Petruchio is clearly interested in solidifying his net worth, and how better to do it than through marriage? Kate, the elder daughter of a wealthy man who has no. Perfect prep for The Taming of the Shrew quizzes and tests you might have in school. How does Petruchio prevent Kate from eating after their marriage?. literature essays, a complete e-text, quiz questions, major themes, Petruchio next tells Katharina that the two of them will shortly return to her who readily agrees to the marriage, but decides against conducting the formal.
Indeed, he does seek an elusive prize — fortune. His witty banter reveals a quick mind and an even quicker tongue although his servant Grumio does a fine job of keeping up with his masterboth traits he'll need if he is to go against Baptista's shrewish daughter. Petruchio is not a tolerant man, though he is by no means an ogre. His quibble with Grumio rapidly escalates to physical confrontation, demonstrating he is not a man afraid to use force to get his point across.
Petruchio is used to holding a dominant position, and his treatment of Gremio serves as a warning of that which he is capable.
Upon meeting Hortensio, an old friend, Petruchio recounts his situation and what brings him to Padua. His status, we find, is not terribly unlike other sons. After his father's death, he has come into his inheritance.
The Taming of the Shrew: Tough Love or Domestic Violence? | So There's That…
Just prior he has noted his overarching goal is "Happily to wive and thrive as best I may" Some critics theorize that although Petruchio has come into his inheritance, it is not of considerable quantity, and therefore he needs the financial resources of a wealthy wife in order to secure his position as one of the up and coming gentry. Hortensio seems to be aware of his friend's precarious status because he immediately, albeit half-comically, offers to fix him up with someone who is assuredly rich, although she is also hard to handle and most likely not worth even the largest fortune.
Petruchio's ears immediately perk up at Hortensio's offer, and he shows us just how ready he is to marry for money. Although Petruchio's motives may seem a bit mercenary to us today when we espouse marrying for love, at the time in which the play was written, marriage for reasons other than love was not at all unusual.
Political alliances and family fortunes were often at the heart of marriages, especially in the upper classes from which people like Petruchio and Kate come. Petruchio is clearly interested in solidifying his net worth, and how better to do it than through marriage? Kate, the elder daughter of a wealthy man who has no sons nor any promise of ever having any is a prime catch. She brings a generous dowry and stands to inherit half her father's worth upon his death.
Her personality has kept suitors from capitalizing on her economic potential, but we must wonder, given what mercenary tactics may underlay marriage, perhaps Kate's behavior is merely a defense against men seeking her fortune rather than her company an issue which is explored further in Act II.
Shakespeare has set up two distinctly volatile personalities in Petruchio and Katherine. Although what we know of Kate so far comes largely through what other's say of her, we know her well enough to know that if their accounts are even partially correct, the action will explode when she meets Petruchio.
Just as the theme of marriage, its purposes and forms, expands in this scene, so too does the number of disguises.
Hortensio, rejected as a suitor to Bianca, is determined to work his way into Baptista Minola's house. In disguising himself as a music tutor, he believes, as does Lucentio, that he can get the upper hand on the competition for Bianca's love.
What he doesn't realize, of course, is that Lucentio has the same plan. In reality, Hortensio doesn't even know Lucentio is his competition. Hortensio believes Gremio is his only rival. Shakespeare makes sure to let the audience in on the joke, allowing us to wait for comic moment when the two tutors are welcomed into Baptista's house. At his second appearance in so many scenes, spectators again see Gremio's comic flatness. His lack of depth serves two distinct purposes.
The Taming of the Shrew: Tough Love or Domestic Violence?
At this moment in time in the play, to the average audience member, it would seem unlikely that this is domestic abuse. Their insults towards each other can be seen, at most, a form of emotional abuse.
Regardless of viewpoint, their relationship is far from a healthy one. According to the National Domestic Violence Hotline, a healthy relationship is one where partners listen to each other and treat each other with respect.
The Taming Of The Shrew
From what is seen of Act 2, Petruchio and Kate are unwilling to compromise and form understandings of one another. They constantly criticize and are disrespectful towards each other. If Baptista had an intimate acquaintanceship or friendship with Antonio, the Baptista would have known Petruchio either by sight or name.
Petruchio only knows Kate for one scene in Act 2 before the decision is made that the two shall marry. Their physical and verbal interactions in Act 2, Scene both reflects signs of physical abuse and illegal actions in the rules of courtly love. This couple have been left to have a conversation unsupervised, without the presence of a male family relative. It is typical of a performance of The Taming of the Shrew that Petruchio and Kate begin to wrestle and physically strike each other during their verbal battle of wits.
Touching, even holding hands, was taboo in terms of courtship. By Act 4, Petruchio finds ways to physically abuse her after she is made his wife without touching her. Petruchio frequently forbids Kate from eating and sleeping until she submits to him.
He starves her until she grovels at his feet and becomes grateful that she is married to him.
Besides Petruchio keeping Katherine sleep deprived and not through the method of excessive lovemaking on their honeymoon as newlyweds often do and starving his new wife, Petruchio has been emotionally manipulative as he controls her appearance. After leaving immediately after the wedding and before the reception in Act 3, Petruchio forces Kate to leave without properly saying goodbye to her family and packing for the trip. In Act 4, Katherine remains in her old filthy wedding gown, having been ruined mostly on the journey.
In Act 4, Scene 3, Petruchio has had a Tailor fashion her a new dress. Petruchio has tempted Katherine with a new dress and he forces her to remain in rags. From the moment the two wed in Act 3, Petruchio segregates Katherine from her family. He continues to isolate her by taking her to his house in the country, a place she has never been before.
In her alienation, Katherine gathers the desire to return to the family she argued with frequently and at times, despised. Petruchio denies her requests. Petruchio makes her and company travel back on foot to Padua. Katherine, who has not had her proper sleep or intake of victuals over the past few days, becomes utterly exhausted and drained of energy.
Whenever Kate disobeys her lord husband or disagrees with his lawful wording, Petruchio makes them return back to his country home and restart the odyssey.