Superficial Versus Practical Relationships in The Taming of the Shrew
A central theme of William Shakespeare’s The Taming of the Shrew is the nature and evolution of romantic relationships. Shakespeare juxtaposes several drastically different personalities. Refusing to conform to society’s expectations of women, Katherine, the incredibly ill-tempered eldest daughter of the wealthy Baptista Minola, is constantly abusive and hostile to all who meet her, deliberately repelling potential spouses. On the other hand, her younger sister Bianca is attractive, modest, and agreeable, alluring multiple suitors. The two leading men who pursue the daughters are polar opposites as well. Cocky, materialistic, and manipulative, Petruchio desires wealth and intends to tame Katherine’s shrewish behavior. Conversely, Lucentio is romantic and affectionate, seeking to win Bianca’s love through courtship and flirtation rather than economic promises. The developments and actions of each couple lead to significant consequences. *By contrasting the superficially romantic with the practical and symbiotic, Shakespeare demonstrates the need of a dominant and subservient role for a successful and harmonious relationship.*
From the very beginning, Lucentio and Bianca’s relationship is naively romantic. Shortly after arriving in Padua, Lucentio falls in love with Bianca at first sight and is immediately determined to win her, confessing to his servant, “Tranio, I burn, I pine, I perish, Tranio, / If I achieve not this young modest girl” (Shr. 1.1.150-51). Unlike her rude and defiant sister, Bianca is well-behaved and obedient, a model woman for her time period. Despite possessing little knowledge of her, Lucentio hastily abandons the presumably long-desired studies made possible by his generous father and follows the newfound desire of his heart, neglecting to see the risks of his spontaneity. Rather than bargaining directly with Baptista like the other suitors, Lucentio woos Bianca in secret by assuming the guise of a schoolmaster while his servant and a stranger masquerade as him and his father. Favoring sentiment over materialism, Lucentio wishes to win her solely with his heart and not through economic negotiations. He sneakily reveals his feelings to Bianca through clever dialogue, and she responds with both interest and doubt. Another of her suitors, Hortensio, who lacks Lucentio’s fancifulness and determination, attempts a similar trick but fails to gain her affection and eventually withdraws from the competition. The secret romance between Lucentio and Bianca continues; however, these frivolous flirtations remain the only substance of their relationship. They may think they love one another, but their attraction is merely superficial. In order to keep their supposed love hidden, much of their relationship revolves around deception rather than honesty, and they forget to consider how their actions might affect others. Blinded by shallow emotion, they elope after an unexpected change in plans, and in doing so, the once obedient Bianca defies her father’s wishes. Their deceit results in the near arrest of Lucentio’s real father and the disgruntlement of both their fathers. Guided by whimsical romance rather than reason, Lucentio and Bianca’s carelessness have unfavorable consequences and all for the sake of an insubstantial and underdeveloped relationship.
While Lucentio acts out of superficial love, Petruchio’s motivations are financial: “I come to wive it wealthily in Padua; / If wealthily, then happily in Padua” (Shr. 1.2.72-73). In spite of Katherine’s reputation as a hot-tempered shrew, he is perfectly willing to marry her before having even seen her. From the start, Petruchio and Katherine appear to be an unlikely match romantically, but they are the perfect match intellectually: their first encounter becomes a battle of wits. For every insult Katherine spews, Petruchio rebounds with an exaggerated compliment, both frustrating her and proving that he is a worthy contender against her sharp, infamous tongue. Contrary to Lucentio’s lovesick impulsiveness, Petruchio’s decision-making is much more methodical but just as daring. Once the arrangement is underway, he immediately begins the intricate process of molding Katherine’s aggressive demeanor. He arrives late to the wedding in ridiculous attire, embarrasses himself during the ceremony, and announces to everyone that Katherine is his property before leaving prematurely. Proceeding with his devious scheme, Petruchio barks angrily at his servants, deprives Katherine of food and sleep, rejects offerings of fine garments, and excuses his actions by claiming that he only wants the best for her. His treatment of Katherine may seem harsh or eccentric, but it is merely an exaggeration to make his point clear: her duty as his wife is to give him complete and unquestionable obedience and trust. In addition, his offensive conduct toward others reflects her own unpleasant deportment, showing her the unattractiveness of being a shrew. While these blatant discrepancies over etiquette frustrate her, an absurd dispute over reality itself finally pushes her over the edge and makes her realize the futility of resistance. She yields to Petruchio’s tortuous training, promising to accept everything he says:
Then God be blessed, it is the blessed 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. (Shr. 4.5.19-23)
Soon after, the two practice this newly established agreement when playfully confusing an old man for a young girl. Peter Saccio states that “[t]he games release her from her compulsiveness, her anger at her father’s favoritism, her misunderstanding of Petruchio’s interest in her” (Saccio). At last, the couple uses their shared mastery of language for good humor, relating to one another through a common talent, something Lucentio and Bianca never accomplish. When Katherine obeys Petruchio’s request to kiss him in the middle of the street, the taming is complete. The relationship that began as an economic endeavor for Petruchio and a hellish nightmare for Katherine finally consolidates, and now they happily complement one another both in intellect and romance.
