134 Sentences With "shrewish" | Random Sentence Generator

It's a man putting his shrewish wife in her place — on her back, where it's communicated that she belongs.

The story ends with these shrewish bluestockings finding a cure for their ailment — and that cure is a man.

When she's shown to be handling things on her own, she's shrewish, and when she can't, she's a damsel in distress.

Were Patterson's words an innocent joke, playing with familiar stock characters: the horny teenager, the shrewish maternal harridan, the busty "coed"?

In the stoner-comedy canon, women have traditionally been visible only as enforcers of social order: shrewish wives, disappointed girlfriends, disciplinarian mothers.

Once the papers are signed, the innocent bride becomes a bullying, shrewish spendthrift, a transition that is nicely handled by Ms. Buratto.

What if there was some moment where the tone of her voice became shrill or shrewish or sounded too much like a lecture?

It provides an opportunity to learn from women in leadership, she said, who assert themselves without fear of retribution or of being labeled shrewish.

The hero, Petruchio, boasts that he is taming Katharina, his shrewish wife (he calls her Kate), by starving and bullying and depriving her of sleep.

The most harshly drawn character is the shrewish, fat lesbian who takes out her frustrated desire by secretly slurping up Sara's golden, hand-beaten mayonnaise on snatched toast points.

Eddie's subplot, which depicts him as henpecked by his abusive mother and later his shrewish wife, seems particularly negligible and problematic in the context of other elements of the film.

Every minute of every day, Trump debunks that old "science" when he shows that the gossipy, backbiting, scolding, mercurial, overly emotional, shrewish, menopausal one in this race is not the woman.

It assembles archetypes you've seen before — the broken hero, the upstart girl, the shrewish wife — even though both the reality of the show and the real-life television landscape are moving beyond those tropes.

Ms. Tan is on far stronger, truer ground when she moves away from Thana's home life with his wife, Bo (Penpak Sirikul in a thankless, shrewish role), and leaves behind psychological explanation and matrimonial strife.

But try as Libby might, she can never quite bring herself to ignore the woman lurking behind Toby's story: Rachel, that archetypal shrewish wife who just does not understand Toby and everything he has done for her.

That fall Mr. Dinkins said he was impressed by her "powerful" and "resonant" voice as she belted out a song as the shrewish, red-wigged Domina in "A Funny Thing Happened on the Way to the Forum" on campus.

"The maesters will tell you that King Jaehaerys abolished the lord's right to the first night to appease his shrewish queen," Roose Bolton told Theon Greyjoy in the books, describing the practice of noblemen raping brides under their jurisdiction on the occasion of their wedding day.

We are asked to feel for Macbeth's victims' plight; given a discursive explanation of how Shylock came to behave as he does; presented with an understanding of why a woman might seem shrewish when she is only shy; shown Gertrude and Claudius grappling with their erotic compulsion toward each other in a manner essentially sympathetic to their entrapment.

With a ready will and an open heart, I waded into the bookshelves at Barnes & Noble and commenced reading, and when I eventually emerged several weeks later, there was but a single thought in my head: I could not stand to read another book about a middle-aged man who is divorcing his shrewish wife and is also having a bunch of kinky sex with an enigmatic young woman, only it turns out that, while she is extremely hot, she just doesn't understand him.

Just now, a coating of lather covered his shrewish underjaw.

Claudia also inherited Gaius's family as her in-laws, including his shrewish sister, Julia, Julia's lecherous husband, Marcellus, and Gaius's daughter by his first wife, a sullen teenager named Flavia.

A common central theme of such literature and folktales is the often forceful "taming" of shrewish wives by their husbands. Arising in folklore, in which community story-telling can have functions of moral censorship or suasion, it has served to affirm traditional values and moral authority regarding polarised gender roles, and to address social unease about female behavior in marriage. This basic plot structure typically involves a series of recurring motifs: A man, often young and penniless, marries a woman with shrewish or other negative qualities (laziness, etc.), for her dowry or other reasons unrelated to love, despite another trying to talk him out of it. She may have a more docile but unavailable younger sister, for contrast, and/or an even more shrewish mother.

The gangsters, on spotting both, vow to kill them. The film goes into a flashback. Eswari (Sriya Reddy) is a shrewish, arrogant 'kattapanchayata' woman. She lends money at usurious rates and goes after families who fail to repay.

