Park 1 18 December 2013 Thy King, Thy Lord, Thy Soveriegn In the play, Taming of the Shrew by Shakespeare, a prominent character by the name of Katherine is a shrew in the beginning but after her marriage with Petruchio and his determination to tame his wife, in the very end she delivers a speech condemning Bianca and the Widow for not fulfilling their duties as wives. Shakespeare’s diction, imagery, and organization convey a condescending manner as Katherine addresses the wives and an adoration manner when addressing her husband as she openly states that she is willing to submit herself to her husband. In her speech, Kate uses a condescending tone when talking to the wives because they did not come when their husbands asked. In the beginning when Kate drags the wives to their husbands she tells them to “dart not scornful glances from those eyes” and to “unkit that threat’ning unkind brow.” By ordering the wives around, Katherine shows that she is in a higher position than them and therefore has the right to look down on them for their actions. She calls the women “foul contending rebel[s]” and “graceless traitors” to their husbands.
“I think she’ll sooner prove a soldier / As had she studied to misuse me so” (II,I,145-155). Lastly, we see Kate’s negative behaviour shown through her loneliness and her desire for a relationship that she torments her sister Bianca and plots revenge against her. This is shown when Kate and Bianca are fighting and Kate says “Her silence flounts me and I’ll be revenged” (II,ii,29), and continues with “What / Til I can find an occasion of revenge” (II,ii,31). Therefore,
Hedda Tesman in “Hedda Gabler” By Henrik Ibsen Hedda Tesman in “Hedda Gabler” by Henrik Iben is a central figure as well as a dynamic character, which means she changes throughout the play. She behaves atrociously to everyone with whom she comes in contact, and her moral sense is defective. After all, the play is a tragedy since Hedda turned out to be all pity and petty. Hedda is not simply evil and preserve. She born as General Gabler’s daughter so she feels for a better destiny and imbues with romantic vision of making one’s own life a work of art.
He does this by things such as calling her nicknames with negative characteristics, such as his little lark, spendthrift and featherhead. Both Nora and Torvald, put on a face for the rest of the world and each other. Surprisingly, these choices of façade complimented each other. We gradually see how it isn’t good enough for her, yet hides it anyways through most of the play. In this era, it is expected for a woman to go straight from her father’s hand to her husband’s and the sacrifices it meant.
It is also interesting to note that Iago speaks so kindly of Desdemona, which is likely due to the fact that he loves her, but, he will is planning a scheme which will no doubt crush her. Iago claims that it is “out of her own goodness make the net that shall enmesh them all.” Iago reveals that his plan relies on Othello’s true love for Desdemona, which Iago is attempting to crush. Iago believes that Desdemona has the ability to convince Othello to do anything because “his soul is so enfettered to her love”. He also believes Desdemona knows this, which is the
With this comparison comes the first accentuated fault. Although Lear and Gloucester are both deceived by lies, it is easier for the reader to comprehend why Gloucester is deceived. Lear's pompous attitude leaves him susceptible and perhaps deserving of such deception. He commands his daughters to profess their love for him. In the case of Regan and
Thee and thy virtues here I seize upon, be it lawful I take up what’s cast away (pg23 lines253-255)” which diminished all good values of Cordelia. He mentions that her morals are no more value than the wealth of nobles unless she is banished from her land. Duke of Burgundy implies that he is picking up something that is thrown away to keep for himself despite the moral features. It is seen as if Lear and Duke of Burgundy were selling Cordelia as if she was a bonus to whatever purchase Duke
In Taming of the Shrew, Lucentio disguises himself as Cambio and does the same thing. Another similarity is that in the play, Petruccio is paid to marry Katherine, where in the modern version, Patrick is also paid to go out with Katherine. In the end, Patrick and Petruccio have “tamed” Katherine because she is now willing to be with a man but before that she is a shrew. PETRUCHIO: Come, come, you wasp, i’faith you are too angry. KATHERINE: If I be waspish, best beware my sting.
Despite all these changes, the free- thinking, independent woman has proved to be a durable stereotype. The concept of the disobedient women that opposed any male authority was worked into many different adaptations of the original play and used in other texts. Even though slightly changed and modified through the ages to relate to different societies, the Kate character has survived. The “shrew” idea became a major challenge for any actress offered the role of Shakespeare's Kate and attempt to develop it in an appealing way to the audience of their time. The word shrew as used in the concept of Shakespeare's original play, means a woman with a violent, scolding, or nagging temperament (TCM, fact sheet).
Eliza’s Transformation In Bernard Shaw’s novel Pygmalion its evident to the reader the power struggle between the male and female characters. Towards the end of the play, we can see the true lady Eliza has grown into. In act 3 she states “I don’t think I can bear much more. The people all stare so at me. An old lady has just told me that I speak exactly like Queen Victoria.