"A Marriage Proposal": Story of Weird Courtship

There are twain fits in this routine, devil phallic suitors pursuing the sisters Bianca and Kate. The matter is composite in that the development of a relationship between the males and the females depends on more than simple attraction. Lucentio manages Bianca, and even if he can cost her, he will have to wait unless Kate is married first. This p cunningicipation is pass waterd by the wishes of the father:

Gentlemen, importune me no farther, For how I severely am resolv'd you know;

That is, non to bestow my youngest daughter

Before I have a husband for the elder. (I.i.55-58)

This creates the infringe for Lucentio and Bianca and spurs Petruchio to woo Kate.

The conflict between Petruchio and Kate is more fundamental and shows how true love has to be won. Petruchio resolves to win Kate though he knows this will be difficult. He has been warned by Lucentio about her demeanor and her personality. Petruchio is not seeking love when he starts out--he is seeking a rich wife. Kate also is not seeking love--she is in fact working hard to reason every man she meets a substance from her. This contrasts with the driving love mat by Lucentio, who suffers greatly because "the course of true love ne'er did run smooth":

I never thought it possible or likely. But see! while idly I stood looking on,

Wharton, Edith. The House of Mirth. hot York: Charles Scribner's Sons, 1905.

We are expected to be pretty and well-dressed till we drop--and if we can't view as it up alone, we have to go into partnership (Wharton 12).

This might bet to be the same dynamic as is shown in the nobble by Chekhov, but Kate in Shakespeare is "tamed" by her husband, meat that he is able to curb her tendency to fight and to create a love that is more conventional.

The image of marriage at the end of the Chekhov play is anything but conventional, and indeed the fighting couple would seem instead to be the stereotype of the couple that should snap off because they are al focal points at each other's throats.

The complications in this play show that love has a high price, but a lot it is also shown to be somewhat mysterious in the way it develops.

I found the effect of love in idleness; And now in plainness do confess to thee, That art to me as secret and as dear As Anna to the milksop of Carthage was- Tranio, I burn, I pine, I perish, Tranio, If I achieve not this young modest girl. (I.i.151-158)

Chekhov, Anton. "A Marriage Proposal." In dandy Writing, Harvey S. Wiener and Nora Eisenberg (eds.), 582-593. Boston: McGraw-Hill, 1998.

Chekhov's lovers are equals in a way that Wharton's are not. Chekhov makes them even more equals because they seem to be male and female sides of the same aggressive and argumentative personality. The father seems to be of two minds on the subject. He first says, "Kiss her and . . . the two of you can go straight to hell" (C
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