3 He allegedly wrote that he was "unable to put up with her shrewish disposition." He remarried to Livia Drusilla soon after. Scribonia herself never remarried and appears to have continued to be known as the wife of Caesar thereafter.CIL 6.7467.

Lavocatia is a genus of extinct mammal from the Lower Cretaceous of Spain. It was a member of the also extinct order Multituberculata, and lived alongside of dinosaurs. Like most Mesozoic mammals, it was a shrewish-sized animal. It's in the suborder "Plagiaulacida" and family Pinheirodontidae.

One of her best remembered roles was that of Hayley Mills's shrewish mother in the film version of Bill Naughton's play The Family Way (1966). A still from the film featuring Angers features as the cover of The Smiths' single "I Started Something I Couldn't Finish" (1987).

So Dai Mui finally marries with Tung Po's friend, Chan Kwai Sheung. They were lovers when Kwai Sheung was working in a temple. However that time he chose another one to marry. But the wife he marries is shrewish and claimed by Tung Po as "the lioness of Hedong".

Lives of the Fathers, Martyrs, and Principal Saints, 1866. CatholicSaints.Info. 7 May 2016 His wife appears to have been shrewish as well as abusive to their household servants in his absence. They had no children. Gummarus accompanied Pepin on a number of military campaigns,Monks of Ramsgate. “Gummarus”.

Mae Busch (born Annie May Busch, 18 June 1891 – 20 April 1946) was an Australian-born actress who worked in both silent and sound films in early Hollywood. In the latter part of her career she appeared in many Laurel and Hardy comedies, where she frequently played Hardy's shrewish wife.

The villagers advise her to marry Chellappa. The shrewish Rasathi refuses and tries to find a bribe for her daughter, but nobody wanted to marry an unchaste woman. Only Sudalamani accepts for marriage and they arrange their wedding. The day before their wedding, the villagers force Chellappa to marry Saroja.

Off and on, she acted in 12 films during her career. Her most noteworthy early performances were in big blustering comedies, such as the shrewish spinster Bollette in Bollettes Brudefærd or the Countess Danner in Gregers' Sørensen og Rasmussen. Ipsen became a director in 1942 and directed 10 films in 10 years.

Pedreira & Costa, o. 8. The king is popularly shown as indolent, silly and clumsy, subjugated by a shrewish wife, a disgusting glutton who always had baked chicken in his coat pockets to eat them at any time with greasy hands,Loyola, Leandro. "Não havia Brasil antes de Dom João". Entrevista com Lúcia Bastos.

On their way back home, they prevent a shrewish woman named Kate from committing suicide. Kate is ungrateful and makes threats against the boys unless they look after her. They spend a frantic evening trying to keep her out of sight from their wives. Kate is eventually hidden in the Hardys' bathroom with Stan.

In William Shakespeare's The Taming of the Shrew, Petruchio compares Katherina "As Socrates' Xanthippe or a worse" in Act 1 Scene 2. (Read here) Addison discusses matrimony in The Spectator no. 482, dated Friday 12 September 1712: The novelist Henry Fielding describes the shrewish Mrs. Partridge thus: The English Victorian poet Amy Levy wrote a dramatic monologue called "Xantippe".

When the accused are tried, convicted and burned, their land can be confiscated. The plan is succeeding, as the villagers, egged on by the parson's shrewish mother, enthusiastically accept the Judge's message. Then saucy Faith Stewart (secretly a real witch) arrives from London for Thanksgiving with her cousins. Faith falls for Miles and accuses Sara of witchcraft.

Nobody else is as funny or brings such charm to things. She can do anything." Following the success of Election, Witherspoon struggled to find work due to typecasting. "I think because the character I played was so extreme and sort of shrewish—people thought that was who I was, rather than me going in and creating a part.

Her film debut came in Death Takes a Holiday (1934). She played Amelia, the nagging, shrewish wife of W.C. Fields in It's a Gift (1934), and appeared in two other Fields films: You're Telling Me! (1934) and Man on the Flying Trapeze (1935). Howard died on April 15, 1956, aged 71, in Hollywood, California after a long illness.

The time is the late nineteenth century. Captain Andy Hawks is a former riverboat owner with a shrewish wife, Parthy Ann, and a 10-year-old daughter, Magnolia. He buys the new show boat Cotton Blossom. Among its acting cast are Julie Dozier and her husband Steve Baker, and Ellie Chipley and her husband, affectionately known as "Schultzy".

