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The Woman's Prize
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The Woman's Prize
The Woman's Prize, or the Tamer Tamed is a Jacobean comedy written by John Fletcher. It was first published in the first Beaumont and Fletcher folio of 1647, though it was written several decades earlier (Fletcher died in 1625). There is no doubt that the play is the work of Fletcher alone; his highly distinctive and characteristic pattern of linguistic preferences is continuous through the text.
The play is a counterpart to Shakespeare's The Taming of the Shrew, in which (as the subtitle indicates) the gender tables are turned and Petruchio the "tamer" is "tamed" by his second wife Maria, whom he marries after the death of Katherine, the "shrew" in Shakespeare's text. As a "reply" to Shakespeare's play, The Woman's Prize attracted critical attention in later generations and centuries. Maria's principal weapon, a refusal to consummate her marriage, shows the influence of Aristophanes' play Lysistrata.
Petruchio's stormy marriage to Katherine ended with her death. Petruchio is now married to Maria, who is even more resistant to domination than Katherine initially had been. Petruchio's tactics and manipulations are no longer effective, and Maria has some resourceful tricks of her own. Maria refuses to consummate their marriage till Petruchio changes his ways; she bands together with other women in abstention from sex with their husbands. The women barricade themselves with provisions in the upper floor of Maria's house, to the displeased surprise of their husbands below.
In Act Three, Maria settles in to pursue a career of scholarship and horsemanship at Petruchio's country estate, but the peace is again broken when Maria once more refuses to perform her conjugal duties and imposes further demands on her husband. Petruchio resolves to play ill in an attempt to awaken his wife's pity. His ruse fails totally when Maria catches on; with the pretext that he has caught the plague, Petruchio is walled up in his house.
Petruchio finally fights his way out, but in Act Four he discovers that his wife has "gone mad"—she has begun to dress like a common whore and is busy flirting with his friends. When Petruchio announces that he has had enough of marriage and is abandoning Maria for foreign travel, she encourages him to depart on the pretext that his journeys may broaden his vision and turn him into a better human being.
Almost totally defeated as Act Five opens, Petruchio tries one final stratagem in an attempt to awaken some spark of compassion in Maria. He decides to play dead, and is borne onstage in a coffin before his wife and friends. Maria is indeed moved to tears, but they are inspired, not by his person, but by his "unmanly, wretched, foolish life... how far below a man, how far from reason" Petruchio has remained.
This last salvo of abuse causes Petruchio to rise from his coffin in bewailment, prompting in Maria to state that she has finally "tamed" Petruchio. The two then pledge that they will start life anew together.
In the play's subplot, Livia joins in the protest of the married women, though her primary motive is to avoid an arranged marriage with the old and unpleasant Moroso and marry her own choice of husband, Roland. Both Maria and Livia succeed in attaining their wishes by the play's end.
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The Woman's Prize
The Woman's Prize, or the Tamer Tamed is a Jacobean comedy written by John Fletcher. It was first published in the first Beaumont and Fletcher folio of 1647, though it was written several decades earlier (Fletcher died in 1625). There is no doubt that the play is the work of Fletcher alone; his highly distinctive and characteristic pattern of linguistic preferences is continuous through the text.
The play is a counterpart to Shakespeare's The Taming of the Shrew, in which (as the subtitle indicates) the gender tables are turned and Petruchio the "tamer" is "tamed" by his second wife Maria, whom he marries after the death of Katherine, the "shrew" in Shakespeare's text. As a "reply" to Shakespeare's play, The Woman's Prize attracted critical attention in later generations and centuries. Maria's principal weapon, a refusal to consummate her marriage, shows the influence of Aristophanes' play Lysistrata.
Petruchio's stormy marriage to Katherine ended with her death. Petruchio is now married to Maria, who is even more resistant to domination than Katherine initially had been. Petruchio's tactics and manipulations are no longer effective, and Maria has some resourceful tricks of her own. Maria refuses to consummate their marriage till Petruchio changes his ways; she bands together with other women in abstention from sex with their husbands. The women barricade themselves with provisions in the upper floor of Maria's house, to the displeased surprise of their husbands below.
In Act Three, Maria settles in to pursue a career of scholarship and horsemanship at Petruchio's country estate, but the peace is again broken when Maria once more refuses to perform her conjugal duties and imposes further demands on her husband. Petruchio resolves to play ill in an attempt to awaken his wife's pity. His ruse fails totally when Maria catches on; with the pretext that he has caught the plague, Petruchio is walled up in his house.
Petruchio finally fights his way out, but in Act Four he discovers that his wife has "gone mad"—she has begun to dress like a common whore and is busy flirting with his friends. When Petruchio announces that he has had enough of marriage and is abandoning Maria for foreign travel, she encourages him to depart on the pretext that his journeys may broaden his vision and turn him into a better human being.
Almost totally defeated as Act Five opens, Petruchio tries one final stratagem in an attempt to awaken some spark of compassion in Maria. He decides to play dead, and is borne onstage in a coffin before his wife and friends. Maria is indeed moved to tears, but they are inspired, not by his person, but by his "unmanly, wretched, foolish life... how far below a man, how far from reason" Petruchio has remained.
This last salvo of abuse causes Petruchio to rise from his coffin in bewailment, prompting in Maria to state that she has finally "tamed" Petruchio. The two then pledge that they will start life anew together.
In the play's subplot, Livia joins in the protest of the married women, though her primary motive is to avoid an arranged marriage with the old and unpleasant Moroso and marry her own choice of husband, Roland. Both Maria and Livia succeed in attaining their wishes by the play's end.