The Complete Taming of the Shrew
An Annotated Edition Of The Shakespeare Play
by
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ACT I SCENE I. Padua. A public place. Enter LUCENTIO and his man TRANIO Man: “servant” (Heilman, 57) LUCENTIO 1 Tranio, since for the great desire I had For: “because of” (Mowat, 30) 2 To see fair Padua, nursery of arts, Nursery of arts: “Padua’s university, founded in the thirteenth century, was famous throughout Europe.” (Riverside, 145); arts: “i.e., the liberal arts” (Mowat, 30) 3 I am arriv’d for fruitful Lombardy, Am arriv’d for: “have come here on my way to”; fruitful: “fertile” (Riverside, 145) 4 The pleasant garden of great Italy; 5 And by my father's love and leave am arm'd Leave: “permission” (Mowat, 30) 6 With his good will and thy good company, 7 My trusty servant, well approv’d in all, Approv’d: “tried, proved dependable” (Riverside, 145) 8 Here let us breathe and haply institute Breathe: “pause for breath, i.e. remain for a time”; institute: “embark upon” (Riverside, 146); haply: “perhaps” (Wright, 13)
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About the Book
To a contemporary feminist, The Taming of the Shrew is surely anathema. A strong woman is shown to be easily manipulated and ends up subjugated by a somewhat insensitive and boorish man. Yet, despite the real objections, the play has been popular for centuries in itself, in adaptations (Tamed and How, or The Push), and a wildly popular musical (Kiss Me, Kate). Thus, one may be forced to concede that there is an element here that transcends the knockabout, slapstick humor. Something here, as in most of Shakespeare, transcends the literal, causing audiences to continue to enjoy the basic premise and the argumentum ad absurdum. In a sense the contretemps between Petruchio and Katherine predicts the antagonistic love-making of Beatrice and Benedick in Much Ado About Nothing. Finally, despite their sexist natures, both plays are intellectually and emotionally satisfying.
About the Author
Teaching and writing serve to define Donald J. Richardson. Add singing to that mix, and he says he is complete.