The two relationships are put to the test when the husbands bet on which wife will come first when sent for. Bianca does not obey, and her unexpected disloyalty reveals her previously hidden insubordinate nature and shows how little the couple understands one another. Katherine, however, comes without hesitation, ready to follow Petruchio’s next order. Her radical transformation is a surprise to everyone, and she expresses her newfound attitude as she chastises the behavior of the other women:
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign, one that cares for thee,
And for thy maintenance commits his body
To painful labor both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe,
And craves no other tribute at thy hands
But love, fair looks and true obedience—
Too little payment for so great a debt. (Shr. 5.2.155-63)
Katherine’s speech may seem anti-feminist, especially in today’s society, but as Saccio points out, “Kate’s speech justifies the submission of wives as a political arrangement, not as a theological tyranny. Husband and wife have distinctive roles in a cooperative and companionate union” (Saccio). Shakespeare is not encouraging male supremacy, but rather perceives relationships as a symbiotic association. It is a mutual partnership between a leader and a follower; while both do not share equal power, both share equal dependence—one provides, the other serves, and each is satisfied. Rasha El-Haggan notes, “In the workforce, every company has a president, every project has a project manager, and every division has a director. Globally, every school has a principal, every city has a mayor, every state has a governor, and every country has a president. Why should marriage be any different?” (El-Haggan). This concept may seem inappropriate to the modern world, but it is already prevalent and successful, if not as obvious as Shakespeare’s paradigm. A perfectly collaborative relationship is near impossible since uncompromisable disagreements will inevitably arise. Survival requires order, and order requires leadership. Sharing power has always been a problem for human beings, and any attempt to do so usually ends in a power struggle. Petruchio and Katherine’s relationship begins with such a conflict; both are selfish and unaccustomed to willfully following orders, naturally resulting in a repulsion between the same polarities. When Katherine relinquishes her power and assumes a subservient role, an attraction quickly develops between the two, and she finally gains respect and happiness for her agreeable demeanor. On the other hand, Lucentio and Bianca’s relationship, which relies on instinctive feelings, is much weaker in structure and lacks a specified arrangement. As a result, their relationship begins in concordance and falls into a power struggle. Shakespeare is not encouraging sexism, but rather the need for a dominant position, whether male or female, to achieve harmony in a relationship; he merely makes the more traditional choice.
By placing two different types of relationships side by side, Shakespeare weighs the value of two antithetical approaches to romance. Lucentio and Bianca’s relationship is composed of shallow attraction, meaningless flirtation, and spontaneity, resulting in deceit and thoughtlessness. Petruchio and Katherine’s relationship initially seems just as troublesome but for other reasons: the materialistic husband’s primary motive is financial gain, and the fiendish wife enters the marriage involuntarily. However, Petruchio’s systematic and psychological tactics convert Katherine the shrew into an obedient companion, and the two utilize their sharp wits to bring each other together rather than keep each other apart. A final evaluation reveals that the latter relationship, comprised of a dominant and subservient role, is the happier and more functional. Ironically, Lucentio and Bianca’s relationship begins in peace and ends in conflict, whereas Petruchio and Katherine’s relationship begins in conflict and ends in peace. Some accuse Shakespeare of being anti-feminist, but he only sees relationships as a mutual arrangement requiring order achieved through leadership and compliance, important characteristics of nearly all human institutions. He demonstrates that while purely romantic relationships may sound more appealing, practical relationships are triumphant in the long run. Love is certainly an essential component, but a healthy relationship also demands organization in order to maintain it.
.
