Taming of the Shrew

Taming of the Shrew ► Lecture 2 The Induction

Logical Geography of the concept of ‘Farce’ in Drama • A comedy • involving farcical hoops • Using buffoonery and horseplay • Including crude, energetic characterization • Ludicrous and improbable situations • Going beyond the bounds of credibility

What is an Induction Noting the meaning of ‘Induction’ in the context of Drama: An Introduction or Introductory scene In the sense of the play, the Induction then serves the purpose of an opening theatrical device to introduce the audience to key concerns, concepts and themes of the central play; of the play proper; Concerns with hunting; acting; creation of illusion of a rich, powerful world; the conflict between appearance and reality

Synoptic Overview . Two Induction Scenes (Scenes 1 and 2): Scene 1: Sets the stage, with Christopher Sly, a drunken peasant / tinker / beggar, and the Hostess arguing. Sly is then discovered by a noble Lord, and the Lord’s plan is hatched; Scene 2: The Lord’s plan is set in motion and the various acts of role-playing commence.

The Induction Consists of two scenes that stand apart from and outside of the main action of the play proper; The actions that occur within the Induction have no bearing or direct consequence on the action of the central play and thus are not ominous; (though indirectly, yes!) BUT the Induction does introduce the audience, and foreshadows / throws a forward light on the key themes and concerns that are pertinent to the central play, “Taming of the Shrew” — e.g. the development of love and marriage In deriving these themes and concerns, we must closely analyze the elements of language, the stage directions, the dramatic action, dramatic irony, and dramatic effects

The Induction The Induction presents enough clues both in the action and dialogue to suggest an approach and insights pertaining to what takes place in the central play. Even though there is no concluding frame or epilogue in Shakespeare’s Induction, one is left to imagine what the outcome of the Lord’s game may be. Would it be comical? Or would the audience find the Lord’s abuse of power revolting and sympathize with Sly? Imagine Sly’s sense of humiliation once the game is concluded and the deception is revealed.

The Induction • The comic element in the Induction is necessary to orientate and facilitate our involvement and engagement with the central play • The meanness and cruelty of the Lord’s joke is easily overlooked because of the comical element; its farcical dimension • This comic element is thus sustained throughout the play and primes the audience to be able to more easily accept the violence and cruelty that Petruchio portrays towards Katherina

Function of Induction • It makes the audience aware that the play is intended to be viewed as a comedy; as farce; • Not to be taken in any way as a serious presentation; • And to begin introducing the sort of dramatic personages who are to be made fun of; mocked; • The drunken tinker and the arrogant, aristocratic Lord

Class & Social Hierarchy Class differences are clearly brought to our attention in the two Induction scenes Introduction to Sly, the tinker / the beggar, and the construction of his character Analysis of his language reveals that he speaks in prose, commits misquotations and thoroughly gets his facts wrong. Talks about his ancestry which he will then vehemently deny; Stage action: He falls onto the floor in a drunken stupor and his occupation of the lower space of the stage is visually impactful, and thus critically significant; Why? Contrast with the dramatic entrance of the Lord

Class & Social Hierarchy Analyse the entrance of the noble Lord: he arrives with aplomb – enhanced by the sound cue of trumpets He falls asleep Wind horns. Enter a Lord from hunting, with his train of Huntsmen and Servingmen The Lord’s entrance together with his band of huntsmen and servingmen make for a visually arresting sight on stage. (Note that the importance of his entrance is highly dependant on the choice that the director makes) When he starts speaking, the difference is made more strikingly apparent as he speaks in formal, inflated blank verse.

