The Woman's Prize
John Fletcher
 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 abstension 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: in an extremely effective and humorous scene has Petruchio walled up in his house on the pretext that he has caught the plague. 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 (in a perfect counterpart to Petruchio's entrance in fantastic attire in the earlier play) 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 in one of the Elizabethan theater's celebrated scenes he is borne onstage in a coffin before his wife and friends. Maria is indeed moved to tears, but they are inspired, as she tells us in a famous speech, 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 brings Petruchio back from the dead: he sits up in his coffin, prompting in Maria a state of final bafflement if not total respect. The two pledge that they will start life anew together amidst the richly comic and ironic mood that ends the play. 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. Both Maria and Livia succeed in attaining their wishes by the play's end. Finding a proto-feminist play in Fletcher's canon has surprised more than a few readers and commentators. Fletcher's attitudes, as expressed in his oeuvre as a whole, are standard for his era, and show little resembling egalitarianism. Critics have debated whether and to what degree Fletcher's play shows any actual sympathy with women and with greater equality between the genders. The play may have been simply an opportunistic attempt to score a success with the audience on an always-controversial topic. Fletcher's play shows influence from the Lysistrata of Aristophanes. After more than two centuries of absence from the stage, The Woman's Prize was revived by the Royal Shakespeare Company in early 2004; their production ran from 15 January to 6 March that year.