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The Taming of the Shrew (The Comedies, Histories, and Tragedies of Mr. William Shakespeare, #2)

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IN offering the following considerations, I can only state that the evidence brought forward is such as is supported by contemporary authors, e. Purely external. I am aware that the date to which I as sign this play will probably give rise to more or less controversy; but at the same time there is no one who can prove that The Taming of the Shrew was in existence prior to IN offering the following considerations, I can only state that the evidence brought forward is such as is supported by contemporary authors, e. Purely external. I am aware that the date to which I as sign this play will probably give rise to more or less controversy; but at the same time there is no one who can prove that The Taming of the Shrew was in existence prior to 1607. Two years ago I should not have ventured to de clare the older comedy to be the production of Shakespeare; but a critical study of the play has convinced me that it was rightly assigned to him by that forgotten commentator, Edward Capell. --forgottenbooks.com


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IN offering the following considerations, I can only state that the evidence brought forward is such as is supported by contemporary authors, e. Purely external. I am aware that the date to which I as sign this play will probably give rise to more or less controversy; but at the same time there is no one who can prove that The Taming of the Shrew was in existence prior to IN offering the following considerations, I can only state that the evidence brought forward is such as is supported by contemporary authors, e. Purely external. I am aware that the date to which I as sign this play will probably give rise to more or less controversy; but at the same time there is no one who can prove that The Taming of the Shrew was in existence prior to 1607. Two years ago I should not have ventured to de clare the older comedy to be the production of Shakespeare; but a critical study of the play has convinced me that it was rightly assigned to him by that forgotten commentator, Edward Capell. --forgottenbooks.com

30 review for The Taming of the Shrew (The Comedies, Histories, and Tragedies of Mr. William Shakespeare, #2)

  1. 5 out of 5

    Madeline

    The Taming of the Shrew, abridged. PETRUCHIO: Hey Mr Minola, I wanna marry your daughter. The fact that she comes included with an awesome dowry has nothing to do with this. BAPTISTA: Oh, I'm sorry, I have this jackass rule that my daughter Bianca can't get married until her evil older sister does, so... PETRUCHIO: No, I want to marry the Kate chick. My friends tell me she's a ballbusting bitch - a "shrew", if you will - and I love a challenge. BAPTISTA: SOLD! to the rich guy with a death wish. Hav The Taming of the Shrew, abridged. PETRUCHIO: Hey Mr Minola, I wanna marry your daughter. The fact that she comes included with an awesome dowry has nothing to do with this. BAPTISTA: Oh, I'm sorry, I have this jackass rule that my daughter Bianca can't get married until her evil older sister does, so... PETRUCHIO: No, I want to marry the Kate chick. My friends tell me she's a ballbusting bitch - a "shrew", if you will - and I love a challenge. BAPTISTA: SOLD! to the rich guy with a death wish. Have fun, kids! *runs* PETRUCHIO: 'Sup, baby? KATE: FUCK YOU STRAIGHT TO HELL, DICKSHIT! PETRUCHIO: Aww. Who's a cute widdle feminist? Yes you are! Yes you - OW! Jesus Christ, you bit me! KATE: *foams at mouth* PETRUCHIO: Damn, this might take a few days. GREMIO: I want to marry Bianca! HORTENSIO: No, I want to marry Bianca! LUCENTIO: Too bad, losers! I'M going to marry Bianca, and for some reason I've decided that the best way to woo her is to disguise myself as a tutor. HORTENSIO: YOU STOLE MY IDEA! BIANCA: Mwahahaha! Dance, puppets, dance! HORTENSIO AND LUCENTIO: *dance* BAPTISTA: So, somehow everything turned out okay! Lucentio married Bianca in secret without my permission, which I'm totally okay with, and even Hortensio found a widow to be his rebound wife - WIDOW: Hi, I'm rich and horny! BAPTISTA: - and Gremio didn't get anyone, but he's old so we don't care, and even Petruchio was able to tame my daughter! PETRUCHIO: Sure - if by "tame" you mean "utterly break her spirit using methods that are now being employed by guards at Guantanamo", but sure, whatever works. BAPTISTA: So really, everyone wins. KATE: Hi honey! I just finished ironing your shirts and then I realized it's been over five minutes since I told you how awesome you are! You're the bestest husband ever! Gee, if only women could be as great as men! EVERYONE: Awwww. THE END.

  2. 5 out of 5

    Barry Pierce

    We get it Bill, you hate women.

  3. 4 out of 5

    Lisa

    Oh well, Shakespeare! What do you expect me to make of this, Sir? Me, being a Kate, but not starved, tortured, and humiliated into obedience, submission, complete surrender? How shall I read this play, that made me literally feel a knot in my stomach, that filled me with nausea, anger, and sadness? My first reaction was to think: “Thank you, Sir, that’s enough. I’ll have none of this anymore, you may be my literary hero, but this is TOO MUCH!” Then all those other authors came to mind, those bril Oh well, Shakespeare! What do you expect me to make of this, Sir? Me, being a Kate, but not starved, tortured, and humiliated into obedience, submission, complete surrender? How shall I read this play, that made me literally feel a knot in my stomach, that filled me with nausea, anger, and sadness? My first reaction was to think: “Thank you, Sir, that’s enough. I’ll have none of this anymore, you may be my literary hero, but this is TOO MUCH!” Then all those other authors came to mind, those brilliant authors who wrote about misogyny, colonisation and taming of human minds, and I reconsidered. If I read Shakespeare’s taming of Kate as a moral play, I have to reject it with disgust, regardless of what the customs of the time were. But as a parable on how to break a spirit, it is quite unsurpassed in its cruelty and effectiveness, and as such, it holds a truth that still, unfortunately, is quite unchallenged in many parts of society. At the beginning of the play, Kate is a “wild-cat”, a falcon that cherishes her own way of living and thinking and speaking, and fears no man. She doesn’t know the treacherous power of the falconer, who uses her talents to tame her, as Petrucchio himself puts it: “My falcon now is sharp”. Chinua Achebe, in the title for his classic novel Things Fall Apart, chose a a line from a poem by Yeats to allude to the same kind of relationship between European colonisers and free African men, with a similar end result of complete breakdown of the falcon’s way of life after being forced to surrender to the game of the falconer: Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Survival of the cruellest and most ruthless players, the rule seems to be. It is extremely painful to follow Kate’s path from an educated, strong-willed, thinking young woman to a brainwashed “puppet”, similar to the alternative Nora in Ibsen’s rewritten ending of A Doll's House: forced to surrender. “Why, sir, I trust I may have leave to speak; And speak I will; I am no child, no babe: Your betters have endured me say my mind; And if you cannot, best you stop your ears. My tongue will tell the anger of my heart; Or else my heart, concealing it, will break: And rather than it shall, I will be free Even to the uttermost, as I please, in words.” Wouldn’t those have been wonderful last words for a strong heroine, standing her ground? Better than what came after her ordeal, in any case, a sermon held in front of her husband, who celebrates and cashes in money after betting that he can prove that he has broken his wife’s spirit completely, spoken as an appeal to the other men and women in the play as well. Kate now is claiming women should love the masters that force their will upon them: “Such duty as the subject owes the prince, Even such a woman oweth to her husband…” She adopts this attitude, of missionary female submission, after going through an episode where Petrucchio makes her claim that the sun is the moon or whatever else he calls it. This brainwashing method calls to mind the horrible torture in Orwell’s 1984, where citizens are pushed to the point of accepting whatever falsehood Big Brother chooses to sell as truth of the day. If Big Brother says 2+2=5, then that is true. Period. Neither Orwell nor Shakespeare leave it at that, though. The taming is not complete until Winston whispers in the end: “I love Big Brother”, and that is precisely what Kate does as well. Having been pushed over the edge, she accepts, and embraces, her prison and loves her jailer. The Spanish Inquisition worked with similar methods. So, what do I make of this piece? I hate it. And I admire Shakespeare for putting abuse of power on stage so clearly. For his female characters are strong falcons, they are intelligent and free in their own chosen life style. But they break under cruel torture and horribly unjust social conditions, just like any human being does. Achebe’s Okonkwo is a proud man, but he breaks under the superior weapons of the European usurpers. Winston is a rebel, but Big Brother has better tools of control. I will close the review with an echo of Kate’s words when she was still a bird outside the cage, free to use her words to speak her mind. As long as those words are not erased from the play, but hold their position in the history of Kate, she will never completely surrender: “Why, sir, I trust I may have leave to speak; And speak I will; I am no child, no babe: You betters have endured me say my mind; And if you cannot, best you stop your ears. My tongue will tell the anger of my heart; Or else my heart, concealing it, will break: And rather than it shall, I will be free Even to the uttermost, as I please, in words.” And Nora, keep running from A Doll's House!