In the 1936 film Rembrandt she is depicted as a highly unpleasant, shrewish and conniving woman. She is portrayed by Gertrude Lawrence, making one of her very rare film appearances. She also appears in Peter Greenaway's film Nightwatching, played by Jodhi May. Again she is portrayed negatively, as a spy hired by conspirators to discredit Rembrandt.

In 2011, McAdams starred in Woody Allen's fantasy romantic comedy Midnight in Paris with her Wedding Crashers co-star Owen Wilson and Michael Sheen. The film opened the 2011 Cannes Film Festival. McAdams played Inez, the shrewish fiancée of Wilson's character Gil. Allen wrote McAdams' part for her, after hearing "glowing reports" from his friend and her former co-star Diane Keaton.

Sundarrajan) tells him the truth. In the past, Sathyamurthy (Vijayakanth) was a village chief with a heart of gold who helped the poor. He lived with his shrewish wife Annapoorani (Ambika) and his son Sakthivel. Annapoorni's brothers (Radharavi and Thyagu) then brainwashed her: Annapoorni's didn't want her husband to help the poor anymore and started to behave harshly towards him.

For both of them, it is the beginning of the fame, but Gaëtan has a hard time to convince his wife, the shrewish Jacqueline, that he loves his troublemaker job, because she dreams of his as the role of the prestigious director Robert Wellson (a grotesque pastiche between Orson Welles and Stanley Kubrick), who will soon shoot his latest masterpiece near Paris.

Rose Tate, daughter of Willard Tate and cousin to Tinnie Tate, is a red-haired beauty, short but well-built. She is also cruel and self-serving, with a shrewish temperament. Garrett and Rose do not particularly get along, but Morley and Rose appear to have a tryst in Sweet Silver Blues. Rose Tate first appears in Sweet Silver Blues.

Of her screen work with Carpenter, Barbeau has stated: "John is a great director. He knows what he wants and he knows how to get it. It's simple and it's easy [working with him]." She also appeared in the high-grossing Burt Reynolds comedy The Cannonball Run (1981), and as the shrewish wife of Rodney Dangerfield's character in Back to School (1986).

The plot may have been adapted from that of The Killing. In that film, George Peatty (Elisha Cook Jr.) is a window teller at a racetrack. He has a shrewish wife, Sherry (Marie Windsor), who is bitter that he has not delivered on the promises of wealth he made at the time of their marriage. She is also cheating on him.

The show begins ("We Open in Venice"). Baptista, Katherine and Bianca's father, will not allow his younger daughter Bianca to marry until his older daughter Katherine is married. However, she is shrewish and ill-tempered, and no man desires to marry her. Three suitors – Lucentio, Hortensio, and Gremio – try to woo Bianca, and she says that she would marry any of them ("Tom, Dick, or Harry").

Baptista Minola is attempting to marry off his two daughters; however, he will marry off his youngest, Bianca only if someone will marry his eldest, Katharina. Katharina is an ill-tempered shrewish woman but a lusty young nobleman, Petruchio, takes on the challenge of taming and marrying her. A subplot involves the wooing of Bianca by several suitors including handsome Lucentio, foppish Hortensio, and elderly Gremio.

Voiced by Chynna Phillips Kitty is Johnny 13's girlfriend. She is demanding and shrewish. She is constantly under dire stress over her loose boyfriend, wishing he'd focus his full attention on her. She has attempted to make him jealous and at several points, banished him to an alternate dimension via her ghostly ability to send any man to another dimension with a kiss.

Asimov complied by giving Richard Swenson a shrewish wife. It was not what Gold had in mind, but he accepted the story anyway. When Asimov wrote "The Martian Way" in 1952, it was thought that the fragments making up Saturn's rings might be over a mile in diameter. It is now known that none of the ring fragments is more than a few meters in diameter.

It's a Gift is a 1934 comedy film starring W. C. Fields. It was Fields's sixteenth sound film, and his fifth in 1934 alone. It was directed by Norman McLeod, who had directed Fields in his cameo as Humpty Dumpty in Alice in Wonderland (1933). It concerns the trials and tribulations of a grocer as he battles a shrewish wife, an incompetent assistant, and assorted annoying children, customers, and salesmen.

Petruchio marries Katharine to gain wealth. However, he is not content with her shrewish behaviour and he goes through great measures to assert his dominance over her and tame her. He believes that the only way to get through to Katharine is by giving her a taste of her own medicine. Petruchio takes on the role of a shrew to prove to his wife that this kind of behaviour is unpleasant.

