Book contents
- Frontmatter
- Criticism of the Comedies up to The Merchant of Venice: 1953–82
- Plotting the Early Comedies: The Comedy of Errors, Love’s Labour’s Lost, The Two Gentlemen of Verona
- The Good Marriage of Katherine and Petruchio
- Shrewd and Kindly Farce
- Illustrations to A Midsummer Night’s Dream before 1920
- The Nature of Portia’s Victory: Turning to Men in The Merchant of Venice
- Nature’s Originals: Value in Shakespearian Pastoral
- 'Contrarieties agree': An Aspect of Dramatic Technique in Henry VI
- Falstaff’s Broken Voice
- ‘He who the sword of heaven will bear’: The Duke versus Angelo in Measure for Measure
- War and Sex in All’s Well That Ends Well
- Changing Places in Othello
- Prospero’s Lime Tree and the Pursuit of Vanitas
- Shakespearian Character Study to 1800
- How German is Shakespeare in Germany? Recent Trends in Criticism and Performance in West Germany
- Shakespeare Performances in Stratford upon–Avon–and London, 1982–3
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Editions and Textual Studies
- Index
The Good Marriage of Katherine and Petruchio
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Criticism of the Comedies up to The Merchant of Venice: 1953–82
- Plotting the Early Comedies: The Comedy of Errors, Love’s Labour’s Lost, The Two Gentlemen of Verona
- The Good Marriage of Katherine and Petruchio
- Shrewd and Kindly Farce
- Illustrations to A Midsummer Night’s Dream before 1920
- The Nature of Portia’s Victory: Turning to Men in The Merchant of Venice
- Nature’s Originals: Value in Shakespearian Pastoral
- 'Contrarieties agree': An Aspect of Dramatic Technique in Henry VI
- Falstaff’s Broken Voice
- ‘He who the sword of heaven will bear’: The Duke versus Angelo in Measure for Measure
- War and Sex in All’s Well That Ends Well
- Changing Places in Othello
- Prospero’s Lime Tree and the Pursuit of Vanitas
- Shakespearian Character Study to 1800
- How German is Shakespeare in Germany? Recent Trends in Criticism and Performance in West Germany
- Shakespeare Performances in Stratford upon–Avon–and London, 1982–3
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Editions and Textual Studies
- Index
Summary
Nowadays, The Taming of the Shrew is taken in its entirety, without mutilation, crude business with whips (imported by Kemble) or announcements of the embarrassing incompetence of the prentice Shakespeare. It is winning increasing praise, for the structure of its interlocking parts among other things, and is becoming understood as a fast-moving play about various kinds of romance and fulfilment in marriage.
Problems remain, of course, particularly with Katherine’s final speech: modern solutions making it a statement of contemporary doctrine, or of male fantasy, or of almost unbelievably sustained irony, do not any of them seem to suggest that there is much for Katherine and Petruchio to look forward to in marriage. The speech is a disappointment after the tender moment of ‘Nay, I will give thee a kiss’ (5.1.133) which suggested that something was coming with a lot of good feeling in it, an impression later supported by her having the wit to win Petruchio’s wager for him. Moreover, submission, as it is first, and strongly, presented in the play, in the Induction, scene 1, is denigration, a game played by pretended attendants; and wifely submission, shown even more strongly in the following scene, is sport by a page dressed as the sham wife of a ridiculously deceived ‘husband’. It is all a pastime, and false.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 23 - 32Publisher: Cambridge University PressPrint publication year: 1984
- 1
- Cited by