  4. 4 out of 5

    Nayra.Hassan

    شرسة ؟ام متمردة عصبية؟ ام غيورة سيئة الأدب ؟ام تعيسة خشنة ؟ام خائفة من العنوسة نمرة؟ ام مستقلة انها المواجهة الأزلية بين الانوثة و الذكورة. .المباراة الصريحة الابدية التي لا غالب فيها و لا مغلوب ...و لكي نبتلعها يغلفها لنا شكسبير بالكوميديا🍬 اذا اردت حقا ان تفهم كاثرين بعيدا عن تنميطها يجب ان تجيب على كل ما سبق من أسئلة فلو كانت تلك هي طباعها الاصيلة لما تغيرت و لو بقلع الضروس . .قدم شكسبير للأدباء مفتاح درامي أبدي للبطلة سليطة اللسان غليظة التصرفات ذات المزاج الناري ..عندما تلتقي بمن يغامر و يقبل شرسة ؟ام متمردة عصبية؟ ام غيورة سيئة الأدب ؟ام تعيسة خشنة ؟ام خائفة من العنوسة نمرة؟ ام مستقلة انها المواجهة الأزلية بين الانوثة و الذكورة. .المباراة الصريحة الابدية التي لا غالب فيها و لا مغلوب ...و لكي نبتلعها يغلفها لنا شكسبير بالكوميديا🍬 اذا اردت حقا ان تفهم كاثرين بعيدا عن تنميطها يجب ان تجيب على كل ما سبق من أسئلة فلو كانت تلك هي طباعها الاصيلة لما تغيرت و لو بقلع الضروس . .قدم شكسبير للأدباء مفتاح درامي أبدي للبطلة سليطة اللسان غليظة التصرفات ذات المزاج الناري ..عندما تلتقي بمن يغامر و يقبل الزواج منها دون ان يراها. . بيتروشيو مجرد شاب صياد ثروات مستغل اناني مادي مصمم على ان يصبح سيدا لزوجته و ارادته حديدية بذكاء فطري عرف ان الحرمان من الطعام و النوم يروضون الوحوش فما بالنا بفتاة ثرية جميلة لم تألف الحرمان؟ الجوع جعلها تدعو الشمس🌞 قمرا. .و العجوز جميلا !!إنها الطاعة العمياء اذن بيتريشو شخصية مثيرة للجدل و غلفه شكسبير بكل ما هو بغيض في نوع من الرجال الذين يبررون قسوتهم وسيطرتهم على المرأة و وقتها ومواردها و ممتلكاتها : بالحب ..لا و كأن هذا لا يكفي هو مقتنع أنه انقذها من مصيرها كعانس !! اذا فهو يعمل لصالحها و من محاسن الصدف حقا انني لا أحب ريتشارد بيرتون و لا رشدي اباظة ..لا لن يحدث ابدا. ..لذلك🌟🌟 فالنجوم الناقصة في صحتك🍸 يا بيتريشو

  5. 5 out of 5

    Lydia

    Lucentio: Hey, I'm Lucentio. Who's that hot girl? Bianca: That would be me. And hotness is about all I have going for me. Because I only have about 5 lines. Lucentio: Wanna have sex get married? Baptista: I'm her father, you whippersnapper. Get in line. She can't get married until her older sister does. Lucentio: Who's that? Katherina: ROAR! GNASH! GNARL! I don't want to get married, but I live in Elizabethan England so I must. I also have a violent streak and beat up my sister all the time because s Lucentio: Hey, I'm Lucentio. Who's that hot girl? Bianca: That would be me. And hotness is about all I have going for me. Because I only have about 5 lines. Lucentio: Wanna have sex get married? Baptista: I'm her father, you whippersnapper. Get in line. She can't get married until her older sister does. Lucentio: Who's that? Katherina: ROAR! GNASH! GNARL! I don't want to get married, but I live in Elizabethan England so I must. I also have a violent streak and beat up my sister all the time because she's a wuss. Lucentio: Damn. Guess I'll disguise myself then, because this is a Shakespeare comedy. Petruchio: WAASSSSSSUP???!?!?!?!!? Hortensio: Hey buddy! Petruchio: My dad's dead, yo. I need a rich woman. You know any? Hortensio: Well, there's this shrew I know. I'm trying to get with her sister. I figure the best way to get with her is through disguise, like that other guy. Petruchio: Enough about you. Where's the rich chick? Baptista: She's right here! KATHERINE! Katherina: WHAT? Baptista: Marry this guy! Katherina: NO! Baptista: YES! Katherina: FINE! I hate you! You just don't understand! And you like Bianca best! Petruchio: Shut up! Hey, guess what. We got married offstage, and I dressed up like a jackass. Katherina: This sucks. Petruchio: Okay, let's go home. PS you don't get to eat or sleep. Katherina: But I'm hungry and tired. Petruchio: Too bad. Katherina: AARHRGRGG!!!!!!!!!!!!! Lucentio: Remember me? I'm putting even more people in disguises! It's zany! Also, I totally married that chick in secret. Bianca: Huh? Lucentio: Shut up. Petruchio: Here we are! We came back for your wedding. Lucentio: Sweet! I see you tamed that shrew but good. Petruchio: For reals. Lucentio: But she still isn't as obedient as my wife. Petruchio: You wanna bet? Lucentio: You're on. Hortensio: Me too! I got married too! Lucentio: Whatever. Servant, call my wife. Servant: She won't come. Hortensio: Call my wife. Servant: She won't come. Petruchio: That's what she said! I mean, other servant, call my woman. Katherina: Yeah? Petruchio: Tell 'em about it. Katherina: Women suck. Petruchio: Kiss me, Kate! CURTAIN Okay, here's the deal. The Taming of the Shrew is a well-written and genuinely funny play that glorifies spousal abuse. You have to forgive a lot because of when it was written and how it was written, with the framing device and all that jazz. But it still draws laughs from brainwashing your wife. Uncool. As a theater practitioner, you have to make some decisions. Do you cut most the abuse? Do you change the intention of the final speech? Do you keep the blatant misogyny? Whatever you do, you end up with something either very far from what Shakespeare wrote or something very far from what we (in theory) believe today.

  6. 5 out of 5

    Bill Kerwin

    Re-reading the play this time, I liked it a little better than I thought I would. I predicted that the brutal treatment of Katharine by Petruchio would ruin the play for me, but it didn't. From the induction involving Christopher Sly, the text of "The Taming of the Shrew" is full of so many transformations (tinker to lord, page to lady, servant to rich young man, rich young man to teacher of grammar, rich suitor to music teacher, wandering scholar to prosperous merchant, etc.) as well as so many Re-reading the play this time, I liked it a little better than I thought I would. I predicted that the brutal treatment of Katharine by Petruchio would ruin the play for me, but it didn't. From the induction involving Christopher Sly, the text of "The Taming of the Shrew" is full of so many transformations (tinker to lord, page to lady, servant to rich young man, rich young man to teacher of grammar, rich suitor to music teacher, wandering scholar to prosperous merchant, etc.) as well as so many literary allusions to Ovid and other metamorphoses, that Kate's transformation from shrew into obedient wife seems just one more mythological marvel produced by the magic of the stage, with Petruchio as the play's protean Prospero. But I'm making the play seem better than it is. It is a very slight entertainment indeed, a farce whose lack of even comic seriousness is one of the reason why its brutality and misogyny are relatively inoffensive.

  7. 4 out of 5

    Bookdragon Sean

    I really don’t buy the irony. Here is a play by a very young Shakespeare trying to appeal to the masses; here is a play that purposely appeals to the misogynistic beliefs of its early audiences, and I really don’t like it. This is what should have happened at the end: Katherine: I’m a Shrew; I’m a woman who stands up For herself and for her sisters alike I have a voice; I will not be tamed by Men who think themselves overlords! Instead we have a rather meek speech in which a broken woman who has bee I really don’t buy the irony. Here is a play by a very young Shakespeare trying to appeal to the masses; here is a play that purposely appeals to the misogynistic beliefs of its early audiences, and I really don’t like it. This is what should have happened at the end: Katherine: I’m a Shrew; I’m a woman who stands up For herself and for her sisters alike I have a voice; I will not be tamed by Men who think themselves overlords! Instead we have a rather meek speech in which a broken woman who has been deprived of sleep and food agrees to live under her husband’s thumb. Some may call this the comedy element, but I just can’t see it in that light. I didn’t find anything funny about the situation. Thankfully, Shakespeare learnt to do much better.

