{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/66a9cbceec85576657c15c85/66d1838798647d420ebd82c4?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"The Taming of the Shrew: ‘No Profit Grows Where No Pleasure Is taken’","description":"<p>Episode 133:&nbsp;</p><p><br></p><p>The complications with dating the play and it’s relationship with a similar Elizabethan play</p><p>The sources for the play</p><p>A short summary of the play</p><p>The Christopher Sly framing device</p><p>Switching of roles in the play</p><p>The disguise motif</p><p>The motivations of the leading characters</p><p>The implication of the falconry images in the play</p><p>The Elizabethan idea of a proper wife and correct behaviour</p><p>Similarities with Elizabethan ‘wife taming’ ballads</p><p>The play as an inheritor of Roman comedy</p><p>The protagonists as stock characters</p><p>Katherine’s imbalance of the humours</p><p>Are Petruchio and Katherine a matched couple?</p><p>Do the three marriages resolve the play?</p><p>Does the play make a serious point about gender relationships in Elizabethan England?</p><p>The ‘difficult’ final speech by Katherine</p><p><br></p><p><br></p><p>Support the podcast at:</p><p><a href=\"http://www.thehistoryofeuropeantheatre.com/\" rel=\"noopener noreferrer\" target=\"_blank\">www.thehistoryofeuropeantheatre.com</a></p><p><br></p><p><a href=\"http://www.patreon.com/thoetp\" rel=\"noopener noreferrer\" target=\"_blank\">www.patreon.com/thoetp</a></p><p><br></p><p><a href=\"http://www.ko-fi.com/thoetp\" rel=\"noopener noreferrer\" target=\"_blank\">www.ko-fi.com/thoetp</a></p>","author_name":"Philip Rowe"}