Valori appeared often on television, as a comedian, a presenter and an actress in series and TV-movies of some success. She also had a consistent success on radio, in which she created the character of "Sora Bice", a shrewish RAI telephone operator. Valori often shared the scene with her husband, the actor and comedian Paolo Panelli, whom she had married in 1952. Their daughter Alessandra is also an actress.

Bianca Minola is a character in Shakespeare's The Taming of the Shrew (c.1590-1594). She is the younger daughter of Baptista Minola and the sister of Kate, the "shrew" of the title. The lovely Bianca has several admirers in the play, but Baptista has refused to allow her to marry until his shrewish daughter Kate has found a husband. When Kate marries, Bianca is united with her lover, Lucentio.

Banks Stephen, (2014) Informal Justice in England and Wales, 1760-1914 p. 92. p. 99 . Thus, in contrast to the verses above referring to a shrewish wife there were also songs referring to the use of rough music as a protection for wives. Rough music song originating from South Stoke, Oxfordshire: The participants were generally young men temporarily bestowed with the power of rule over the everyday affairs of the community.

Petruchio is debatably the most complex character in The Taming of the Shrew. His actions can be interpreted in several different lights, with each interpretation entirely changing the tone of the play. One popular opinion is that Petruchio is, for the most part, a selfish misogynist determined to tame Katharine for his own convenience and pride. He simply wanted to tame her to be able to say he tamed the most shrewish woman.

Her father's second wife, Fay, who is younger than Laurel, is a shrewish outsider from Texas. Her shrill response to the Judge's illness appears to accelerate his demise. Laurel and Fay are thrown together when they return the Judge to his home town of Mount Salus, Mississippi, where he will be buried. There, Laurel is immersed in the good neighborliness of the friends and family she knew before marrying and moving away to Chicago.

Verukal tells the story of a family of Tamil speaking Iyers who settled in Kerala. Raghu is the protagonist of the story. The pivotal event on which the novel turns is the return of Raghu to his native village after a lapse of several years, to raise money to build a city mansion for himself by selling his ancestral home. He sets about this reluctantly, under pressure from his shrewish and domineering wife.

Vijaya) a shrewish woman and his brother-in-law Gopalam (Nutan Prasad) is a conniving person who has a bad eye on Pavitra; all them harass Pavitra. Meanwhile, Kishtaiah returns when he learns regarding Pavitra's marriage, becomes mad and goes on roaming all over the villages. Once Chandraiah is attacked by some goons when Kishtaiah comes to his protection and wounded in the quarrel. Chandraiah takes Kishtaiah to his house and circumstances lead Pavitra to lose love again.

1911) and its sequel The Good Men Do (1917), which dramatises a meeting between the newly widowed Anne and her supposed old rival for William's love "Anne Whateley". Anne is depicted as shrewish in the first play, and as spiteful towards her former rival in the latter.The Good Men Do. A frosty relationship is also portrayed in Edward Bond's play Bingo: Scenes of Money and Death (1973), about Shakespeare's last days, and in the 1978 TV series Will Shakespeare.

Something to Hide (in the U.S. also reissued as Shattered), is a 1972 British thriller film, written and directed by Alastair Reid, based on a 1963 novel by Nicholas Monsarrat. The film stars Peter Finch, Shelley Winters, Colin Blakely, Linda Hayden and Graham Crowden. Something to Hide at Internet Movie Database; www.imdb.com. Finch plays a man harassed by his shrewish wife (Winters) who, after picking up a pregnant teenage hitchhiker (Hayden) is driven to murder and madness.

Generation after generation, Wooley men marry cruel, shrewish women. Finally, in 1942, lightning splits the tree, freeing the spirits of Jennifer and Daniel. They discover Wallace Wooley, living nearby and running for governor, on the eve of marrying the ambitious and spoiled Estelle Masterson, whose father J.B. just happens to be Wooley's chief political backer. Initially, Jennifer and Daniel manifest themselves as white vertical smoky 'trails', occasionally hiding in empty, or sometimes not- so-empty, bottles of alcohol.

However, they harbor a secret - Julie is part African-American, and Steve is white; therefore, according to the laws of the time, their marriage is illegal. They are an exceptionally close couple, and Steve is fiercely protective of her. Julie is also a close friend and surrogate mother-figure to ten-year-old Magnolia Hawks, daughter of Cap'n Andy Hawks, the show boat's owner. Andy is married to the shrewish Parthy Ann, who has disdain for all actors, especially Julie.