  8. 5 out of 5

    Henry Avila

    The gentle gentleman, William Shakespeare pokes glorious fun at customs, marriages , greed and scoundrels, especially pretentious men and women. .. A practical joke can be carried to the extreme, in the northern Italian city of Padua, in the time of the brilliant Renaissance, a poor intoxicated man ( a tramp in fact), strangely named Christopher Sly, is found by an amused nobleman, outside a filthy tavern, sleeping on the dirt in the street, people walking by ignoring the unfortunate human. Unti The gentle gentleman, William Shakespeare pokes glorious fun at customs, marriages , greed and scoundrels, especially pretentious men and women. .. A practical joke can be carried to the extreme, in the northern Italian city of Padua, in the time of the brilliant Renaissance, a poor intoxicated man ( a tramp in fact), strangely named Christopher Sly, is found by an amused nobleman, outside a filthy tavern, sleeping on the dirt in the street, people walking by ignoring the unfortunate human. Until this Lord has an idea, take him to his impressive mansion and pretend that the lush, is really the owner, exchange identities, the nobleman becomes a servant and Sly, the powerful aristocrat, a long illness had made him think, the dreams of a lowly situation in life, were correct . He awakes in his luxury, a miracle, after so many hard years the diluted man comes to his senses they say, everyone acts like this is the lord of the manor. Thrilled, after some effective persuasion, the truth of this he learns about a beautiful wife ( a boy dressed like a woman), begins ordering his smiling "servants" (barely keeping from laughing out loud), to get liquor of an inferior quality, which is not present, he has to receive a better drink, a costly wine never experienced by him. A troupe of actors arrive on site, to perform (Shakespeare loves a play in a play), the bored, sleepy Christopher , gives permission reluctantly to get this over with, as quickly as possible , he rather go to bed, there is a reason now to do so . The play begins, "The Taming of the Shrew", Baptista Minola, a very wealthy merchant, a widower , in the same city has two pretty , marriageable daughters, the calm, kind , charming Bianca, with many suitors, and her older sister Katherine, who does not have any... her sharp tongue, violent, and combative nature, keeps the frightened men, far far away. The father decrees that Katherine must marry first, causing much turmoil, the very generous dowry of both , still cannot get anyone to come forth, the shrew is too well known in town. Until Petruchio, a rich gentleman from Verona, comes to Padua, he wants more wealth and will marry for it, isn't afraid of difficulties, he has only an eye for the gold. Also the son of a well- to- do nobleman, from Pisa, Lucentio, studying at the famous university here sees Bianca, instant love , but the Katherine problem continues, no hope, he will not give up the prize, his feelings are too strong. Disguises himself as a teacher, Minola needs one for his younger daughter, in order to be near Bianca, under an assumed name of Camibio, the mutual attraction is apparent to all, but the clueless father. Now if the brave or is it the foolish Petruchio, can somehow get Katherine to marry him, everyone will live presumably happily ever after , that is what fairy tales state. Would they mislead the public? An diverting satire not to be taken seriously.

  9. 5 out of 5

    James

    Book Review The Taming of the Shrew is one of William Shakespeare's earliest plays and comedies, produced in the mid-1590s. We read this play in 8th or 9th grade as one of the introductions to Shakespeare in an English course. I'd rank this somewhere in the middle in terms of his comedies as well as works in general. It's got several funny moments (ironic humor) but it's also a bit weaker in terms of style and hidden meanings among all the words and characters. The plot is strong, and copied Book Review The Taming of the Shrew is one of William Shakespeare's earliest plays and comedies, produced in the mid-1590s. We read this play in 8th or 9th grade as one of the introductions to Shakespeare in an English course. I'd rank this somewhere in the middle in terms of his comedies as well as works in general. It's got several funny moments (ironic humor) but it's also a bit weaker in terms of style and hidden meanings among all the words and characters. The plot is strong, and copied by many in the last 420+ years. Two men want to date / marry two women; sisters, brothers or friends, doesn't really matter. But only if both girls are married at the same time, thus forcing the hand where 1 man must step up and "take one for the team." Some argue the play is sexist. I won't debate that, only say it is over 400 years old and probably more forward-thinking than most others at the time. Not saying it's right or fair, tho. What does a man do when he agrees to marry the "shrewish" girl... especially when she won't have anything to do with him. Inject some humor, fiendish plot and sarcasm, of course. What makes this an interesting play is there is a lot of action and definition in the characters. There's enough to go around, unlike some of the other works where you can't quite tell which characters are important... and sometimes mix up a few. Much easier to stay focused here. But it's not as funny as you'd like it to be. I like plays with strong female characters. Katherine is strong but unfortunately has a few weak moments. And the ending doesn't fit for me. But... as far his plays go, definitely worth a read! About Me For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. Note: All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them. Many thanks to their original creators. [polldaddy poll=9729544] [polldaddy poll=9719251]

  10. 5 out of 5

    Lyn

    Taming of the Shrew was, I think, one of Shakespeare’s better comedies, though not one of his better plays. In fairness, I think I’d like to see this performed and I may enjoy it much more, and a wiser person than I has observed that plays are meant to be seen, not just read. I would perhaps amend that observation that to be fully appreciated, a play should be seen AND read. A clever producer could have fun with this antiquated misogyny. This explores betrothal and arranged marriages more than ro Taming of the Shrew was, I think, one of Shakespeare’s better comedies, though not one of his better plays. In fairness, I think I’d like to see this performed and I may enjoy it much more, and a wiser person than I has observed that plays are meant to be seen, not just read. I would perhaps amend that observation that to be fully appreciated, a play should be seen AND read. A clever producer could have fun with this antiquated misogyny. This explores betrothal and arranged marriages more than romance and has some psychological and societal issues as well. I have read some other reviews that deal with misogyny, but I think that is unfairly focused on a sixteenth century playwright, Shakespeare described the times in which he lived, and in that time, Petruchio would have a more proprietary relationship with his wife. Still, this makes for a very interesting contrast with our times. I liked the way the play began, and performed, as a play within a play. Entertaining, probably more entertaining and humorous when seen.

  11. 5 out of 5

    Dolors

    I was curious about the controversy generated by the dynamics between genders that academics and readers have discussed for years in this early romantic comedy, which brought some memorable moments that hilariously reminded me of Much ado about nothing. Sarcasm, bickering and jocular scenes abound in this play, but there is an extra dose of provocative innuendo. Even the title is condemnable for its lack of political correctness, as it implies that Kate, the female protagonist and eldest daughter I was curious about the controversy generated by the dynamics between genders that academics and readers have discussed for years in this early romantic comedy, which brought some memorable moments that hilariously reminded me of Much ado about nothing. Sarcasm, bickering and jocular scenes abound in this play, but there is an extra dose of provocative innuendo. Even the title is condemnable for its lack of political correctness, as it implies that Kate, the female protagonist and eldest daughter of the wealthy merchant Batista from Padua, is known by her sharp tongue and in need of “taming” in order to be marriageable. In the course of a relatively short but quite action-ridden plot with numerous identity swaps and plays within plays, we observe the drastic evolution of a woman who morphs from a free individual whose words cut like the most sharp-edged sword to the perfect role model of a subjugated, submissive wife held captive in a patriarchal system ruled by fathers and husbands. Kate’s younger sister Blanca is the female counterpoint to Kate’s unorthodox defiance. Blanca’s traditional, more malleable behavior attracts suitors from all kinds and a very humorous mess ensues with no lack of piquant exchanges that culminates in a double wedding and the apparent triumph of male supremacy. The contempt in which the male characters treat their female equals in this play is nothing short of abhorrent, but as I advanced reading, I realized that the female characters are the only ones to evolve throughout the course of the story. Their psychological portraits are much more complex, their states of mind are more delineated, and the reader gets a sense of the double meanings that impregnates their monologues. Contrarily, the men are presented as gullible buffoons who lose their bearings in useless competition, their minds when sex and drinks appear on the scene and who can’t help bragging without never fully registering what is going on. Therefore… I wonder. I wonder whether Shakespeare meant to present the battle between the sexes as literal as he made his characters speak in this comedy. Couldn’t it be possible that Kate’s last monologue, which closes the play, is in fact a declaration of silent war where words are replaced by play-acting? “Why are our bodies soft, and weak, and smooth, Unapt to toil and trouble in the world, But that our soft conditions and our hearts Should well agree with our external parts?” The verses above suggest sneaky behavior, the kind of awareness fit for survival through cunning and constant scheming, using the female body as bait to ensnare and dominate while giving the false impression of complete subjugation. I might be reading this wrong, but Shakespeare was an impudent teaser, and I see the female characters in this play rule their male peers… in words, intelligence and action. So my advice: flip the coin and give this play a second reading!

