The Taming of the Shrew Essay Example For Students

The Taming of the Shrew Essay When The Taming of the Shrew was written around 1593-1594, the working classes and servants made up the vast majority of the British population. This led to common social stereotyping of the servant classes. This can be clearly seen in some of Shakespeares early plays including The Taming of the Shrew. In this play there are many characters that are bound together by the servant-master relationship. These include: The Lord and his Huntsmen in the induction, Petruchios domination over Grumio throughout the play and the comradeship between Tranio and Lucentio. Shakespeare explores a number of different types of relationship between the classes in a way that was only possible on the stage. This is the physical enactment of the servant master relationship. There are two different types of servant-master relationship shown in the play. One is the traditional, where the master dominates and sometimes abuses the servant so that he obeys his masters will. The other is the idealised, rare, if existent, bond, where there is equality and mutual respect. We will write a custom essay on The Taming of the Shrew specifically for you for only $16.38 $13.9/page Order now Through this comparison, the play re-evaluates the power of the servants bond with his master and the portrayal of wives as servants. As much of Shakespeares contemporary audience would have experienced this type of relationship, more than likely as the master, Shakespeare may have hoped that some may recognise a potential change from the traditional treatment of servants. In The Taming of the Shrew, the most oppressive and traditional master is Petruchio. He is demanding and dominating over Grumio, Biondello and his other servants. Petruchio seems to have no master over him. Even Baptista, the father of the girl that he woos has no influence over him. He is omnipotent. Towards the end of the play, he has complete control over Katherina, who responds to his every call. In Petruchios first few lines of the play, he is abusive towards Grumio, calling him Rascal, knave and villain. He seems to be easily excited into rage, saying Ill knock your knaves pate and Shakespeare even suggests, in his stage directions, that he should wring Grumio by the ears. Some of Petruchios later violence towards his servants may be done for the purpose of taming Katherina, for example, when Petruchio plans to kill a wife with kindness he insults the servants saying such things as A whoreson beetle-headed, flap-eard knave! Although this tirade may be an act, he is portrayed consistently as violent and aggressive. In comparison to his earlier treatment of Grumio, later in the play it doesnt seem completely out of character for Petruchio to beat his servants and call them beetle-headed, peasant-swain, logger-headed and whoreson. Petruchio is presented as an exaggeration of the traditional patriarchal master. Grumio, as the servant of Petruchio, that features most in this play, is the victim of Petruchios domineering rule. Grumio must fulfil his masters needs and protect himself. Grumio attempts desperately to escape from Petruchios oppressive hand by pleading with his friend, Hortensio. If this be not a lawful cause for me to leave his service This is, however to no avail, as Hortensio fails to take him seriously. In the same scene, Grumio warns: Hell rail in his rope tricks. he will throw a figure in her face and so disfigure her with it that she shall have no more eyes to see withal than a cat. At the same time, Grumio also seems to praise Petruchios ways: Will he woo her? Ay or Ill hang her For he fears none It appears that Grumio has the ability to leave his role as a servant. However, he chooses to vent his frustration by moaning about his situation and loudly voicing his complaints. .u18bdb2b44e63d9e810c79c0be5f532a2 , .u18bdb2b44e63d9e810c79c0be5f532a2 .postImageUrl , .u18bdb2b44e63d9e810c79c0be5f532a2 .centered-text-area { min-height: 80px; position: relative; } .u18bdb2b44e63d9e810c79c0be5f532a2 , .u18bdb2b44e63d9e810c79c0be5f532a2:hover , .u18bdb2b44e63d9e810c79c0be5f532a2:visited , .u18bdb2b44e63d9e810c79c0be5f532a2:active { border:0!important; } .u18bdb2b44e63d9e810c79c0be5f532a2 .clearfix:after { content: ""; display: table; clear: both; } .u18bdb2b44e63d9e810c79c0be5f532a2 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u18bdb2b44e63d9e810c79c0be5f532a2:active , .u18bdb2b44e63d9e810c79c0be5f532a2:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u18bdb2b44e63d9e810c79c0be5f532a2 .centered-text-area { width: 100%; position: relative ; } .u18bdb2b44e63d9e810c79c0be5f532a2 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u18bdb2b44e63d9e810c79c0be5f532a2 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u18bdb2b44e63d9e810c79c0be5f532a2 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u18bdb2b44e63d9e810c79c0be5f532a2:hover .ctaButton { background-color: #34495E!important; } .u18bdb2b44e63d9e810c79c0be5f532a2 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u18bdb2b44e63d9e810c79c0be5f532a2 .u18bdb2b44e63d9e810c79c0be5f532a2-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u18bdb2b44e63d9e810c79c0be5f532a2:after { content: ""; display: block; clear: both; } READ: Shakespeare Coursework EssayWhen he arrives back at his masters house, he quickly starts complaining about his masters treatment of him: Was ever man so beaten? Was ever man so rayed? Was ever man so weary how he beat me because her horse stumbled, how she waded through the dirt to pluck him off me. Grumio enjoys exaggerating in a futile attempt to gain sympathy. He also takes immense pleasure in taking the role of the master in the short time before Petruchio returns to his home. He enjoys ordering, arranging and scolding the other servants. Although Grumio is also improperly dressed and unprepared for Petruchios expectations, he doesnt hesitate at ordering the servants of lower rank than him around and putting himself in a position of authority. This shows that no matter where someone is positioned in the social hierarchy, they will often try to put upon themselves a position of authority. On the other hand, the friendly and equal servant-master relationship between Tranio and Lucentio would have been a revolutionary idea in the 16th century. The master, Lucentio, is far more lenient with Tranio. They even swap places in the play. In their relationship, each depends on the other psychologically and physically. Lucentio doesnt command in the way that Petruchio does he merely requests, as in the final scene, where he bids his wife to come to him. Lucentio seems to be happier with a relationship based on equality that one of domination and aggression. In the first scene, he speaks to Tranio as a friend: Thy good company, My trusty servant, well approved in all, Here let us breathe. Here Lucentio speaks in the plural, let us. This gives the impression of equality. Tranio replies with: Gentle master mine. I am in all affected as yourself. Although both use their titles, servant and master, the language is one of friendship. It is clear that Lucentio sees his servant as intellectually equal to himself. Lucentio also goes to his servant for advice. Counsel me, Tranio, for I know thou canst. Assist me, Tranio for I know thou wilt. He makes it clear that in his eyes, there is no difference physically between him and Tranio. Nor can we be distinguishd by our faces for man or master. Lucentio is perfectly willing to swap places with Tranio in order to achieve the love of Bianca: Let me be a slave tachieve that maid. Through Tranio and Lucentios relationship, Shakespeare points out that the differences between the master and the slave are only on the surface and each can transform into the other with little or no practice. This is also clear in the scenes where Sly plays the role of the Lord and easily picks it up. When Tranio puts on his masters clothes,