In this adaptation Molière's French play is transposed to modern Naples in a British pantomime-style. Here the deceitful valet Scapino contrives to bring his master's children of two sons and two daughters and their various loves together through all kinds of trickery - despite his master's own plans for them. Scapino (1974) - Playbill (1974)'You Don't Have to Be Shrewish' - New York Magazine 1 Apr 1974 - Google Books pg. 74Ian Trigger - Internet Broadway Database The music was by Jim Dale.

1609: Shakespeare is struggling to complete his sonnets while plague rages. He sees the body of a young child and remembers the moment in 1596 when he learned of the illness of his son Hamnet while rehearsing a play in London. Returning to Stratford-upon- Avon he was subjected to abuse from his shrewish wife Anne for neglecting them by living in the capital. His son died, and an embarrassing argument between his father John and Anne disrupted the funeral.

Stella feels the same way, but has to conceal it for fear of her boyfriend's reaction. When the kind and trusting Thanassis learns the woman he loves is already engaged, his wounded heart hardens and he becomes distant. From a gallant shop owner he becomes a shrewish, domineering and demanding merchant. Meanwhile, two of his friends (Takis Miliadis and Giorgos Velentzas) are attempting to persuade him to cooperate with secular businesswoman Margaret Kerani (Ipsilandi), whose ultimate aim is to take over the shop.

The main body of the story is set ten years later, beginning with the funeral for Nigel's unfaithful and shrewish wife. That evening, the hero and heroine have a chance encounter and conversation. They discover they are able to communicate their deeper thoughts to the other quite easily, and at the end of the conversation Nigel kisses Miranda for the first time. The action progresses when Miranda accompanies Olivia to London for the Season, where she will thus see Nigel more often.

Bosson's departure, however, was voluntary. She left after a salary conflict with the new executive producer who, according to the actress, had also wanted her character, Fay, to go back to being a shrewish "thorn in her ex-husband's side". The season premiere opened with a roll call filled with officers never before seen on the show, briefly fooling viewers into thinking the entire cast had been replaced. It was then revealed that this was, in fact, the night shift.

In addition to bank and family scenes, it features Fields pretending to be a film director and ends in a chaotic car chase. The Bank Dick is considered a classic of his work, incorporating his usual persona as a drunken henpecked husband with a shrewish wife, disapproving mother-in-law, and savage children. The film was written by Fields, using the alias "Mahatma Kane Jeeves", derived from the Broadway drawing-room comedy cliche, "My hat, my cane, Jeeves!"Curtis, James (2003) W.C. Fields: A Biography.

House of Glass centered around Bessie Glass, a Jewish owner of a hotel, and a variety of eccentric guests who stayed there. A preview newspaper article described Glass as "a shrewish, blustering termigant". The show's introduction invited listeners to enjoy "Bessie Glass and Barney, and the day by day human stories of their little hotel." Berg's father operated a resort hotel in the Catskill Mountains, which gave her the background for recurring characters in House of Glass -- particularly the head waiter, the bellboy, and the dish washer.

The film opens as he awakens hungover and begins the day with a stiff drink and an argument with his shrewish wife. The only bright spots in his life are his loving relationship with his daughter Cricket and his girlfriend Pat. Hagan's skill at the controls is shown when he guides his plane through turbulence that almost causes another airliner to crash. However, a stewardess and Hagan's co-pilot begin to suspect trouble when they notice him continually going to the lavatory with a cup.

W. A. Mozart: La clemenza di Tito, cond. Karl Böhm, Deutsche Grammophon LP, 2709 092, 1979 Both recordings had points in their favour, he thought. In one of Vitellia's arias, for example, Janet Baker's "noble anger" was preferable to the "shrewish huff" of Böhm's Julia Varady, while in another, Baker's superior technique was countered by Varady's greater delicacy and eloquence. In a duet for Annio and Sesto, Frederica von Stade and Yvonne Minton sang with more "charm and lightness" than Böhm's Marga Schiml and Teresa Berganza.

The story continues around 1727. Tom Walker, a greedy, selfish miser of a man, cherishes money along with his shrewish and equally greedy wife. They lived in a tarnished looking house that had stood alone and had an air of starvation. This is until he takes a walk in the swamp at an old Indian fortress (a relic of King Philip's War of 1675-1678), and starts up a conversation with the devil incarnate (referred to as "Old Scratch" and "the Black Man" in the story).