  12. 5 out of 5

    Jason Koivu

    They say TV and video games are a bad influence, well, this play has been corrupting minds since 1590! It's crap like this that makes people think that playing mind games with one another is the correct path to true love. It says that lying about who you are and what your intentions are, as well as flat out pretending to be something you're not, that is the way, says The Taming of the Shrew, to win love and warp a person into who you want them to be. Poppycock, I say! Hold on please... ... ... ... .. They say TV and video games are a bad influence, well, this play has been corrupting minds since 1590! It's crap like this that makes people think that playing mind games with one another is the correct path to true love. It says that lying about who you are and what your intentions are, as well as flat out pretending to be something you're not, that is the way, says The Taming of the Shrew, to win love and warp a person into who you want them to be. Poppycock, I say! Hold on please... ... ... ... ...just give me a sec. I'm almost off my high horse. *grunt* There we go! The Taming of the Shrew is good, solid entertainment and nothing more. You have to look at it like that or otherwise rail against its inequities towards women. It is a play of its time and it's time was not a good one for women's rights. So, as a play, this is fun. We have multiple deceptions, some for jest, some for love, and who can complain of entertainment filled with love and laughs? Few, I'm sure. This shouldn't be taken much more seriously than that. And as long as no one takes this thing seriously, it is harmless fun indeed. If for no other reason, I appreciate this play for giving me a chance to say poppycock!

  13. 4 out of 5

    Bradley

    As with all of Shakespeare's plays, there's always a different interpretation always handy at foot, be it a woman's duty to place her hand under her husband's foot or not. As it is, though, I can both be supremely annoyed with a society that demands that women be always so obedient, culturally, and be wickedly satisfied that Kate and Petruchio have worked out a true meeting of the minds and wills in such a way as to transcend all other's expectations. There's a little something for everyone in thi As with all of Shakespeare's plays, there's always a different interpretation always handy at foot, be it a woman's duty to place her hand under her husband's foot or not. As it is, though, I can both be supremely annoyed with a society that demands that women be always so obedient, culturally, and be wickedly satisfied that Kate and Petruchio have worked out a true meeting of the minds and wills in such a way as to transcend all other's expectations. There's a little something for everyone in this classic comedy, whether or not you subscribe to the patriarchy or the matriarchy. Kate gets a lot out of the situation because she's discovered just how much power she really holds with the right partner who respects her, and Petruchio finds a mate that will always be his equal in wit and will. Is there another definition of happiness? Ignore the setting if it upsets you. These men in this man's world, even Petruchio's methods of "taming" his wife. The method merely demonstrated his deeper positive qualities by the negative, just as Kate's shrewishness belied a razor sharp wit. Don't we all have such depths and thorns? I've seen this one done in many different Veins, now, and the one constant is this: There are no victors, merely endless combatants that sometimes sue for peace. It could be a true power struggle or perhaps it is just an eventual meeting of the minds. What do we prefer? That's interpretation. :)

  14. 5 out of 5

    Jason

    I’m not even kidding. This play is more violent than King Lear. True, nobody dies in it—after all, it is a comedy (although whether you find it funny or not is a different matter)—but it is violent nonetheless. You know that sick feeling that manifests itself in the pit of your stomach when watching scenes of domestic violence or otherwise abusive relationships in movies or on TV? Isn’t it funny then how dormant that feeling seems to be when watching instead scenes of bloodbath-laden homicide à I’m not even kidding. This play is more violent than King Lear. True, nobody dies in it—after all, it is a comedy (although whether you find it funny or not is a different matter)—but it is violent nonetheless. You know that sick feeling that manifests itself in the pit of your stomach when watching scenes of domestic violence or otherwise abusive relationships in movies or on TV? Isn’t it funny then how dormant that feeling seems to be when watching instead scenes of bloodbath-laden homicide à la Quentin Tarantino? Well, maybe it’s just me, but that is what made this play so difficult for me to read. Not difficult in the sense that it’s Shakespeare and Shakespearean language is difficult—it is difficult, but again, that’s a different matter. I suppose in the end, I am just much less comfortable with people disrespectfully slapping each other around than I am with them thrusting swords into each other’s breast plates. This play actually started off great. I loved the frame story here: a drunkard being beguiled into believing, upon waking from his alcohol-induced doze, that he had been asleep for years. But the fun ended there. Never before has my estimation of a book plummeted as quickly as it did while reading this play. I guess in the early 1600s a performance showcasing Ike Turner’s treatment of Tina would be super freaking hilarious, but I didn’t find it very funny, nor was I entertained enough by the other parts of the play to compensate for its cruelty. Now I must locate my wife so that I might bid her, no entreat her, no COMMAND her in her wifely duties to remove this play from my presence!

  15. 5 out of 5

    Emily May

    It makes some people feel better to believe that the rampant misogyny in this play is supposed to be ironic. Well, whatever. I still don't much enjoy watching a woman having her spirit broken down until she's nothing but a shell of what she once was.

  16. 5 out of 5

    Ahmad Sharabiani

    The Taming of the Shrew, William Shakespeare The Taming of the Shrew is a comedy by William Shakespeare, believed to have been written between 1590 and 1592. تاریخ نخستین خوانش: پنجم ماه جولای سال 2007 میلادی عنوان: رام کردن زن سرکش؛ نویسنده: ویلیام شکسپیر؛ مترجم: محسن قاسمی؛ تهران، پارسه، 1395؛ در 178 ص؛ موضوع: نمایشنامه های کمدی از نویسندگان انگلیسی - قرن 16 م عنوان: رام کردن زن سرکش؛ نویسنده: ویلیام شکسپیر؛ مترجم: فریده مهدوی دامغانی؛ اهواز، تیر، 1377؛ در 148 ص؛ موضوع: نمایشنامه های کمدی از نویس The Taming of the Shrew, William Shakespeare The Taming of the Shrew is a comedy by William Shakespeare, believed to have been written between 1590 and 1592. تاریخ نخستین خوانش: پنجم ماه جولای سال 2007 میلادی عنوان: رام کردن زن سرکش؛ نویسنده: ویلیام شکسپیر؛ مترجم: محسن قاسمی؛ تهران، پارسه، 1395؛ در 178 ص؛ موضوع: نمایشنامه های کمدی از نویسندگان انگلیسی - قرن 16 م عنوان: رام کردن زن سرکش؛ نویسنده: ویلیام شکسپیر؛ مترجم: فریده مهدوی دامغانی؛ اهواز، تیر، 1377؛ در 148 ص؛ موضوع: نمایشنامه های کمدی از نویسندگان انگلیسی - قرن 16 م کریستوفر سلای درویش آب زیرکاه شهر، شبی مست و خراب در گوشه خیابان افتاده‌ است. لردی او را به قصر خود می‌برد. این لرد برای تفریح و خنده دستور می‌دهد پیش از آنکه مردک از خواب مستی بیدار شود؛ او را به بهترین اتاق‌های قصر ببرند و بهترین البسه فاخر را بر او بپوشانند. وقتی کریستوفر سلای از خواب مستی بیدار می‌شود خود را در میان خیل خدمتکاران رنگارنگ می‌بیند که در حال تعظیم و تکریم به او هستند؛ از جمله پسری که در لباس و آرایش زنان نقش همسر او را بازی می‌کند. این همسر با نوازش به وی تبریک می‌گوید که او سرانجام از حالت غش و اغمای پانزده ساله مرض از دست دادن مشاعر بهبود یافته‌ است. برای جشن و سرور و طرب، به منظور جلوگیری از بازگشت مرض براثر فکر و خیال، دستور داده می‌شود گروهی از بازیگران دوره گرد را به قصر آورند و نمایش رام کردن زن سرکش را در حضور عالیجناب بازی کنند. نمایشنامه: باپتیستا مینولا بازرگانی بسیار ثروتمند اهل پادوآ دو دختر دارد. دختر بزرگ‌تر، کاترینا، به سبب کارها و روحیه شیطانی و تخسی که دارد در شهر و دیار خود انگشت نماست و از همین رو بی شوهر مانده‌ است؛ حال آنکه خواهر کوچک ترش، بیانکا، که محجوب و سربه زیر است، خواستگاران بسیار دارد، ولی پدر از پذیرفتن و دادن پاسخ مساعد به خواستگاران خودداری می‌کند؛ مگر آنکه اول برای دختر بزرگ‌تر شوهری پیدا شود... ا. شربیانی

