JonBenet Clarke
Lower Six
Literatures in English, Unit 1
Miss Durrant
THIS IS A SAMPLE STUDENT ESSAY AND IS
NOT INTENDED FOR REPLICATION.
ESSAY QUESTION: “Although the play is a comedy, Shakespeare’s presentation of
gender roles undermines the laughter.” Discuss the validity of this statement with
reference to ONE Shakespearean comedy.
The Taming of the Shrew by William Shakespeare is regarded by many as one of the
most controversial of Shakespeare’s plays today. The reason for this is clear - the reoccurring
theme of Sexism and Misogyny presented in the play is more distasteful to a modern, evolved
and differently cultured audience. The title itself evokes disgust in many, if not most of the
female individuals of modern audiences as it presents the idea that women are equal to a
specie that needs to be subdued to suit the desires of a more dominant specie (in this case that
“specie” is a man). The unfolding of the events of this play would be more agitating as the
audience realized that the “shrew” in this play is really a woman who simply asserts her
standards and opinion without approval from a man- and that the “taming” process is simply
silencing this woman. It is without a doubt that Shakespeare wrote his play to address the
beliefs, the culture and the societal structure of the Elizabethan era. With that in mind, the
question of whether or not The Taming of the Shrew is satirical should be considered before
one dismisses the piece entirely. The play may indeed be a satire- its main purpose may be to
criticize the beliefs that were held in that time in history. This play was therefore not written
to further promote the misogynistic principles that were perpetuated in the Elizabethan era,
but to instead question the sensibility of those principles. That is said to amplify the idea that
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JonBenet Clarke
Lower Six
Literatures in English, Unit 1
Miss Durrant
although the presentation of gender roles is not necessarily comedic in itself, it does not
entirely subtract from the entertainment value of the play; the conventions and devices used
throughout the piece balance the bitterness with added humour.
Primarily, it is a fact that the theme of Sexism and Misogyny is strongly displayed by
many characters within the play. The main (if not only) victim of the poor treatment from
men among all the characters is Katherina Minola. Before meeting her, the audience is
informed about her in Act 1 Scene 1. Gremio states that “… though her father be very rich,
any man is so very a fool to be married to hell…” (Lines 120-121). This statement sets the
audience up to meet a boisterous, unlearned and unreasonably ill-mannered Katherine. The
“taming” process would have perhaps been fit for such a woman – one that lacks the ability
to conduct herself well; a woman who was animalistic in her relation to others. The audience
may be disappointed when it is revealed that Katherine is merely woman that defies the
standard idea of all that a woman should be. She is assertive, opinionated, outspoken,
independent (descriptions that suit most women today). The misogyny therefore lies in this:
that the males in this play wish to reduce Katherina to someone who she is not (dependent,
indecisive, docile, submissive, etc) Kate realizes and addresses this on the behalf of all
women: “I see a woman may be made a fool/ If she had not a spirit to resist.” (3.2.193-194).
The notion that a woman becomes a shrew when she does not wish to conform to the
patriarchal principles of society underscores the title and events of the play. The fact that a
woman is ostracized (given the animalistic title of ‘shrew’) when she has a strong personality
is what may stand out to any audience. This can remain with individuals throughout the entire
play, making them uneasy, annoyed or even furious.
Simultaneously, the disregard for women is further propelled by Petruchio. He can
fairly be given the title of the greatest sexist present in the piece. Petruchio asserts himself as
the only dominant individual in his relationship with Kate through the execution of many
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JonBenet Clarke
Lower Six
Literatures in English, Unit 1
Miss Durrant
cruel ideas that include depriving her of sleep and food, entirely disregarding her opinions
and humiliating her in view of all. He reveals the reason for these spiteful actions in his
soliloquy in Act 4 Scene 1: “… And thus I’ll curb her mad and headstrong manner…” The
extent to which he goes to bend a woman into subservience is shocking and offensive. The
Petruchian ‘discipline’ administered to remedy something that is essentially without a fault is
enough to evoke indignation, and it has done so from as early as 1897. George Bernard Shaw
(Irish playwright and critic) expressed that the play was ‘altogether disgusting to modern
sensibility’. This play would not be well accepted in an age where every individual seeks to
gain rights for him/herself. Society is progressing from the traditional view that “Women are
made to bear…” (2.1.196). Society (to a large extent) no longer agrees with the underlying
values of Petruchio’s beliefs that lead him to want to “bring you from a wild Kate to a Kate/
Conformable as other household Kates.” (2.1.265-267). Therefore, one can indeed say that
the sexism presented within the play would lead to immediate dismissal by modern
audiences.
Notwithstanding, a fair judgement of the piece is not executed if the various
components that add comedy to the play are disregarded. It is proven that the oppression of
women is greatly displayed, however, the conventions and devices are not being completely
overshadowed by this and they are therefore not negligible. The series of wordplay carried
out by many of the characters will bring humour to audiences of any gender and era. Such a
case is evident in Act 2 Scene 1. The collision of the two most headstrong characters
(Katherine and Petruchio) results in sparks of wit, sexual innuendos and clever comebacks.
