bianca’s suitors. Rohrsen states, “Petruchio dagegen gibt sich als völlig unromantischer Freier.”10 He uses plainer language and is far more open and frank about his intentions; he even tells Katherina directly that he is determined to tame her:
For I am he am born to tame you, Kate,
And bring you from a wild Kate to a Kate
Conformable as other household Kates. (II.i.269-271)
Already here he shows that he does not demand total submission; he only wants the “normal”, “sensible” submission of a wife to her husband, the one that has its limits and is based on mutual love and respect. As he is very self-confident, he is convinced that he will easily achieve his aim of taming Katherina.
His taming does not prove itself to be a training which is based on physical violence, although the lines
... I’ll tell you what, sir, and she stand
him but little, he will throw a figure in her face
and disfigure her with it that she shall have no
more eyes to see withal than a cat (I.ii.111-114),
spoken by his servant Grumio, suggest that he is capable of violent behaviour.11 He also refrains from forcing her to consummate the marriage on the wedding night and, like that, shows that he has a certain amount of respect for Katherina’s ownership of her own body.12 The taming occurs on another level; Petruchio shows Katherina the effects of behaviour similar to hers on those affected, for example by letting her wait on their wedding and by finally appearing there in a very unconventional attire.13 Most of his taming relies on words rather than on actions, for example by deliberately misunderstanding Katherina (cf. II.i.182-272). However, Petruchio also uses some “traditional” methods of taming a Shrew; he deprives her of food and sleep. (cf. IV.i.184-194). In his speech to the audience he points out that he does not like doing all those things to her, but he does not know any other way to deal with her. (cf. IV.i.197f.)
In the course of the play it becomes evident that the relationship between Katherina and Petruchio is far more than that of the tamer and the tamed, it is that of a loving couple. Katherina notices that Petruchio appreciates her far more than her environment has done up that moment, and therefore she resigns herself up to a certain degree to the behaviour which is expected of her.14 Moreover, she is ready to show her affection to Petruchio because he does the same to her. This can be seen in the following lines:
Pet. First kiss me, Kate, and we will.
Kath. What, in the midst of the street?
Pet. What, art thou ashamed of me?
Kath. No, sir, God forbid; but ashamed to kiss.
Pet. Why, then, let’s go home again. Come, sirrah, let’s away. Kath. Nay, I will give thee a kiss. Now pray thee, love, stay. Pet. Is not this well? Come, my sweet Kate. Better once than never, for never too late. (V.ii.131-138)
This passage does not show Katherina’s total submission, but it shows the affectionate, intimate love which has developed between her and Petruchio. Their love is based on more than romantic attraction or blind submission of the wife, they are friends and companions.15
3. Conclusion
The final scene of The Taming of the Shrew shows “the triumph of the unconventional over the conventional”16, it shows that Katherina’s and Petruchio’s marriage, which has started rather unconventionally, seems to have better chances of being a happy one than those of Lucentio and Hortensio, which are conventional.
By contrasting the two concepts of love throughout the play and by presenting the conventional love between Bianca and her wooers as deceptive and superficial, Shakespeare speaks out in clearly favour of the unconventional concept of love present in the relationship between Petruchio and Katherina.
Love concepts in Shakespeare’s The Taming of the Shrew
Bibliography
I. Primary Literature
Shakespeare, William, The Taming of the Shrew, ed. by Brian Morris (London, 1981), The Arden Shakespeare.
II. Secondary Literature
II.1 Monographs
Hillegass, L. L., The Taming of the Shrew - Notes (Lincoln, Nebraska, 1971), Cliffs Notes.
Schomburg, Elias Hugo, The Taming of the Shrew - Eine Studie zu Shaksperes Kunst (Halle a. S., 1904).
II.2 Chapters
Dash, Irene G., “Challenging Patterns - The Taming of the Shrew”, in: Wooing, Wedding and Power: Women in Shakespeare ’ s Plays (New York, 1981), pp. 33-64.
Hehl, Ursula, “Die narzißtische Symptomatik als Reaktion auf die Diskriminierung der Frau in der patriarchalischen Gesellschaft - The Taming of the Shrew ” , in: Manifestationen narzißtischer Persönlichkeitsstörungen in Shakespeares romantischen Komödien (Trier, 1995), pp. 213-224.