In a debate about what kind of a wish to make, Anfisa heatedly tells Agathon to "disappear off the face of the earth". Blaming Yashka for this, the next day she returns him to the outpost demanding the return of Agathon and Alyonushka follows them. Meanwhile, Kartaus sends Kastryuk to the frontier, so that he disguised as a merchant gets inside and opens the gates to the enemies of the war-leader. But Kastryuk is uncovered by jocular old women and he is pushed into the pantry together with shrewish Anfisa.

She appeared in 13 of their comedies, often as shrewish, gold-digging floozies (Chickens Come Home, Come Clean), a volatile wife of Oliver Hardy (Sons of the Desert, Their First Mistake), or more sympathetic roles (Them Thar Hills, Tit for Tat, The Fixer Uppers). Her last role in a Laurel and Hardy film was in The Bohemian Girl, again as a combative spouse of Hardy's, released in 1936. Her film roles after 1936 were often uncredited. Overall, she had roles in approximately 130 motion pictures between 1912 and 1946.

He also has Petruchio present himself to Baptista disguised as a music tutor named Litio. Thus, Lucentio and Hortensio attempt to woo Bianca while pretending to be the tutors Cambio and Litio. To counter Katherina's shrewish nature, Petruchio pretends that any harsh things she says or does are actually kind and gentle. Katherina agrees to marry Petruchio after seeing that he is the only man willing to counter her quick remarks; however, at the ceremony, Petruchio makes an embarrassing scene when he strikes the priest and drinks the communion wine.

The ballad tells the story of a marriage in which the husband must tame his headstrong wife. Like Shrew, the story features a family with two sisters, the younger of whom is seen as mild and desirable. However, in "Merry Jest", the older sister is obdurate not because it is simply her nature, but because she has been raised by her shrewish mother to seek mastery over men. Ultimately, the couple return to the family house, where the now tamed woman lectures her sister on the merits of being an obedient wife.

Of Human Bondage at Turner Classic Movies "An evil heroine such as Mildred was really unheard of in that day. J. L. could not possibly understand any actress who would want to play such a part", Davis said. Warner finally relented only because Mervyn LeRoy wanted RKO contract player Irene Dunne for Sweet Adeline, the screen adaptation of the Jerome Kern-Oscar Hammerstein II musical, and the two studios agreed to trade actresses. Bette Davis was acclaimed for her portrayal of the shrewish Mildred in Of Human Bondage.

Tony is an inventor who divorces a shrewish, nagging wife, and desiring to avoid all women, finds employment in a remote all-male department of the War Office. However, a woman soon arrives in the form of U.S. colonel's daughter, Gay, who is shell-shocked, and has lost the power of speech. Charmed by her and by the contrast with his former talkative wife, Tony soon falls in love and marries her. However, once wed, Gay suffers a further shock and recovers her speech, proving quite the match for Tony's first wife.

She was popularly called Kanasina Rani ("Dream Girl") in the media. Malashri made her debut as a heroine with the Kannada film Nanjundi Kalyana (1989). Her portrayal of a haughty, shrewish woman won her accolades and heralded her as a top actress of Kannada Cinema. She established herself as the topmost heroine in Kannada cinema with films like Gajapathi Garvabhanga (1989), Policena Hendthi (1990), Kitturina Huli (1990), Rani Maharani (1990), Hrudaya Haadithu (1991), for which she won the Filmfare Award for Best Actress, Ramachaari (1991), Belli Kalungura (1992), Solillada Saradara (1993) and Gadibidi Aliya (1995).

Big Guy Beck (Slim Pickens; Forrest Tucker) A very wealthy land baron; the patriarch of Toad Hall, and the decedent whose will stipulated that his family accept his illegitimate son, Wild Bill Westchester and wife Bootsie into the family. Father of Marshall and Stanley (by first wife Mother B. whom he divorced) and was married to Kathleen when he died. Had a tendency to end his videotapes with singing a very off-key version of "Happy Trails". Carlotta Beck (Dixie Carter) Big Guy's daughter-in-law, Marshall's snobby and shrewish wife.

Anne has also appeared in imaginative literature about Shakespeare, typically portrayed as Shakespeare's true love, in contrast to a less appealing Anne Hathaway. Anne appears in Hubert Osborne's play The Good Men Do (1917), which dramatises a meeting between the newly widowed Anne Hathaway and Anne Whateley. Hathaway is depicted as viciously shrewish and spiteful, in contrast to her noble-minded former rival. Both women portray Shakespeare's life as an actor and playwright as morally degrading, Whateley insisting that he would have been saved from this shameful profession had he married her.

