Cover image for The taming of the shrew
Title:
The taming of the shrew
Author:
Shakespeare, William, 1564-1616.
Publication Information:
Cambridge [Cambridgeshire] ; New York : Cambridge University Press, [1984]

©1984
Physical Description:
xiii, 190 pages : illustrations ; 24 cm.
Language:
English
Genre:
Added Author:
ISBN:
9780521221955

9780521293884
Format :
Book

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Summary

Summary

An international team of scholars offers: * modernised, easily accessible texts * ample but unobtrusive academic guidance * attention to the theatrical qualities of each play and its stage history * informative illustations, including reconstructions of early performances


Author Notes

William Shakespeare, 1564 - 1616 Although there are many myths and mysteries surrounding William Shakespeare, a great deal is actually known about his life. He was born in Stratford-Upon-Avon, son of John Shakespeare, a prosperous merchant and local politician and Mary Arden, who had the wealth to send their oldest son to Stratford Grammar School.

At 18, Shakespeare married Anne Hathaway, the 27-year-old daughter of a local farmer, and they had their first daughter six months later. He probably developed an interest in theatre by watching plays performed by traveling players in Stratford while still in his youth. Some time before 1592, he left his family to take up residence in London, where he began acting and writing plays and poetry.

By 1594 Shakespeare had become a member and part owner of an acting company called The Lord Chamberlain's Men, where he soon became the company's principal playwright. His plays enjoyed great popularity and high critical acclaim in the newly built Globe Theatre. It was through his popularity that the troupe gained the attention of the new king, James I, who appointed them the King's Players in 1603. Before retiring to Stratford in 1613, after the Globe burned down, he wrote more than three dozen plays (that we are sure of) and more than 150 sonnets. He was celebrated by Ben Jonson, one of the leading playwrights of the day, as a writer who would be "not for an age, but for all time," a prediction that has proved to be true.

Today, Shakespeare towers over all other English writers and has few rivals in any language. His genius and creativity continue to astound scholars, and his plays continue to delight audiences. Many have served as the basis for operas, ballets, musical compositions, and films. While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. At the height of his career, he wrote an average of two plays a year as well as dozens of poems, songs, and possibly even verses for tombstones and heraldic shields, all while he continued to act in the plays performed by the Lord Chamberlain's Men. This staggering output is even more impressive when one considers its variety. Except for the English history plays, he never wrote the same kind of play twice. He seems to have had a good deal of fun in trying his hand at every kind of play.

Shakespeare wrote 154 sonnets, all published on 1609, most of which were dedicated to his patron Henry Wriothsley, The Earl of Southhampton. He also wrote 13 comedies, 13 histories, 6 tragedies, and 4 tragecomedies. He died at Stratford-upon-Avon April 23, 1616, and was buried two days later on the grounds of Holy Trinity Church in Stratford. His cause of death was unknown, but it is surmised that he knew he was dying.

(Bowker Author Biography)


Reviews 2

Library Journal Review

A comedy and drama about strained marital relations get Yale's red-carpet treatment. Each volume contains an essay by Harold Bloom and other extras. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

This valuable book "offers students historical avenues of approach to Shakespeare as well as Shakespearean avenues of approach to social history." Besides providing the complete text of The Taming of the Shrew (edited and copiously footnoted by David Bevington), Dolan (Miami Univ.) has collected a wide range of primary historical documents. For example, she offers excerpts from T.E.'s "The Law's Resolution of Women's Rights" (1632), Gouge's "Domestical Duties: Eight Treatises" (1634), and Whately's "Bride-Bush" (1623). This intertextual constellation interrogates the construction of gender in Renaissance culture and will foster heated debates about "marriage, women, and domesticity." Dolan makes these texts accessible by modernizing and standardizing spelling, punctuation, and paragraphs. Finally, this comprehensive literary storehouse includes seven pages of bibliographic information (primary and secondary sources), 16 illustrations, and insightful commentary introducing the book and accompanying the historical texts. This reviewer eagerly anticipates similar editions from this publisher. J. S. Carducci Winona State University