Lord’s Plan: Manipulation The Lord manipulates Sly into believing that he is not the scum of the earth but of noble birth Question to ask yourself, WHY? Why would the Lord want to play such a trick on him? Various reasons: Abuse of class, to pass his time and entertain himself; His very manipulation raises a few central concerns re- the central play The lord’s manipulation of Sly mirrors that of Petruchio’s manipulation and translation of Katherina into a loving wife in the central play Although the lord’s manipulation here raises the concern of power dynamics between classes, Petruchio’s manipulation reflects the power dynamics in the relationship between a husband and his wife

Metaphors Metaphor of hunting, and game (recurring in the play) ‘Well, you are come to me in happy time,/ The rather for I have some sport in hand” Induction 1.86-87 Metaphor of falconry/ taming/ hawking “For I am he am born to tame you Kate,/ And bring you from a wild Kate to a Kate/ Conformable as other household Kates.” 2.1.267 The hunter and the hunted / the falconer and the falcon/ the tamer and the tamed All of these connote relationships within the dynamics of power In both instances, it is those who occupy the higher rungs of the social hierarchy who have the power to manipulate those who are lower down

Power If the Lord abuses his power as an aristocrat, does Petruchio then abuse his power as a husband? Consider the way Petruchio ‘tames’ Katherina What does this tell us about the power dynamics between the sexes? Between husband and wife? Note that power is already assumed by Petruchio even before he becomes her husband. Katherina does not protest against his claims that she wants to marry him – why? “Here comes your father. /Never make denial / I must and will have Katherine to my wife.” 2.1.271

Identity • ‘Know thyself’ is the great message of life and literature; • The tension between what is determined for us, and what is determined by us, i.e. the choices we make • Who we are, or how we are, is a process that begins before we are even aware of it; • What does it mean for a name to name me?

Acting / Role Playing The importance of role playing becomes apparent in the Induction when the Lord and his servingmen assume various acting roles in order to convince Sly that he is actually lord, not a tinker. Acting / role playing is mirrored in the play itself by Lucentio and Tranio’s own role playing; “Doth the clothes maketh the man?” (Hamlet) Another key concept arising from role playing would be ‘Appearance’ as opposed to ‘Reality’

Clothing • The motif of clothing recurs throughout the play and one cannot help but question its significance • Bartholomew dons ladies’ clothes and assumes the appearance of a woman • Sly is helped into the clothes of a noble involuntarily, and then assumes the identity of a lord; Outward appearances? • Tranio and Lucentio exchange clothes to assume different identities in order to trick and deceive Baptista and Bianca • Petruchio attends his own wedding banquet in ragged clothing; ‘mean-apparell’d’ [3.2.71]; • He then later denies Katherina of a beautiful gown and cap

Clothing • Each incident regarding the motif of clothing reflects a certain issue and concern • Do the clothes really make the man? Does Bartholomew really become a woman? He is convincing enough to Sly however. Similarly, Tranio and Lucentio. One questions then the concept of Identity and how this may be a social construct. • The obvious answer: that the clothes do not make the man. Sly will never be a lord simply because his clothes have been changed. But, his behaviour has been shaped and manipulated by the Lord through his dressing. It is used here as a tool of control. In the play proper Petruchio also uses clothing in his taming of Katherina to humiliate her.

Identity and the Notion of Self Through manipulation, Sly is transformed into a lord by believing the fabricated stories that the Lord and his Servingmen tell him The change of clothes also contributes to Sly’s transformation and he in due course appears to believe that he is of noble birth. Similarly other characters frequently take on various identities too – through the change in language and clothes Sly’s transformation appears to be complete when he starts to speak in verse; similarly, Kate’s transformation seems complete when she starts to speak like the ideal woman of the Italian Renaissance

Identity and the Notion of Self • However note Sly in 2.70-73 betrays himself: Upon my life, I am a lord indeed And not a tinker, nor Christopher Sly. Well, bring our lady hither to our sight, And once again a pot o’th’smallest ale. • This choice of the cheapest beer draws attention to, and emphasises the distinctions of rank between his actual and assumed identity (Note: Use of visual sign systems) • We can thus infer that despite the Lord’s manipulation, he is unable to dispose of his old identity. If Sly parallels Katherina, could it be then that by the end of the play, Katherina’s transformation to a lady is also suspect?