Eleven-and-a-half- year-old Dawn Wiener is a shy, unattractive, unpopular seventh-grader living in a middle-class suburban community in New Jersey. Her older brother Mark is a nerdy high school student who plays clarinet in a garage band and shuns girls in order to prepare for college. Her younger sister Missy is spoiled and manipulative; she pesters Dawn and dances around the house in a tutu. Her mother Marj is a shrewish woman who dotes on Missy and sides with her in disputes with Dawn.

Iris stepped back and allowed Laura to marry Mark. Ironically, after Phil Elliott's death, Helen would later marry Iris' older brother, Tom Donnelly (Albert Stratton), a member of the San Francisco police department, after his divorce from his first wife, Martha, alias Julie Richards (Beverlee McKinsey). Some time later, Iris found love on her own, with a man named Spencer Garrison (Edward Power). His shrewish ex- wife Nancy (Susan Browning), refused to give up her claim on him, as he was a politician, and despite her conniving ways, lost him.

Ella Cinders In the house of late father in the town of Roseville, Ella Cinders (Colleen Moore) works for her shrewish stepmother Ma and two stepsisters, Prissy Pill (Emily Gerdes) and Lotta Pill (Doris Baker), who are beloved in the town but abusive toward Ella. She finds support from the local iceman, "Waite Lifter" (Lloyd Hughes). The Gem Film Company has a contest in which the winner gets an all-expense-paid trip to Hollywood and a film role. Stealing an acting book from Lotta, she works on facial expressions.

This rekindled his will to live and, in gratitude, he established the prize. This story was traced by Philip Davis and William Chinn in their 1969 book 3.1416 and All That to renowned mathematician Alexander Ostrowski, who supposedly heard it from another, unidentified source. Another, more prosaic story claims that Wolfskehl wanted to leave as little as possible to his shrewish wife. Yet another story, told in "The man who loved only numbers" by Paul Hoffman, tells that Wolfskehl actually missed his supposed suicide time because he was in the library studying the Theorem.

He is coming home one night during a downpour and meets Shelley, who has run away from Joanne the prostitute, after Joanne has taken her on a double 'date'. Dewey convinces the police that Shelley is his sister and they allow her to go with him. She stays with Dewey (on the sofa, of course) and soon they are falling in love. Deannie (McCormack) cannot stand her shrewish mother (Lynn Bari) constantly telling her what to do, runs away to Chicago and meets Loch (Ken Del Conte), a musician who is just a tad possessive.

Angélique is a 1927 French opera by Jacques Ibert to a libretto by "Nino", a pseudonym of Michel Veber, Ibert's brother-in-law.Michael Raeburn - 2007 The Chronicle of Opera 0500286671 p.185 "28 January Premiere of Angelique (Ibert/Nino) at the Theatre Beriza, Paris. The work ... By far the most popular 'new' opera of the period (it was translated into eighteen languages), the work presents the interaction of an intellectual composer, ...The work, based on the old legend of the man who puts his shrewish wife up for sale" A 1996 recording conducted by Yoram David was released on Fonit.

On a cold winter's night outside Happy's Nightclub, Irish-American police officer Ryan (Robert Emmett O'Connor) chats with African-American doorman Tim Washington (Clarence Muse), who is worried about his critically ill wife. Inside, club owner Happy (Boris Karloff) is arguing with his shrewish but glamorous wife Jill (Dorothy Revier) and welcoming frequent customers Ed Powell (George Raft), a crooked gambler, and Michael Rand (Lew Ayres). Rand is a wealthy college boy who watched his mother kill his father after catching him with another woman, a case widely covered by the tabloids. Rand is now drinking heavily to deaden his pain.

May's equally shrewish sister Evelyn (Sarah Alt) shows up, having not heard from her sister in some time. She finds her severed head in the garage refrigerator, and is gagged with bread and thrown, tied up, in Donald's closet. Donald's lunches continue to be a hit with his friends, and he decides to cater an outing to a wrestling match with a new recipe he calls "Peking chick." When Roosevelt and Phillip show up to pick up Donald, they discover him dead on the kitchen floor of a heart attack, and some partly cooked body parts in the microwave.