El-Haggan, Rasha. "Obedience in The Taming of the Shrew: An Islamic Perspective." The Modern Religion. 1998. 10 Apr. 2005.
Saccio, Peter. "Kate Plays the Game." American Repertory Theatre. 23 Jan. 1998. 10 Apr. 2005.
Shakespeare, William. The Taming of the Shrew. Ed. John Crowther. New York: Spark, 2004.
From the very beginning, Lucentio and Bianca’s relationship is naively romantic. Shortly after arriving in Padua, Lucentio falls in love with Bianca at first sight and is immediately determined to win her, confessing to his servant, “Tranio, I burn, I pine, I perish, Tranio, / If I achieve not this young modest girl” (Shr. 1.1.150-51). Unlike her rude and defiant sister, Bianca is well-behaved and obedient, a model woman for her time period. Despite possessing little knowledge of her, Lucentio hastily abandons the presumably long-desired studies made possible by his generous father and follows the newfound desire of his heart, neglecting to see the risks of his spontaneity. Rather than bargaining directly with Baptista like the other suitors, Lucentio woos Bianca in secret by assuming the guise of a schoolmaster while his servant and a stranger masquerade as him and his father. Favoring sentiment over materialism, Lucentio wishes to win her solely with his heart and not through economic negotiations. He sneakily reveals his feelings to Bianca through clever dialogue, and she responds with both interest and doubt. Another of her suitors, Hortensio, who lacks Lucentio’s fancifulness and determination, attempts a similar trick but fails to gain her affection and eventually withdraws from the competition. The secret romance between Lucentio and Bianca continues; however, these frivolous flirtations remain the only substance of their relationship. They may think they love one another, but their attraction is merely superficial. In order to keep their supposed love hidden, much of their relationship revolves around deception rather than honesty, and they forget to consider how their actions might affect others. Blinded by shallow emotion, they elope after an unexpected change in plans, and in doing so, the once obedient Bianca defies her father’s wishes. Their deceit results in the near arrest of Lucentio’s real father and the disgruntlement of both their fathers. Guided by whimsical romance rather than reason, Lucentio and Bianca’s carelessness have unfavorable consequences and all for the sake of an insubstantial and underdeveloped relationship.
While Lucentio acts out of superficial love, Petruchio’s motivations are financial: “I come to wive it wealthily in Padua; / If wealthily, then happily in Padua” (Shr. 1.2.72-73). In spite of Katherine’s reputation as a hot-tempered shrew, he is perfectly willing to marry her before having even seen her. From the start, Petruchio and Katherine appear to be an unlikely match romantically, but they are the perfect match intellectually: their first encounter becomes a battle of wits. For every insult Katherine spews, Petruchio rebounds with an exaggerated compliment, both frustrating her and proving that he is a worthy contender against her sharp, infamous tongue. Contrary to Lucentio’s lovesick impulsiveness, Petruchio’s decision-making is much more methodical but just as daring. Once the arrangement is underway, he immediately begins the intricate process of molding Katherine’s aggressive demeanor. He arrives late to the wedding in ridiculous attire, embarrasses himself during the ceremony, and announces to everyone that Katherine is his property before leaving prematurely. Proceeding with his devious scheme, Petruchio barks angrily at his servants, deprives Katherine of food and sleep, rejects offerings of fine garments, and excuses his actions by claiming that he only wants the best for her. His treatment of Katherine may seem harsh or eccentric, but it is merely an exaggeration to make his point clear: her duty as his wife is to give him complete and unquestionable obedience and trust. In addition, his offensive conduct toward others reflects her own unpleasant deportment, showing her the unattractiveness of being a shrew. While these blatant discrepancies over etiquette frustrate her, an absurd dispute over reality itself finally pushes her over the edge and makes her realize the futility of resistance. She yields to Petruchio’s tortuous training, promising to accept everything he says:
Then God be blessed, it is the blessed 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. (Shr. 4.5.19-23)
Soon after, the two practice this newly established agreement when playfully confusing an old man for a young girl. Peter Saccio states that “[t]he games release her from her compulsiveness, her anger at her father’s favoritism, her misunderstanding of Petruchio’s interest in her” (Saccio). At last, the couple uses their shared mastery of language for good humor, relating to one another through a common talent, something Lucentio and Bianca never accomplish. When Katherine obeys Petruchio’s request to kiss him in the middle of the street, the taming is complete. The relationship that began as an economic endeavor for Petruchio and a hellish nightmare for Katherine finally consolidates, and now they happily complement one another both in intellect and romance.
