The subplot in A Shrew, however, which features an extra sister and addresses the issue of marrying above and below one's class, "has many elements more associated with the romantic style of comedy popular in London in the 1590s. He has decided to have some fun. Muddy, ill-seeming, thick, bereft of beauty, [173], The earliest known musical adaptation of the play was a ballad opera based on Charles Johnson's Cobler of Preston. "[72] Hickson, who believed Marlowe to have written A Shrew, had hinted at this theory in 1850; "though I do not believe Shakspeare's play to contain a line of any other writer, I think it extremely probable that we have it only in a revised form, and that, consequently, the play which Marlowe imitated might not necessarily have been that fund of life and humour that we find it now. However, when Polynesta is found to be pregnant, Damon has Dulipo imprisoned (the real father is Erostrato). Lucentio and Gremio in the 1973 production of The Taming of The Shrew. [137] In Zeffirelli's film, Katherina, played by Elizabeth Taylor, delivers the speech as though it were her own idea, and the submission aspect is reversed by her ending the speech and leaving the room, causing Petruchio to have to run after her. [95] G.R. In productions of the play, it is often the interpretation of Katherina's final speech (the longest speech in the play) that defines the tone of the entire production, such is the importance of this speech and what it says, or seems to say, about female submission: Fie, fie! By comparing seven passages which are similar in both plays, he concluded "the original conception is invariably to be found" in The Shrew. Even Katherina's own father refers to her as "thou hilding of a devilish spirit" (2.1.26). [134], Emma Smith suggests a possible fifth interpretation: Petruchio and Kate have colluded together to plot this set-piece speech, "a speech learned off pat", to demonstrate that Kate is the most obedient of the three wives and so allow Petruchio to win the wager.[143]. The man does so, and Baptista is happy for Bianca to wed Lucentio (still Tranio in disguise). "[98], With the rise of the feminist movement in the twentieth century, reactions to the play have tended to become more divergent. And if you cannot, best you stop your ears. This suggests The Shrew was on stage prior to June 1592. Come, come, you froward and unable worms! [175] Petruchio was renamed Manly, and Katherina was renamed Margaret (nicknamed Peg). [29], In his 1982 edition of the play for The Oxford Shakespeare, H.J. Duthie refined Houk's suggestion by arguing A Shrew was a memorial reconstruction of Ur-Shrew, a now lost early draft of The Shrew; "A Shrew is substantially a memorially constructed text and is dependent upon an early Shrew play, now lost. In the scene that follows Petruchio says: If thou know "[145] Detmer argues: the vigor of public discourse on wife-beating exemplifies a culture at work reformulating permissible and impermissible means for husbands to maintain control over the politics of the family, without, however, questioning that goal. It is sincere; Petruchio has successfully tamed her. (4.3.74–80). Kate's final long speech on the obligations and fitting style of wives we can think of as a more or less automatic statement – that is, the kind appropriate to farce – of a generally held doctrine. Because of a similarity between the two expressions in French, she understood her husband to command her to leap upon the table. Litio Cambio Ovid Vincentio 7 Who does the Pedant disguise himself as? Critically, four main theories have emerged in response to Katherina's speech; George Bernard Shaw wrote in 1897 that "no man with any decency of feeling can sit it out in the company of a woman without being extremely ashamed of the lord-of-creation moral implied in the wager and the speech put into the woman's own mouth.