  17. 4 out of 5

    نقد روز

    در نمایشنامه رام کردن زن سرکش، به ازدواج به چشم یک بنگاه اقتصادی نگاه می شود. نمایشنامه به عنوان یک اثر کمدی رمانتیک، عمدتا بر روی روابط عاشقانه میان زنان و مردان تمرکز می کند، از علاقه اولیه شروع می شود و به ازدواج ختم می شود. از این نظر، نمایشنامه یک کمدی رمانتیک معمولی است. با این حال بر خلاف دیگر آثار ویلیام شکسپیر، رام کردن زن سرکش نمایش خود از عشق و ازدواج را با یک مراسم عروسی ختم نمی کند. در عوض، شکسپیر نگاهی گذرا به زندگی آتی این زوج های متاهل می اندازد. به این ترتیب نویسنده، تلاش خود بر در نمایشنامه رام کردن زن سرکش، به ازدواج به چشم یک بنگاه اقتصادی نگاه می شود. نمایشنامه به عنوان یک اثر کمدی رمانتیک، عمدتا بر روی روابط عاشقانه میان زنان و مردان تمرکز می کند، از علاقه اولیه شروع می شود و به ازدواج ختم می شود. از این نظر، نمایشنامه یک کمدی رمانتیک معمولی است. با این حال بر خلاف دیگر آثار ویلیام شکسپیر، رام کردن زن سرکش نمایش خود از عشق و ازدواج را با یک مراسم عروسی ختم نمی کند. در عوض، شکسپیر نگاهی گذرا به زندگی آتی این زوج های متاهل می اندازد. به این ترتیب نویسنده، تلاش خود برای بررسی ابعاد اجتماعی عشق را به نتیجه می رساند. بر خلاف نمایشنامه رومئو و ژولیت، در نمایشنامه رام کردن زن سرکش احساسات درونی نقش اصلی را در فرآیند عاشق شدن شخصیت ها بازی نمی کند. نمایشنامه در عوض بر روی جنبه های اقتصادی ازدواج تمرکز می کند، مخصوصا این جنبه که چگونه این ملاحظات اقتصادی باعث ازدواج میان یک شخص با شخص دیگری می شوند. نمایشنامه تلاش می کند از دیدی اجتماعی، ارتباطات عاشقانه را بررسی کند و به جای این که به دنبال نمایش احساسات درونی و عشق باشد، نگاه های منفعت طلبانه عشق و ازدواج را به روی صحنه بیاورد. علاوه بر این، نمایشنامه بر روی این مساله تمرکز می کند که چگونه اظهار عشق هم بر روی عشاق تاثیر می گذارد و هم حتی بر روی پدر و مادرها، خدمتکاران و دوستان این زوج. به طور کلی، در این نمایشنامه، ازدواج به ابزاری برای تعامل های مختلف تبدیل می شود، تعامل هایی که با محوریت انتقال پول صورت می گیرد. لوچنتیو قلب بیانکا را می رباید، ولی تنها زمانی می تواند با او ازدواج کند که بتواند باپتیستا را متقاعد کند که فردی بسیار پول دار است. چه بسا اگر هورتنسیو پول بیش تری به رخ می کشید، او صلاحیت ازدواج با بیانکا را پیدا می کرد، حتی با وجود این که بیانکا عاشق لوچنتیو بود. ادامه نقد در سایت نقد روز: http://naqderooz.ir/1e7

  18. 5 out of 5

    Darwin8u

    "I am ashamed that women are so simple To offer war where they should kneel for peace, Or seek for rule, supremacy, and sway, When they are bound to serve, love, and obey." -- William Shakespeare, Taming of the Shrew, Act V, 2 The second play in my First Folio journey is 'The Taming of the Shrew'. The obvious discussion surrounding this play has to be Shakespeare's views, as expressed in this play, of women. I think any defense of Shakespeare's attitudes are silly. Shakespeare was a contradiction, es "I am ashamed that women are so simple To offer war where they should kneel for peace, Or seek for rule, supremacy, and sway, When they are bound to serve, love, and obey." -- William Shakespeare, Taming of the Shrew, Act V, 2 The second play in my First Folio journey is 'The Taming of the Shrew'. The obvious discussion surrounding this play has to be Shakespeare's views, as expressed in this play, of women. I think any defense of Shakespeare's attitudes are silly. Shakespeare was a contradiction, especially towards women. Some of his best characters and lines are delivered by women. They are often strong, strong-willed, intelligent, cunning, etc., but he also obviously falls/dips into the attitudes of his time (late 16th century). I am less concerned with Shakespeare's attitudes towards women than I am about Trump's or the Duggars and that ilk. Actually, I probably side more with Harold Bloom, who thought the bard clearly preferred women to men (excepting Hamlet and Falstaff) on this issue. The other piece that might get overlooked in Shakespeare's second play is how early in his career Shakespeare is completely bending the structure of his plays. This one is basically a play within a play (later to be repeated in Hamlet and others) and most of the players in the play in a play are playing parts. Oooo Meta. So, while I'm not thrilled with some of the attitudes (and I think those are more of his characters' attitudes and not his) the dialogue and characters are great. The play within a play, however interesting served no great purpose that I could figure out. Reading this play alarms me not because of any attitudes it expresses, but because in almost 400+ years, many haven't moved that far FROM those sexist attitudes. So, as far as Kate is concerned. I'm with HER! There were also several nice lines, specifically: - "And melancholy is the nurse of frenzy." - "Affection is not rated from the heart." - "That being mad herself, she's madly mated." - "And do as adversaries do in law, Strive mightily but eat and drink as friends."

  19. 5 out of 5

    Araz Goran

    حقيقة الأمر لم أتوقع أن تكون المسرحية بهذه الروعة وهذه الفكاهة العجيبة , دائماً ما تطاردني أعمال شيكسبير فأتوانى عن القراءة له وهذه المرة جربت حظي مع هذه المسرحية التي لم أسمع بها كثيراً كباقي مسرحياته الشهيرة, ورب ضارة نافعة , هذه المسرحية لها عنوان آخر أكثر شهرة وهي " ترويض الشرسة " ولكن وجدت ترويض النمرة أكثر جاذبية وكذلك الترجمة الأدبية الراقية التي زادت من إعجابي بأجواء المسرحية وهزليتها .. مسرحية شيكسبيرية أكثر من رائعة , بموضوعها الطريف وشخصياتها الغربية وأجوائها الساحرة والتي ذكرتني بـ ت حقيقة الأمر لم أتوقع أن تكون المسرحية بهذه الروعة وهذه الفكاهة العجيبة , دائماً ما تطاردني أعمال شيكسبير فأتوانى عن القراءة له وهذه المرة جربت حظي مع هذه المسرحية التي لم أسمع بها كثيراً كباقي مسرحياته الشهيرة, ورب ضارة نافعة , هذه المسرحية لها عنوان آخر أكثر شهرة وهي " ترويض الشرسة " ولكن وجدت ترويض النمرة أكثر جاذبية وكذلك الترجمة الأدبية الراقية التي زادت من إعجابي بأجواء المسرحية وهزليتها .. مسرحية شيكسبيرية أكثر من رائعة , بموضوعها الطريف وشخصياتها الغربية وأجوائها الساحرة والتي ذكرتني بـ تاجر البندقية..

  20. 5 out of 5

    Anthony Vacca

    The Taming of the Shrew is definitely not the late 16th century proto-feminist masterpiece you’ve been hankering for, but what it lacks in positive portrayals of the “fairer sex,” is overshadowed by the bounding leaps of comic gusto on display in every line of verse. Simply put, TTotS is a caustic farce of the war between the sexes (the “merry war” that, due to inbreeding and lack of imagination, would eventually devolve into the barely functioning aborted mutant that is the modern day RomCom) t The Taming of the Shrew is definitely not the late 16th century proto-feminist masterpiece you’ve been hankering for, but what it lacks in positive portrayals of the “fairer sex,” is overshadowed by the bounding leaps of comic gusto on display in every line of verse. Simply put, TTotS is a caustic farce of the war between the sexes (the “merry war” that, due to inbreeding and lack of imagination, would eventually devolve into the barely functioning aborted mutant that is the modern day RomCom) that revels in its own irreverence and indecency. A wealthy Neapolitan nobleman is cursed with a total babe of a daughter, Bianca, with the unfortunate caveat of an unruly, acerbic older daughter—the Shrew of the title, Kate. While he would love to just go ahead and toss Bianca to the suitors who sniff at her skirts like a pack of TexAveryesque wolves, there’s no way in hell he’s going to let her get married and end up stuck with the unmarriageable Kate for the rest of his life. Luckily, Petruchio, who is in town visiting one of his friends, Hortensio—a suitor of Bianca—has no problem at all with immediately marrying someone solely for money marrying Kate. And you’d better believe he’s going to break his wife of any bad attitude she thinks she’ll be having with him. What follows is a fast-paced comedy characterized by its charming cruelty and bawdy wit. Scholars agree that this is most likely Shakespeare’s second play to be written and performed, and already the Bard of Avon’s preternatural talents are on full display. Everything you love in a Elizabethan Comedy is here, folks: disguises, sarcastic servants, snarky banter, a play within a play, puns at a machine gun pace, dimwitted fools, malapropisms and, of course, convenient marriages. Go ahead and leave your contemporary conventions and social sensitivities (which are obviously essential and important, so don’t give me any shit, thanks) at the door, and settle-in for some old-fashioned, mean-spirited laughs. Misogyny doesn’t get any more fun than this! (Someone please quote me on this.)

  21. 5 out of 5

    Whitney Atkinson

    I think it can go undisputed how misogynistic this is, but in a way, its ability to anger me was impressing? Idk. The content sucked, but I think it sucked for a reason. I don't think Shakespeare hates women and thinks they're inferior to men, yet I wish this had more of a comeback arc. I loved when Katharina was sassy and angry and at the end of the book she ended up so subdued, and I was waiting for her to snap back, but she never did. I'm disappointed.

