Taming, Then and Now

Since Elizabethan times, the way society looks at and treats women has changed a great deal. This becomes very clear when reading William Shakespeare’s classic comedy, The Taming of the Shrew. In it, Shakespeare depicts the domestication of a wild and independent woman- at least, that’s what he seems to have done. With a modern perspective, however, the language of the play can make an argument for female independence. With a different interpretation than the considerably more chauvinist perspective of Shakespeare’s original audience, the play is a positive portrayal of willful women, making its case against the submission of women with elegant language.

In Shakespeare’s time, an outspoken and independent woman like Kate was shunned and outcast. On the other end of the spectrum, Kate’s sweet and obedient sister Bianca is pursued my many suitors and liked by all. But is Bianca as meek and mild as she seems? Bianca’s actions and dialogue suggest a more fiery nature than the persona her suitors see. For example, in the scene where Bianca receives a lesson from her tutors ‘Cambio’ and ‘Litio’ -actually Lucentio and Hortensio in disuse- Bianca shows a command of the situation that belies her supposed meekness. She informs her teachers that she is “no breeching scholar in the schools; [she’ll] not be tied to hours or ‘pointed times, but learn [her] lessons as [she] please [her]self (3.1.16).” Bianca easily takes control of the tutors, all while acting as if she follows their instructions. She is at least as skilled as manipulating those around her as Petruchio, and would probably appreciate his plan to “kill a wife with kindness (4.1.196).” Bianca uses this strategy on her father, and later, her future husband. She tells Baptista, “Sir, to your pleasure humbly I subscribe (1.1.81),” but elopes with Lucentio- perhaps the ultimate act of disobedience in Elizabethan times. But Bianca manages to regain her father’s favor with a simple “Pardon, dear Father (5.1.107).” And once she is safely and permanently married, Bianca lets some of her true colors show. She refuses to come when Lucentio calls her, needing to be dragged to the banquet by Katharine. Then, Bianca even insults her husband, saying “The more fool you, for laying on my duty (5.2.133).” Since this is her last line in the play -Kate’s diatribe on obedience takes up the remainder- we are left with a very different image of Bianca than the one we first saw, and a much more willful one. The gradual removal of Bianca’s obedient facade shows that she is actually a strong and intelligent woman, and a force to be reckoned with.