Excerpts

Excerpts

Introduction   THE "TAMING" AND THE "SHREW"   The Taming of the Shrew : is Kate (or should we call her Katherina?) really a "shrew" and is she really "tamed"?   The novelist Vladimir Nabokov once wrote that "reality" is a word that only has meaning when it is placed between quotation marks. The physicist's "reality" is not the same as the biochemist's, the secular humanist's as the religious fundamentalist's. Dare one say that woman's is not the same as man's? In a culture where the conception of inherent sexual difference is regarded as a mere prejudice, as a forbidden thought (regardless of the "reality" revealed by molecular biology and neuroanatomy), The Taming of the Shrew is not likely to be one of Shakespeare's most admired plays. Its presentation of female subordination presents the same kind of awkwardness for liberal sensibilities that the representation of Shylock does in the postHolocaust world. At face value, the play proposes that desirable women are quiet and submissive, whereas women with spirit must be "tamed" through a combination of physical and mental abuse. Necessary tools may include starvation, sense deprivation, and the kind of distortion of "reality" that is practiced in totalitarian regimes.   Thus O'Brien to Winston Smith in George Orwell's 1984 : "How many fingers am I holding up?" In this "reality" the correct answer is not the actual number but the number that the torturer says he is holding up. There is a precise analogy on the road back to Padua, after Kate has undergone her taming in the secluded country house where no neighbor will hear her cries:   PETRUCHIO I say it is the moon.   KATE I know it is the moon.   PETRUCHIO Nay, then you lie. It is the blessèd sun.   KATE Then, God be blessed, it is the blessèd sun. But sun it is not, when you say it is not, And the moon changes even as your mind. What you will have it named, even that it is, And so it shall be so for Katherine.   HORTENSIO Petruchio, go thy ways, the field is won.   She has been bent to her husband's will. She is now ready to demonstrate that she is prepared to love, serve, and obey him. She knows her place: "Such duty as the subject owes the prince / Even such a woman oweth to her husband." She offers to place her hand beneath her husband's foot. The shrew is tamed.   The younger dramatist John Fletcher, who was Shakespeare's collaborator in his final years, clearly thought that this harsh ending needed a riposte. He wrote a sequel, The Woman's Prize; or, The Tamer Tamed, in which Kate has died and Petruchio remarried, only to find his new wife giving him a taste of his own medicine by means of the time-honored device of refusing to sleep with him until he submits to her will. Kate's sister Bianca plays the role of colonel in a war between the sexes which the women win, thus proving that it was an act of folly for Petruchio to tyrannize over his first wife in Shakespeare's play   In Shakespeare's time, it was absolutely orthodox to believe that a man was head of the household, as the monarch was head of state and God was head of the cosmos. "My foot my tutor?" says Prospero in The Tempest when his daughter, Miranda, presumes to speak out of turn: if the man was the head, the girl-child was the foot, just as in Coriolanus a plebeian is nothing more than the "big toe" of the commonwealth. Kate's readying of her hand to be trodden upon turns the analogy between social and bodily hierarchy into a stage image. But she is going much further than she should: the wife was not supposed to be beneath the foot, she was supposed to be the heart of the household. Instead of crowing in his triumph, Petruchio says "kiss me, Kate" for the third time, giving Cole Porter a title for his reimagining of the story in the cheerful mode of a musical.   Nabokov placed the word "reality" in quotation marks not because he was a cultural relativist, but because he was an aesthete. That is to say, he did not believe that art was merely a reflection, a mirror, of a preexistent "reality." Art shapes the way in which we perceive ourselves and the world. "Falling in love" is not only the work of molecular change in the brain, but also a set of behaviors learned from the romantic fictions of page, stage--now screen--and cultural memory. One of the tricks of great art is to draw attention to its own artificiality and in so doing paradoxically assert that its "reality" is as real as anything in the quotidian world of its audience. Shakespeare's taste for plays-within-the-play and allusions to the theatricality of the world, Mozart's witty quotations of the clichés of operatic convention, and Nabokov's magical wordplay all fulfill this function.   Sometimes, though, the opposite device is used: an artist puts quotation marks around a work in order to say "Don't take this too seriously, don't mistake its feigning for 'reality.' " The Taming of the Shrew is such a work: the opening scenes with Christopher Sly place the entire play within quotation marks. The "induction" presents a series of wish-fulfillment fantasies to a drunken tinker: the fantasy that he is a lord, that he has a beautiful young wife, that scenes of erotic delight can be presented for his delectation, and that a company of professional players will stage "a kind of history" for his sole benefit, in order to frame his mind to "mirth and merriment" while teaching him how to tame a shrewish wife. But Sly is not a lord and the "wife" who watches with him is not a woman but a crosseddressed boy--which reminds us that in Shakespeare's working world the Kate who is humiliated by Petruchio was also not a woman but a cross-dressed boy-actor. The effect of the frame is to distance the action and so to suggest that it does not present the "reality" of proper marital relations. If Sly is not a lord and the pageboy not a wife, then this is not how to tame a shrew.   In the surviving script of the play, Sly and the pageboy disappear after the first act, presumably because Shakespeare's acting company was not large enough to waste several members of the cast sitting in the gallery as spectators all the way through. But in an anonymously published play of 1594 called The Taming of a Shrew, which is a source, adaptation, reconstruction or variant version of Shakespeare's play, the Christopher Sly "frame" is maintained throughout the action by means of a series of brief interludes and an epilogue. This version ends with the tinker heading for home with the claim that the play has taught him how to tame a shrew and thus to handle his own wife. But the tapster knows better: "your wife will course [thrash] you for dreaming here tonight." The hungover Sly is in no position to tame anybody; he will return home and be soundly beaten by his wife. Kate's speech propounds the patriarchal ideal of marriage, but in A Shrew the union of Sly and his wife reveals this ideology's distance from "reality." Its implied resolution, with the woman on top, intimates that "real" housewives are not silent and obedient, and plays cannot teach husbands to tame them into submission.   We do not need the epilogue of the anonymously published play to see that Shakespeare's ending is more complicated and ironic than first appears. Having been outwitted in his courtship of Bianca, Hortensio marries the widow for her money. The latter shows signs of frowardness and has to be lectured by Kate. The first half of Kate's famous submission speech is spoken in the singular, addressed specifically to the widow and not to womankind in general: "Thy husband is thy lord, thy life, thy keeper, / Thy head, thy sovereign: one that cares for thee." The contextual irony of this is not always appreciated: in contradistinction to Kate's prescriptions, in the particular marriage to which she is referring it will be the wife, the wealthy widow, who provides the "maintenance." Hortensio will be spared the labors of a breadwinner. According to Kate, all a husband asks from a wife is love, good looks, and obedience; these are said to be "Too little payment for so great a debt." But the audience knows that in this case the debt is all Hortensio's. Besides, he has said earlier that he is no longer interested in woman's traditional attribute of "beauteous looks"--all he wants is the money. Kate's vision of obedience is made to look oddly irrelevant to the very marriage upon which she is offering advice.   Excerpted from The Taming of the Shrew by William Shakespeare All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Table of Contents

List of illustrations
Preface
Abbreviations and conventions
Introduction
Notes on the text
List of characters
The play
Textual analysis
Appendixes
Reading list