Identity and the Notion of Self This raises the question of identity. Is identity a social construct or is it inherent within us? i.e. Is Identity in our nature or is it nurtured in our culture? Do we have complete control over our identity? Are we what we think we are? Are we what we want to be? In the play, identity appears to be fluid and is changed through acting roles, clothing and language This parallels Katherina with Sly, and Petruchio with the Lord The Lords manipulation of names and the concept of naming also arises

Naming • Despite Sly’s assertion of his previously known identity, his efforts are nullified by the Lord’s elaborate scheme • “I am Christophero Sly – call not me ‘honour’ nor ‘lordship’. Induction 2.5 • “Thou art a lord, and nothing but a lord.” Induction 2.59 • Compare this with Petruchio’s naming of Katherina even before he marries her. He is relentless in calling her Kate instead of Katherina. Not only does he use her pet name to assert a sense of familiarity, he does not allow Katherina to be addressed the way she desires. • “They call me Katherine that do talk of me.” 2.1.182 • “You lie, in faith, for you are call’d plain Kate,/ And bonny Kate, and sometimes Kate the curst. / But Kate, the prettiest kate in Christendom,/ Kate of Kate-Hall, my super-dainty Kate-/ For dainties are all Kates – and therefore, Kate,/ Take this of me, Kate of my consolation:” 2.1.184

Gender roles and Expectations In Scene 1 of the Induction, the Lord calls upon Bartholomew, his male page, to take on the identity of a woman and through his monologue at the end of the Induction, we are made aware of the expectations of a noble lady. This sets up audiences expectations of the idea of a perfect wife. What is the effect of this? And how does this affect the audience’s perception of Katherina in the central play? A closer examination of his speech reveals the various demands made on a woman Note again the contrast between the Hostess and a noble lady that Bartholomew has been tasked to play

Induction Scene l.105-117 Socially expected behaviour from noble ladies Tell him from me – as he will win my love- He bear himself with honourable action Such as he hath observ’d in noble action Unto their lords, by them accomplished.

With a soft voice and who curtsies humbly The form of address between husband and wife of the artistocracy – already demonstrates the power dynamics within the institution of marriage The concept of a woman’s duties towards her husband – to be humble and to provide sexual pleasure With soft low tongue and lowly courtesy, And say, ‘What is’t your honour will command Wherein your lady and your humble wife May show her duty and make known her love? And then with kind embracements, tempting kisses And with declining head into his bosom Bid him shed tears, as being overjoy’d To see her noble lord restor’d to health

What is being conveyed here are the assumed inherent characteristics of women: • Women have the natural ‘gift’ of crying on cue – a gift that men do not possess • Women can be oft times insincere in their tears And if the boy have not a woman’s gift To rain a shower of commanded tears, An onion will do well for such a shift, Which in a napkin being close convey’d Shall in despite enforce a watery eye. (l. 124)=

Bartholomew, a page, dressed as a lady, addresses Sly thus: ‘My husband and my lord, my lord and my husband, I am your wife in all obedience.’ [Induction 1.104-105] Sly in reply: Madam, undress you and come now to bed. [Induction 1.115]

Gender Roles and Expectations The issue of a woman’s duty to her husband is at the thematic heart of the play within the play (i.e. the central play) The Lord’s extended lesson on how to play convincingly the woman’s part offers to the audience a preliminary portrayal of the constituent elements and expectations of wifely behaviour: a humble manner, quiet voice, sexual availability and (false) tears

As the lord is to the servant, • As the head is to the body • As the sovereign is to the subject • So the husband is to the wife

Summary • Dramatic function and critical significance of the Induction • A Theatrical Framing Device / Technique • Metatheatrical self-reflexivity • Surface themes/issues that are critical to the play • Social hierarchy • Gender roles & expectations • Marriage • Identity (and manipulation of) • Gender dynamics • Power dynamics and relationships

Do not forget, at the heart of our discussion and analysis, are the concepts and concerns central to our Paper—Paper 5 Women in Literature: How women are represented in Drama; Prose; and Poetry • Gender issues and key concepts such as the patriarchal forces and patriarchal power structures to which Katherina, and Bianca, are subjected

Taming of the Shrew