  22. 5 out of 5

    Michael

    This is a deeply troubling and often frankly misogynistic play, and I'm not here to defend those aspects of it. However I saw a version of it years ago that turned the misogyny on its head in a way that I thought was interesting, and perhaps truer to the many levels on which Shakespeare worked. It was a "Shakespeare in the Park" production, in New York, starring Morgan Freeman and Tracey Ullman, and you can imagine how fantastic that was. The best part was how they did the end of the play--that This is a deeply troubling and often frankly misogynistic play, and I'm not here to defend those aspects of it. However I saw a version of it years ago that turned the misogyny on its head in a way that I thought was interesting, and perhaps truer to the many levels on which Shakespeare worked. It was a "Shakespeare in the Park" production, in New York, starring Morgan Freeman and Tracey Ullman, and you can imagine how fantastic that was. The best part was how they did the end of the play--that long, troubling speech by Kate where she prostrates herself before Petruchio and declares her obedience. What the director of that production realized, brilliantly, is that the speech goes on way, way too long! In fact, it becomes self-parody, a way for Kate to mock Petruchio with the words he wants to hear. Tracey Ullman played it to perfection. She kept pausing in the speech, goading Morgan Freeman into thinking she was done, and then she piled on some more, and then kept pausing and piling on until it was clear she was making fun of him, thereby undermining everything she was saying. It was utterly brilliant and has become my "gold standard" for how to perform--and understand--the play.

  23. 4 out of 5

    Abigail Hartman

    I can see why this play is little appreciated nowadays - it runs so completely counter to the modern notions of "gender equality" and feminism. I freely confess that Petruchio's methods with Katharina are rough (in an indirect manner; from passionate reviews I expected him to beat her every day before breakfast, but in fact he uses crazier, more shrewish means). On the other hand, she frankly deserves what she gets. She was not "strong-minded" - she was downright nasty, and the way Petruchio bri I can see why this play is little appreciated nowadays - it runs so completely counter to the modern notions of "gender equality" and feminism. I freely confess that Petruchio's methods with Katharina are rough (in an indirect manner; from passionate reviews I expected him to beat her every day before breakfast, but in fact he uses crazier, more shrewish means). On the other hand, she frankly deserves what she gets. She was not "strong-minded" - she was downright nasty, and the way Petruchio brings their relationship around to something like what it ought to be was hilarious. He was mercenary; she was a shrew; but in the end, I think they were the couple best suited to each other. To modern ears the moral Katharina pronounces at the end will probably be grating, and probably it was meant by Shakespeare to be rather tongue-in-cheek (it is a comedy); but it is not far off the mark, for all its hyperbole. Lighthearted, insane, and very politically incorrect, I think "The Taming of the Shrew" might have displaced "Much Ado About Nothing" as my favorite Shakespearean comedy. Also, I wish an adaptation had been made with Anthony Andrews as Petruchio.

  24. 5 out of 5

    Наталия Янева

    Шекспировите комедии най-вероятно представляват ситкомите на Ренесанса. На фона на поставяните мистерии и морални пиеси – примерно днешните новинарски емисии и предавания за политика – те са били нещо като шарената кръпка в Елизабетинския театър. В комедиите на „добрия Уил“ Шекспир (както и във всички пиеси от онова време) женските роли, разбира се, се изпълнявали от мъже, което допълнително допринасяло за веселбата на публиката. Четейки дори само тази Шекспирова пиеса, до голяма степен си мисля, Шекспировите комедии най-вероятно представляват ситкомите на Ренесанса. На фона на поставяните мистерии и морални пиеси – примерно днешните новинарски емисии и предавания за политика – те са били нещо като шарената кръпка в Елизабетинския театър. В комедиите на „добрия Уил“ Шекспир (както и във всички пиеси от онова време) женските роли, разбира се, се изпълнявали от мъже, което допълнително допринасяло за веселбата на публиката. Четейки дори само тази Шекспирова пиеса, до голяма степен си мисля, че вероятно след неговото творчество много малко нови неща са били измислени. В „Укротяване на опърничавата“ има gender bender, всякакъв вид предрешване и смяна на ролите, леко нецензурен език („Да, прекалил съм. Всички зад вратата!/Събличкай се, мадам, и във кревата!“), благородници и бедняци, благочестиви моми и дами с нрав като на дива котка. А още от самото начало става ясно, че основното действие се развива вътре в друго действие (в Inception Кристофър Нолан като нищо може да е гепил идеята на Шекспир за това) и, ако не забравяте как е започнало всичко, си имате едно наум, че наблюдавате нещо леко преувеличено и на ужким. Благодарение на основната си тема комедията може да бъде заподозряна в някаква форма на женомразство или поне на доста варварска представа за ролята и мястото на жената в обществото, венец на която е финалният монолог на „Кет, сладичка, Кет – мъничък пакет/със лакомства, невероятна Кет“: „Мъжът е твой глава, живот, закрилник, вседържец неоспорван. Той те храни със труд опасен по море и суша, не мигва в бурни нощи, в ледни дни, докато ти почиваш си на топло, спокойно защитена; и очаква от тебе хубост, кротост и любов – отплата дребна за огромен дълг. Каквото поданик дължи на трона, това дължи жената на мъжа си…“ Въпреки това нека не забравяме основната функция на жанра – осмиването (предимно на стереотипи, с каквито тук е бъкано), и намигването, с което е поднесена пиесата. От нея никой мъж няма да научи как да се справи с непокорната си съпруга, но пък определено ще се посмее от сърце и ще се наслаждава на разкошния език, докато чете (или пък гледа) как става тоя номер според Шекспир.

  25. 5 out of 5

    Sidharth Vardhan

    The feminist issues can be answered with the simplest argument that there is no knowing Shakespeare's intentions. The best of his characters are always doing most villianious things - Shylock Othello, Caliban, Brutus, Iago etc. The fact that they come to a bad end might only show Shakespeare's realism. But amid all prejudice that other characters show to them, the dislikable things they do and bad end they meet; they are still the ones that one feels most attracted towards. Kate is no different The feminist issues can be answered with the simplest argument that there is no knowing Shakespeare's intentions. The best of his characters are always doing most villianious things - Shylock Othello, Caliban, Brutus, Iago etc. The fact that they come to a bad end might only show Shakespeare's realism. But amid all prejudice that other characters show to them, the dislikable things they do and bad end they meet; they are still the ones that one feels most attracted towards. Kate is no different in that when she says “I see a woman may be made a fool, If she had not a spirit to resist.” she forecasts her tragedy. I don't think anyone will claim to like Petruchio - and yet he is the most liked character in the play. I think one can thus argue that Shakespeare was questioning the very prejudice that he is accused of having. My problem is different - Kate seemly badly characterized. One doesn't expect complex characters in a comedy but this one just didn't make sense to me. She is unnecessarily arrogant in the beginning - she might be saying something powerfully feminist when she says, “My tongue will tell the anger of my heart, or else my heart concealing it will break.” - it might show that her shrewdness is nothing more than a free spirit if she was angry for a reason, But then again for what exactly is she angry about? And then again, marries Petruchio for a silly reason and, despite knowing the very nature of tricks that her husband is playing on her, doesn't show resistance. She had enough money and independent spirit in her to simply walk out on him and yet. The prank played on beggar in frame story is taken from Arabian Nights. And tricks of play within a play or making a submissive person saying stupid and contradictory things are used by Shakespeare in Hamlet too. And so, there is not much to recommend the play except a few witticism. And witticisms, not being wisdom, can not claim more than one additional star from me. On a side note, Kate's speech on why wives should be submissive is added in Goodreads quotes and I am deeply interested in 67 people who have liked it.

  26. 4 out of 5

    Lör K.

