The Taming of the Shrew (1591) By William Shakespeare

Introduction A “shrew” is a sharp-tempered, scolding woman. A “shrew” is a sharp-tempered, scolding woman. Though impossible to date the play exactly, evidence marks it as one of Shakespeare’s earliest comedies (late 1580s or early 1590s). Though impossible to date the play exactly, evidence marks it as one of Shakespeare’s earliest comedies (late 1580s or early 1590s). Shakespeare wrote it eight to ten years before Much Ado about Nothing (often compared with Shrew). Shakespeare wrote it eight to ten years before Much Ado about Nothing (often compared with Shrew).

Each play highlights a bold and saucy pair of protagonists, who enter into the battle of wits. Each play highlights a bold and saucy pair of protagonists, who enter into the battle of wits. Since much of the cleverness and verbal acumen found in Much Ado is already apparent in Shrew, it is believed that even early in his career Shakespeare was extraordinarily skilled at character development, able to pit a headstrong hero and heroine against each other with fantastic results. Since much of the cleverness and verbal acumen found in Much Ado is already apparent in Shrew, it is believed that even early in his career Shakespeare was extraordinarily skilled at character development, able to pit a headstrong hero and heroine against each other with fantastic results.

Sources The primary plot, the story of Katherine and Petruchio, finds its roots in folk tales and songs common in Shakespeare’s day. The primary plot, the story of Katherine and Petruchio, finds its roots in folk tales and songs common in Shakespeare’s day. In fact, while growing up, Shakespeare was surrounded by a very public debate over the nature of women, including specific arguments on a woman’s duty and her role in marriage and family. In fact, while growing up, Shakespeare was surrounded by a very public debate over the nature of women, including specific arguments on a woman’s duty and her role in marriage and family.

Love, Sex, and Marriage in the Seventeenth Century The term family was commonly used in the Renaissance to denote a household (including servants). In this age, the law regarded women “as either married or to be married” to be in a family. The term family was commonly used in the Renaissance to denote a household (including servants). In this age, the law regarded women “as either married or to be married” to be in a family. It was quite common for girls to marry at twelve and boys at fourteen in the 1500s. It was quite common for girls to marry at twelve and boys at fourteen in the 1500s. Therefore, courtship and matrimony involved emotional and personal significance, as well as prime public importance. Therefore, courtship and matrimony involved emotional and personal significance, as well as prime public importance.

Nonetheless, entry into a married state was not as rigidly controlled as assumed. Nonetheless, entry into a married state was not as rigidly controlled as assumed. Girls and boys were allowed to marry once they reached their teens, and parental consent was not required. Girls and boys were allowed to marry once they reached their teens, and parental consent was not required. Regardless of where Shakespeare drew the basis for the text, the fact remains that he masterfully presents us with a well-founded, carefully developed drama. Regardless of where Shakespeare drew the basis for the text, the fact remains that he masterfully presents us with a well-founded, carefully developed drama.

Marriage in the Renaissance England  Marriage statistics indicate that the mean marriage age for the Elizabethan and Jacobean eras was higher than many people realize. Data taken from birthdates of women and marriage certificates reveals mean marriage ages to have been as follows:  —27.0 years  —29.6 years  —26.8 years  —25.1 years

 The marriage age of men was probably the same or a bit older than that of women. (In 1619, it was about 23 for women, 26 for men.) The age of consent was 12 for a girl, 14 for a boy, but for most children puberty came two or three years later than it does today.  Oddly enough, there seems to be a period in the late-sixteenth century when the mean marriage age of women in and around the area of Stratford- on- Avon dropped as low as 21 years—the mean marriage age from 1580 to 1589 was about 20.6 years (which is when Shakespeare, at the age of 18, married Anne Hathaway).

 The reason for late marriage among laborers and the middle class was simple enough—it took a long time for a couple to acquire enough belongings to set up housekeeping, even in a room of their parents’ home.  Young love, however romantic, had to be kept in check if the two lovers were to survive in a world where subsistence earnings would not purchase a roof over their heads and put food on the table.  Children of noble birth ran a great risk if they tried to marry without the approval of their parents, since they would be left without resources.

Performance history (Renaissance) The play has experienced great popularity through the years because of themes addressed (marriage, duty, identity, and family). The play has experienced great popularity through the years because of themes addressed (marriage, duty, identity, and family). It is also the most potentially offensive since it addresses the issue of submissive woman. It is also the most potentially offensive since it addresses the issue of submissive woman. Its popularity made it difficult to trace its exact performance history. Its popularity made it difficult to trace its exact performance history.

John Fletcher created a sequel to Shakespeare’s work with his 1611 play The Woman’s Prize, or The Tamer Tamed. John Fletcher created a sequel to Shakespeare’s work with his 1611 play The Woman’s Prize, or The Tamer Tamed. Aside from contemporary spin-offs, in 1663 the Restoration stage became home to a popular production of Shakespeare’s Shrew. Aside from contemporary spin-offs, in 1663 the Restoration stage became home to a popular production of Shakespeare’s Shrew. After 1663, though, Shrew slipped off the boards, and there is no record of a production in its original form again until After 1663, though, Shrew slipped off the boards, and there is no record of a production in its original form again until 1844.

Reviews “TTOTS is a remarkable example of Shakespeare’s repeated attempts to make the public accept realistic comedy.” George Bernard Shaw, 1897 George Bernard Shaw, 1897 “There is no doubt at the end of TTOTS that he or she who gives most, not in terms of the contract of love, must inevitably get most.” John Russell Brown, 1957 John Russell Brown, 1957