The two relationships are put to the test when the husbands bet on which wife will come first when sent for. Bianca does not obey, and her unexpected disloyalty reveals her previously hidden insubordinate nature and shows how little the couple understands one another. Katherine, however, comes without hesitation, ready to follow Petruchio’s next order. Her radical transformation is a surprise to everyone, and she expresses her newfound attitude as she chastises the behavior of the other women:
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign, one that cares for thee,
And for thy maintenance commits his body
To painful labor both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe,
And craves no other tribute at thy hands
But love, fair looks and true obedience—
Too little payment for so great a debt. (Shr. 5.2.155-63)
Katherine’s speech may seem anti-feminist, especially in today’s society, but as Saccio points out, “Kate’s speech justifies the submission of wives as a political arrangement, not as a theological tyranny. Husband and wife have distinctive roles in a cooperative and companionate union” (Saccio). Shakespeare is not encouraging male supremacy, but rather perceives relationships as a symbiotic association. It is a mutual partnership between a leader and a follower; while both do not share equal power, both share equal dependence—one provides, the other serves, and each is satisfied. Rasha El-Haggan notes, “In the workforce, every company has a president, every project has a project manager, and every division has a director. Globally, every school has a principal, every city has a mayor, every state has a governor, and every country has a president. Why should marriage be any different?” (El-Haggan). This concept may seem inappropriate to the modern world, but it is already prevalent and successful, if not as obvious as Shakespeare’s paradigm. A perfectly collaborative relationship is near impossible since uncompromisable disagreements will inevitably arise. Survival requires order, and order requires leadership. Sharing power has always been a problem for human beings, and any attempt to do so usually ends in a power struggle. Petruchio and Katherine’s relationship begins with such a conflict; both are selfish and unaccustomed to willfully following orders, naturally resulting in a repulsion between the same polarities. When Katherine relinquishes her power and assumes a subservient role, an attraction quickly develops between the two, and she finally gains respect and happiness for her agreeable demeanor. On the other hand, Lucentio and Bianca’s relationship, which relies on instinctive feelings, is much weaker in structure and lacks a specified arrangement. As a result, their relationship begins in concordance and falls into a power struggle. Shakespeare is not encouraging sexism, but rather the need for a dominant position, whether male or female, to achieve harmony in a relationship; he merely makes the more traditional choice.
By placing two different types of relationships side by side, Shakespeare weighs the value of two antithetical approaches to romance. Lucentio and Bianca’s relationship is composed of shallow attraction, meaningless flirtation, and spontaneity, resulting in deceit and thoughtlessness. Petruchio and Katherine’s relationship initially seems just as troublesome but for other reasons: the materialistic husband’s primary motive is financial gain, and the fiendish wife enters the marriage involuntarily. However, Petruchio’s systematic and psychological tactics convert Katherine the shrew into an obedient companion, and the two utilize their sharp wits to bring each other together rather than keep each other apart. A final evaluation reveals that the latter relationship, comprised of a dominant and subservient role, is the happier and more functional. Ironically, Lucentio and Bianca’s relationship begins in peace and ends in conflict, whereas Petruchio and Katherine’s relationship begins in conflict and ends in peace. Some accuse Shakespeare of being anti-feminist, but he only sees relationships as a mutual arrangement requiring order achieved through leadership and compliance, important characteristics of nearly all human institutions. He demonstrates that while purely romantic relationships may sound more appealing, practical relationships are triumphant in the long run. Love is certainly an essential component, but a healthy relationship also demands organization in order to maintain it.
Notes
Rasha El-Haggan’s “Obedience in The Taming of the Shrew: An Islamic Perspective,” is an interesting look at the play and relationships from a religious standpoint.Works Cited
Danford-Cordingley, Joanne. "The Taming of the Shrew." Women’s Studies. Athabasca U. 2004. 10 Apr. 2005 El-Haggan, Rasha. "Obedience in The Taming of the Shrew: An Islamic Perspective." The Modern Religion. 1998. 10 Apr. 2005
Saccio, Peter. "Kate Plays the Game." American Repertory Theatre. 23 Jan. 1998. 10 Apr. 2005
Shakespeare, William. The Taming of the Shrew. Ed. John Crowther. New York: Spark, 2004.