    Thank goodness that’s over The Taming of the Shrew starts off purely as a noble man playing a prank on a drunkard in a bar. It’s a mean joke, making out this drunkard has always been a noble man his entire life, making out as though nothing has ever changed. It seems funny at first and has made me laugh plenty of times – although some of that may be down to my own humour of finding the way Shakespeare writes (phrases such as Sir! Give him head!) – but it is enjoyable. Quickly, a play arises with Thank goodness that’s over The Taming of the Shrew starts off purely as a noble man playing a prank on a drunkard in a bar. It’s a mean joke, making out this drunkard has always been a noble man his entire life, making out as though nothing has ever changed. It seems funny at first and has made me laugh plenty of times – although some of that may be down to my own humour of finding the way Shakespeare writes (phrases such as Sir! Give him head!) – but it is enjoyable. Quickly, a play arises within the play and this is where my issues lie with The Taming of the Shrew. Now I am aware that Shakespeare’s plays and any and all plays written within the Shakespearean era are quite misogynistic, and I do give them the benefit of the doubt. However, the pure misogyny in the play of The Taming of the Shrew makes me feel very uncomfortable. Slight spoilers below. – Asking a woman to marry you, and then when she says no, arranging a wedding date without her permission either way – Spoilers over. This is so worrying to read and it makes my stomach churn slightly. The Taming of the Shrew could really have done without this play inside of it, full of pure disrespect of women. Again, I know misogyny was a thing back then, but again, there’s just so much of it, it’s so uncomfortable to read. Either way, I didn’t let this distract me from the original play I was reading and pushed on through it. Around half way through, the play began to lag terribly. I couldn’t focus properly on it, I had to reread lines four or five times to understand what was being said, my attention just wouldn’t sit still on it. I started getting headaches, trying to follow all the dialogue, long text after long text. It was disappointing that this happened, really, because I had been enjoying the play before hand. I feel like I’m now just trying to trudge through tar to get to the finishing line. I’ve always had a small love for Shakespeare, especially when it comes to sonnets, so finding that The Taming of the Shrew is getting increasingly harder to read is really quite upsetting. The drama in the later chapters did make this a little more exciting to read but it was still trivial to read and get through. I found myself taking forever to read it, eyes skimming over and not taking words in, trying to find something to distract myself with because I just couldn’t focus on the writing, and it’s a shame, really. The ending was poor, had no weight to it and was just a train wreck after five ‘chapters’ of the play. I could not wait for this to be over, I just wanted it to be done with so I could shelve it as read and move on to ultimately forget such a boring play. Honestly I wouldn’t recommend reading this; read a sonnet or two instead, and find another play to read. Give this one a miss. I hope The Comedy of Errors isn’t this trivial or I may just have to give up on Shakespeare completely.

  27. 5 out of 5

    Obsidian

    This review has been hidden because it contains spoilers. To view it, click here. There was a reason why I chose not to post that many updates with this play. Because they all would have included some F bombs. This play is super messed up and I cannot believe that anyone watches this and thinks, hey this is funny and so romantic. It is not. Well something nice first. I am very happy that I had the Folger's version which included notes on what certain words or phrases meant, and an explanation prior to certain scenes to explain them to me. Now onto something not so nice. This w There was a reason why I chose not to post that many updates with this play. Because they all would have included some F bombs. This play is super messed up and I cannot believe that anyone watches this and thinks, hey this is funny and so romantic. It is not. Well something nice first. I am very happy that I had the Folger's version which included notes on what certain words or phrases meant, and an explanation prior to certain scenes to explain them to me. Now onto something not so nice. This whole freaking play is just awful. I think that Shakespeare was going for comedy and wow. This whole thing fell flat. I wonder how women in the audiences felt while watching this play within a play? I loved Romeo and Juliet. And then we have The Taming of the Shrew which would be classified as a romantic comedy and I am just shaking my head. The play begins with a drunken man named Christopher who the other "actors" are trying to convince that he is actually a lord. He is told to sit and watch and then the second play begins which is "The Taming of the Shrew". No I don't get how these two plays are related to each other and I don't care at this point. I just want to finish this review. From there we focus on Baptista Minola's family. Baptista has two daughters. The oldest named Katherina (or Katherine or Kate depending on who is speaking to or about her) and his youngest Bianca. Katherine is the heralded shrew of the play. She is not like other women and doesn't simper and tell men how nice and strong they are, instead she is quite sharp with men who she feels act like fools. And oh by the way she also verbally and physically abuses her younger sister Bianca. So right away I was not a fan of Katherine. I don't care about her not adhering to social norms by being a smiling simpering young thing, but it never made much sense to have her being awful towards her sister. Because Bianca is womanhood personified (eye-roll) she ends up having three men vying to marry her. Baptista tells her potential suitors that Bianca cannot marry before her elder sister (I guess this was a thing, I don't know and I refuse to look it up) and two of the suitors, Hortensio and Gremio make plans in order to get Katherine married off one of them can gain Bianca's hand. The third suitor Lucentio, falls in love with Bianca at first sight and decides to pretend to be a tutor when he overhears Baptista shouting loudly that he is on the lookout for tutors for his daughters. Then Lucentio gets his servant Tranio to pretend to be him. There is a lot of people running around pretending to be someone else. I am so glad for the Folger's version it is not even funny. Then we get another man thrown into the mix named Petruchio who knows Hortensio. Hortensio asks Petruchio to get Katherine to wed because he (Petruchio) decides that he now wants to wed since his father is dead and hey it be super fun to have some woman who would do whatever he says. Petruchio thinks that Katherine sounds like the girl for him and also to pretending that Hortensio is a music tutor to Baptista so that he can also gain entry into the household in order to woo Bianca. There are way too many people in disguises at this point to keep straight, once again thank you Folger's version. When Petruchio gets introduced to Katherine comedy ensues (vomit). He decides to use reverse psychology by acting super awful towards her and acts as if what he is doing and saying is actually good and sweet in order to get Katherine to act proper. Yeah I don't know. Just go with it. Katherine keeps refusing him and he just bowls over her the entire time. Heck even Baptista thinks this is a bad idea after a while since Petruchio seems to be mad. Eventually Petruchio gets his way, and steals Katherine away after they are married and he acts like an ass during the entire ceremony and at the dinner. Afterwards at his home he proceeds to starve Katherine. God I hate everyone. Just everyone at this point. By pretending that everything he is offering is not good enough for Katherine he once again has her agreeing with anything he says in order to just be fed and clothed. The servants even get in on this at this point. And back to the sister who I don't care about at all at this point, and yes this whole thing is a spoiler because why subject other people to this hot mess of a play, Bianca through a lot of hocus pocus mess chooses Luciento. Blah blah blah we have these two hiding the truth from Bianca's father for reasons (I seriously don't care) and now Hortensio is mad because he can't believe that Bianca is throwing in with a servant at this point (because he still thinks Luciento is a servant since Luciento has not revealed his identity) and he decides to run off to marry some random woman that's rich. I think. I don't know. I can't drink at work. I really want a drink. Whatever. Whatever. I am almost done. Eventually Katherine is tamed. Cause that's what happens when you are starved and have some damn man you married against your will playing psychological games with you. All is revealed and Bianca's father is happy that she made a good match and that Katherine is married. Eventually the two sisters and Hortensio and his wife (yeah he got married too, no I refuse to explain how or to who, who cares) and the three men sit around talking shit about Katherine. Or excuse me, the two men while her husband boasts that his wife is tamed and a more obedient wife than the two of them. The men wage a bet that whatever servant gets his wife to come to the room first wins. Katherine because she has been turned into a woman that always thinks of her husband first comes without delay while the other two wives ignore their summons. Petruchio wins the bet and then Katherine, (redacted) Katherine sits and lectures her sister and this other woman (I refuse to look up her name, I don't care) about how to be proper women and always obedient to their husbands. So that's The Taming of the Shrew or how one man seriously messed up a strong and intelligent woman in order for his friend to try to win her sister's hand and that woman ended up choosing some other guy anyway. Oh did I mention throughout this play that Katherine kept being referred to as the devil's mother for her actions. Apparently according to Folger's being the devil's mother is actually worse than being the actual devil. Fuck no I don't get it and I am going to go and stare at cat gifs for a while.

  28. 4 out of 5

    Sarah

    "Why, there's a wench. Kiss me, Kate." This... is terribly sexist and I should have been appalled but I absolutely loved it! It was really funny.