For instance, Katherina calls Petruchio a “movable” (2.1.191). He asks her to explain and she
clarifies that she is comparing him to “A joint stool” (2.1.193). Petruchio responds by saying
“Thou hast hit it. Come sit on me.” (2.1.194). The sole fact that Petruchio steered the
conversation into a sexual direction creates humour in the midst of the argument between the
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JonBenet Clarke
Lower Six
Literatures in English, Unit 1
Miss Durrant
two. The same takes place in Act 1 Scene 2 when Petruchio and his servant Grumio are
introduced to the audience. The large issue that resulted from Petruchio’s request for Grumio
to knock at the gate for him is beyond absurd:
GRUMIO
Knock, sir? Whom should I knock? Is there any man has rebused your Worship?
PETRUCHIO
Villain, I say, knock me here soundly.
GRUMIO
Knock you here, sir? Why, sir, what am I, sir, that I should knock you here, sir?
Individuals from the audience are likely to react with a small chuckle or by shaking their
heads in disbelief as to how silly Grumio is.
Moreover, the dramatic irony that is present in the play certainly counteracts the
contemptuous treatment of women. The dramatic irony results from the many disguises that
characters take on as the plot unfolds. Tranio disguises himself as his master Lucentio, who
disguises himself as a tutor (Cambio). Hortensio also takes the on the persona of a tutor
(Litio). As the plot advances, a random Merchant poses as Vincentio, the father of supposed
Lucentio. The fact that many characters act in ignorance will trigger a response from the
audience as they are in on the plans that other characters plan to execute. An example can be
made of Baptista, who so fervently shielded his younger daughter from any suitors. He would
be made the subject of ridicule when he readily accepts the disguised suitors in his house and
presents them directly to Bianca. It cannot be said whether Baptista was really naïve or nothow would he have possibly known the real identities and intentions of these men? They
were in fact presented as ‘tutors’ by the men who sought to woo his daughters and whom he
trusted. All that can be fairly deduced is that the readiness with which he welcomed them is
amusing: “You shall go see your pupils presently./ Holla, within!” (2.1.104-105). Another
instance (if not the most hilarious) is the meeting of the ‘two Vincentios’ in Act 5 Scene 1.
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JonBenet Clarke
Lower Six
Literatures in English, Unit 1
Miss Durrant
Vincentio himself is introduced to the play and encounters the Merchant who is posing as
him. When the right father asks the usurper to see his son and he declines, he tries to wager
with him: “What if a man bring him a hundred pound or two to make merry withal?” (5.1.1819). What is ironic is the fact that the poser tells the real father to keep his money because his
‘son’ “… will need none so long as I live.” (5.1.21). By this time, Vincentio is confused as
the man claims to be the father of Lucentio and even solidifies his claim by stating boldly that
“… so his mother says…” (5.1.30). The conversation that takes place highlights two thingsthat the old Merchant is a marvellous actor and that both parties are victims of dramatic
irony. Vincentio is oblivious as to what is happening. He cannot be blamed as he came with
the intent of seeing his son and is instead presented with a man claiming paternity of his
‘son’. The Merchant does not know that he is being gulled. He is just executing his end of the
bargain he made with the young man who ‘saved his life’. The Lucentio that is present at the
moment of this encounter is a fraud. All of this occurring at the same time would prove
farcical to the audience. It is therefore safe to say that the dramatic techniques add
entertainment value to the piece.
In addition, the comedic conventions that are present in the play season it with
humour. The convention of disguise is used so much in the play that the plot becomes almost
unbelievable. The audience is presented with so much deception to marvel (and laugh) at.
The way in which these characters act under these disguises is comical, as the audience
knows that they would not have had the opportunity to do certain things had they not masked
their identity. An example can be made of Lucentio (who is dressed as Cambio). He seizes
the chance to push his plans further into action by going directly to Bianca to profess his love
and out-woo all the other suitors. “Hic ibat- as I told you before; Simois- I am Lucentio; hic
est- son unto Vincentio of Pisa; Sigeia tellus- disguised thus to get your love…” (3.1.31-33).
The mere sight of the two suitors dressed as tutors who both ensure to woo a little during
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JonBenet Clarke
Lower Six
Literatures in English, Unit 1
Miss Durrant
their ‘lessons’ not only brings suspense but causes the audience to laugh at the cunning ideas
of the characters present. Tranio’s exaggeration of ‘his’ riches in order to out-vie Gremio is
another instance that can be used. One can recall all the luxuries that Gremio stated he
owned- gold and chinaware, ivory trunks filled with more gold and expensive clothing and
imported luxury items. Tranio simply stated that he had many times the amount of wealth that
Gremio claimed to have. The audience knows that Lucentio is wealthy and may not have
suspected what Tranio was up to until he stated in his soliloquy that he has “…faced it with a
card of ten.” (2.1.399). To see a servant dressed as his master is comical enough. To see this
servant exaggerating the wealth that he (or even his affluent master) does not have is quite
entertaining. It is in this way that the convention of disguise brings laughter.
Conclusively, The Taming of the Shrew does indeed present the ideas of sexism,
misogyny and the oppression of women. This fact will cause many individuals to dislike this
play. However, the laughter is not entirely undermined as the devices and comedic
conventions compensate for the seriousness that the poor gender relations might have brought
to the play.
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