Rohrsen, Peter , “ The Taming of the Shrew ” , in: Die Preisrede auf die Geliebte in Shakespeares Komödien und Romanzen (Heidelberg, 1977), pp.228-231.
Tillyard, E. M. W., “The Taming of the Shrew”, in: Shakespeare ’ s Early Comedies (London, 1965), pp. 73-111).
[...]
1 All references to the primary text The Taming of the Shrew refer to this edition:
Shakespeare, William, The Taming of the Shrew, ed. by Brian Morris (London, 1981), The Arden Shakespeare.
2 Hehl, Ursula, Manifestationen narzißtischer Persönlichkeitsstörungen in Shakespeare ’ s romantischen Komödien (Trier, 1995), p. 213.
3 Tillyard, E. M. W., Shakespeare ’ s Early Comedies (London, 1965), p. 73.
4 cf. Dash, Irene G., Wooing, Wedding and Power: Women in Shakespeare ’ s Plays (New York, 1981), p. 57.
5 Rohrsen, Peter, Die Preisrede auf die Geliebte in Shakespeare ’ s Komödien und Romanzen (Heidelberg, 1977), pp. 228f.
6 Dash, Irene G. (1981), p. 50.
7 Dash, Irene G. (1981), p. 43.
8 Schomburg, Elias Hugo, “The Taming of the Shrew” (Halle a. S., 1904), p. 101.
9 Hillegass, L. L., The Taming of the Shrew - Notes (Lincoln, Nebraska,1971), p. 56.
10 Rohrsen, Peter (1977), p. 229.
11 cf. Hehl, Ursula (1995), p. 215.
12 cf. Dash, Irene G. (1981), p. 36.
13 cf. Hehl, Ursula (1995), p. 219.
14 cf. Dash, Irene G. (1981), p. 61.
15 cf. Dash, Irene G. (1981), p. 61.
Frequently Asked Questions about Love Concepts in Shakespeare’s The Taming of the Shrew
What are the different concepts of love explored in Shakespeare's The Taming of the Shrew?
The play presents various concepts of love, including romantic and rational love, mature and immature love, intimate and reserved love, paternal love, and the love of a daughter. These are contrasted through different characters.
How does the play contrast conventional and unconventional love?
The play explores the contrast between socially accepted, conventional love (represented by characters like Bianca's suitors) and unconventional love (primarily through the relationship of Katherina and Petruchio). The induction also highlights this contrast.
What does the induction reveal about conventional love?
The induction contrasts the love of the Lord and the page, representing conventional love as predominant in the upper class, marked by obedience, loyalty, and distance. Husband and wife address each other as "Lord" and "Madam". Sly represents a lower-class view desiring more intimacy and understanding.
What characterizes Bianca's suitors' love?
Bianca's suitors (Lucentio, Hortensio, and Gremio) represent conventional, romantic love. Lucentio especially embodies Petrarchan ideals, using cliché language and focusing on Bianca's idealized image. Deception is also a significant element, with characters disguising themselves.
How is Petruchio's wooing different from Bianca's suitors?
Petruchio is unromantic and straightforward. He is attracted by Katherina's money and the challenge of taming her. He uses plain language and openly states his intentions, contrasting with the poetic and deceptive approaches of Bianca's suitors.
What does Petruchio’s taming of Katherina involve?
Petruchio's taming is not purely based on physical violence, although suggestions exist. The taming occurs through showing Katherina the effects of her behavior, depriving her of food and sleep, and deliberately misunderstanding her. Importantly, he respects Katherina’s ownership of her body.
How does the relationship between Katherina and Petruchio evolve?
Their relationship evolves beyond tamer and tamed into a loving couple. Katherina realizes Petruchio appreciates her more than others. Affection develops, based on more than romantic attraction or blind submission; they become friends and companions.
What is the significance of the final scene?
The final scene shows the "triumph of the unconventional over the conventional," suggesting that Katherina and Petruchio's unconventional marriage has a better chance of success than the conventional marriages of Lucentio and Hortensio. The play favors the unconventional love of Petruchio and Katherina.
- Quote paper
- Annette Höing (Author), 2000, Love concepts in Shakespeare`s - The Taming of the Shrew, Munich, GRIN Verlag, https://www.grin.com/document/101001