  29. 4 out of 5

    Roy Lotz

    Talk not to me. I shall go sit and weep Till I can find occasion of revenge. Like The Merchant of Venice, whose anti-Semitism makes us squirm, this play presents a sticky problem to modern audiences: was Shakespeare a misogynist? And it must be said that the misogyny present in this play is more difficult to excuse than the prejudice against poor Shylock, since Shakespeare is not clearly in sympathy with the titular shrew, Katherine, as he is with the Venetian merchant. So just as bardolaters ha Talk not to me. I shall go sit and weep Till I can find occasion of revenge. Like The Merchant of Venice, whose anti-Semitism makes us squirm, this play presents a sticky problem to modern audiences: was Shakespeare a misogynist? And it must be said that the misogyny present in this play is more difficult to excuse than the prejudice against poor Shylock, since Shakespeare is not clearly in sympathy with the titular shrew, Katherine, as he is with the Venetian merchant. So just as bardolaters have striven to distance Shakespeare from the badness of Titus Andronicus, so have they tried to complicate Shakespeare’s relationship to the explicit misogyny of the play. First there is the induction, a seemingly extraneous introductory bit that frames the rest of the work, making it a play-within-a-play. Did Shakespeare do this to distance himself from the misogyny? A rather flimsy shield, if you ask me. Another way to excuse the bard has been historical relativism, noting that misogyny was universal in his day and thus excusable. But this explanation isn’t satisfying, either. The play presents Petruchio’s actions as unusual and noteworthy, so much so that the rest of the characters are awestricken by the end. In the context of Shakespeare’s own plays, too, the relationship between Petruchio and Katherine is far from typical. But perhaps Shakespeare meant this as a negative example, not to emulate but to scorn? Maybe we are supposed to loathe Petruchio and gasp in horror at Katherine’s submissive ending monologue? This does not seem plausible to me; rather it strikes me as a wholly un-Shakespearean reading—with evil unapologetically triumphant, something that never happens even in his tragedies. Somewhat differently, Harold Bloom frees Shakespeare with irony. As he notes, the ending monologue is far too long, and can easily be read as satire on Katherine’s part. Using evidence such as this, Bloom asserts that Katherine is not tamed at all, but rather learns to dominate Petruchio. Yet avoiding her husband’s temper tantrums through unconditional obedience hardly seems like “dominance” to me. We are thus left, uneasily, with simple misogyny.* And yet the play did not have a terribly unpleasant effect on me. This is because several factors serve to mitigate the main theme of shrew-taming. For one, however unhealthy their relationship might be by modern standards, Petruchio and Katherine have undeniable chemistry. From the hilarious sexual raillery of the opening courtship to the “Kiss me, Kate” in the streets of Padua, the couple is electrifying to watch. Then there is the obvious ironic comparison with the relationship between Lucentio and Bianca. Bianca, the sweetly submissive girl who every suitor pursues, ends up deceiving her father and making her own choice of marriage; while Katherine, the infamous shrew, compliantly marries the first suitable suitor who comes along with no deception whatsoever. And it is also worth noting that, all the bizarre torture notwithstanding, Katherine does seem better off with Petruchio, who is deeply fond of her, than with her father, who finds her to be a pestilence. In any case, this play can take its place alongside A Comedy of Errors as a light comedy with finely-drawn characters, full of life and wit—indeed in many ways it is far better. If only it wasn’t about subjugating a wife! _________ *Given that this play is very unusual in the context of Shakespeare's oeuvre—full as it is of strong and compelling women—I doubt that it represented Shakespeare's own views on the subject.

  30. 4 out of 5

    Joe Valdez

    To celebrate William Shakespeare on his birthday in April, my plan is to locate a staging of six plays. I'll listen to and watch these on my MacBook, following along to as much of the original text as is incorporated by the production. Later, I'll read the entire play in the modern English version. A good friend I've had since high school recommended this system to me and it's been a very good system for delighting the mind in Shakespeare. Next up, The Taming of the Shrew. Because none of Shakesp To celebrate William Shakespeare on his birthday in April, my plan is to locate a staging of six plays. I'll listen to and watch these on my MacBook, following along to as much of the original text as is incorporated by the production. Later, I'll read the entire play in the modern English version. A good friend I've had since high school recommended this system to me and it's been a very good system for delighting the mind in Shakespeare. Next up, The Taming of the Shrew. Because none of Shakespeare's manuscripts survive, there's rampant speculation as to the publishing dates and inspirations. It's believed this one was written sometime after Shakespeare arrived in London, perhaps between 1590 and 1594, placing it in the decade many of the Bard's comedies began to appear. And while there were already tales involving a cad who must woo a devilish woman, there's no indication Shakespeare based this play on other material. The staging I chose was the BBC Television Shakespeare production from 1980 starring John Cleese as Petruchio, Sarah Badel as Katherine, Simon Chandler as Lucentio and Susan Penhaligon as Bianca. Cleese is the only member of the cast I'm familiar with, and while the staging is extremely awkward -- actors routinely deliver their lines grouped in front of a static camera -- it proves amusing to draw lines between Shakespeare and Monty Python, two of England's premier artistic institutions. The Taming of the Shrew starts well. In a delightfully meta induction, the drunkard Christopher Sly passes out in front of a tavern. He's discovered by a Lord and his hunting buddies who play a trick on him. The Lord has Sly carried to his home, where he's dressed and bathed and everyone in the house instructed to pretend that Sly's last fifteen years of vagrancy have been a dream. A group of actors arrive at the Lord's house and perform a play for the budding aristocrat ... The play within a play begins in the fair city of Padua, known for its arts and letters. A young nobleman from Pisa named Lucentio arrives with his quick-witted servant Tranio. Planning to further his education, Lucentio's noble priorities change when he checks out Bianca, youngest daughter of the wealthy Baptista Minola. Baptista deflects the advances of two suitors for Bianca's hand, Gremio and Hortensio, by declaring his youngest daughter will not marry until her sister Katherine is also wed. Katherine, known on the streets of Padua as Kate or Kate the Curst, has somehow avoided being burned at the stake as a witch, flinging insults at all those who come near her and throwing her fists around as well. Hortensio sees an opportunity to cast this devil out with the arrival of his old friend Petruchio, a wealthy gentleman of Verona who has inherited his late father's estate and gone to seek his fortune. When Petruchio hears of the rich dowry being offered for Katherine, he agrees to woo her. Meanwhile, Lucentio hatches a plot to win the affections of Bianca, whose father has indicated he would appreciate in a future son-in-law one who can offer a good tutor for his youngest daughter. Lucentio switches clothes with Tranio and poses as the servant, while Tranio introduces himself to Baptista as Lucentio, "vying" for Bianca's hand in marriage while contributing to the household a good "tutor" in Lucentio. While Petruchio waits to be introduced to Katherine, he hatches a strategy on how to seduce her. Say that she rail; why then I'll tell her plain she sings as sweetly as a nightingale. Say that she frown; I'll say she looks as clear as morning roses newly washed with dew. Say she be mute and will not speak a word. Then I'll commend her volubility. And say she utterth piercing eloquence. If she do bid me pack, I'll give her thanks as though she bid me stay by her a week. If she deny to wed, I'll crave the day when I shall ask the banns and when be married. Katherine puts up token resistance, hardly flattered by Petruchio's off-color barbs and condescending attitude towards her. She wastes no time in letting her father know how she feels. You have showed a tender fatherly regard to wish me wed to one half lunatic, a mad-cap ruffian and a swearing Jack, that thinks with oaths to face the matter out. Meanwhile, Lucentio drops his masquerade to Bianca during an intense Latin lesson; she's attracted to her man of words, but doesn't trust him yet. On her sister's wedding day, Petruchio is nowhere to be found. His servant, the fool Biondello, harkens the tardy arrival of his master, who appears in a ridiculous costume and later makes a mockery of the ceremony. Dragging Katherine home, he berates his servants and begins to wear down his wife's rebelliousness by seeing she can never relax. Rather than become enchanted by the play, I found myself cringing through it. Whatever narrative delights are here are cloaked by characters I despised. This is a violent play, with Kate laying into her younger sister with the sorts of domestic abuse that would allow Bianca to call the cops and press charges today, while Petruchio's solution seems to be to up the ante, dominating his bride and wearing her into total submission. Katherine's progression from a she-devil (who at least seems to be acting true to her nature) to a Stepford Wife is startling when you examine how liberated Shakespeare's female characters are: Beatrice in Much Ado About Nothing. Portia in The Merchant of Venice. Viola in Twelfth Night. Katherine is a victim. Watching her transition into a wife was like watching Paul Newman get captured in Cool Hand Luke. Both characters are inflicted with such psychological torture by The Man that they become lobotomized. Where Cool Hand Luke later reveals he was faking the whole time in order to earn another opportunity to escape, there is no redemption for Katherine. She is beaten down and stands there. Not only is this an insult to women, it's not funny. The dialogue is witty and I did like the subterfuge Lucentio employs to woo Bianca (using books and knowledge as a seduction technique always goes over well with me). The B-plot there between Lucentio & Bianca was far more engaging than the wrestling match between Petruchio & Katherine. They're the couple you ditch after dinner as quickly as possible. It's based on some really antiquated notions about women appreciating the comfort and safety of being property, which again, isn't just out of date, but it isn't funny. Ten Things I Hate About You (1999) continued the Shakespeare revival going on in Hollywood at that time by transplanting the play to a modern day high school, with Julia Stiles as "Kat Stratford" and Heath Ledger as boy from the wrong side of the tracks who agrees to woo her so her father will let her younger sister Bianca date. A teen movie that doesn't suck, it does suck being reminded that Ledger is no longer with us. Elizabeth Taylor & Richard Burton starred in a lavish film version of The Taming of the Shrew for director Franco Zeffirelli in 1967. Joe's Current Ranking of Shakespeare Plays (From Best to Worst): 1) Much Ado About Nothing 2) Twelfth Night 3) Macbeth 4) The Merchant of Venice 5) Othello 6) A Midsummer Night's Dream 7) King Lear 8) Romeo and Juliet 9) The Taming of the Shrew 10) The Tempest

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