Nicholas attracts the attention of Fanny Squeers, his employer's plain and shrewish daughter, who deludes herself into thinking that Nicholas is in love with her. She attempts to disclose her affections during a game of cards, but Nicholas doesn't catch her meaning. Instead he ends up flirting with her friend Tilda Price, to the consternation of both Fanny and Tilda's friendly but crude-mannered fiancé John Browdie. After being accosted by Fanny again, Nicholas bluntly tells her he does not return her affections and wishes to be free of the horrible atmosphere of Dotheboys Hall, earning her enmity.

In 1928, Allman acted in The Living Corpse a production of the Pasadena Community Players. Allman made her film debut as an actress in 1940's The Road to Singapore in an unbilled bit (as were the majority of Allman's motion picture appearances in the 1940s) as a homely woman who pursues Bob Hope. Another memorable bit was as one of the several psychotics Abbott & Costello run into when trying to find the Susquehanna Hat Co. (on Bagel St.) in "In Society" (1944). She worked most successfully during this period as a radio comedian playing assorted guest parts, typically as a shrewish woman.

It seems that Xenophon's portrayal of her in his Symposium has been the most influential: Diogenes Laërtius, for example, seems to quote the Symposium passage, though he does not mention Xenophon by name, and the term "Xanthippe" has now come to mean any nagging scolding person, especially a shrewish wife. Later writers, such as Diogenes Laërtius who cite Aristotle as the earliest source, say that Socrates had a second wife called Myrto. Plutarch tells of a similar story, reporting that it comes from a work entitled On Good Birth, but he expresses doubt as to whether it was written by Aristotle.Plutarch, Aristides xxvii.

He briefly is seen again making a comment about having some privacy with his "wife" (actually a pageboy in drag). In the standard version of the play the audience never sees or hears from Christopher Sly again and thus assume that he has probably fallen asleep. Another version has a closing segment in which Sly, deposited back outside the tavern in a stupor once more, says he will return home to deal with his own shrewish wife, having had "the best dream that ever I had in my life" in which he learned how to "tame a shrew".

Ambrose Wolfinger works as a "memory expert" for a manufacturing company's president. He keeps track of details about the clients President Malloy (Oscar Apfel) meets with, so that Malloy will never be embarrassed about not remembering things when meeting with them. But Ambrose doesn't keep files; all the documents are a huge mess of paper piled on his desk. Ambrose supports himself, his shrewish wife Leona (Kathleen Howard), his loving daughter Hope (from a previous marriage; played by Mary Brian), his freeloading brother-in-law Claude (Grady Sutton), and his abusive, sternly teetotal mother-in-law Cordelia (Vera Lewis).

Shrewish husband V.S. Shrewd wife A bond between justice and affection Career-minded court judge Ko Hei Man (Jessica Hsuan), receives full support from her husband Kot Kwok Kwong (Sunny Chan) so that she is able to fully concentrate on her work. The couple even have a son named Ah B. At court, Man believes everyone is equal before the law and she tackles every challenge confidently. At home, Man never bothers with the household duties which are taken care of by her husband. When Ho Sau Sau (Joyce Tang) meets Man, they get along well and become friends.

Serling drew on his own experience for many episodes, frequently about boxing, military life, and airplane pilots. The Twilight Zone incorporated his social views on racial relations, somewhat veiled in the science fiction and fantasy elements of the shows. Occasionally, the point was quite blunt, such as in the episode "I Am the Night—Color Me Black", in which racism and hatred causes a dark cloud to form in the American South and spread across the world. Many Twilight Zone stories reflected his views on gender roles, featuring quick-thinking, resilient women as well as shrewish, nagging wives.

The plot is split between the two incarnations of a married couple. The victim of earlier wickedness will seek retribution by being a tormenting wife in the later reincarnation. In the first, set in the Han dynasty, the lascivious actions of Chao Yuan dissipate his family fortune in reckless living and tortures his father and wife until he is murdered. Retribution for his actions is visited upon his reincarnation, Di Xichen, in the early Ming dynasty, who after failing as a scholar becomes a prosperous merchant and is tormented by two shrewish wives, Sujie and Jijie.

The other passengers on the boat are more sympathetic towards Clapperton, particularly as he demonstrates continuing patience with his shrewish and hypochondriac wife, who complains of her heart trouble while at the same time stating that she keeps extremely active, despite her husband's constant entreaties to take life easier. Even Poirot seems to incur her wrath when he responds a little too dryly to her conversation. Somewhat annoyed with him, she marches out of the smoking room where they have been conversing, dropping the contents of her handbag on the way. She leaves behind a piece of paper – a prescription for digitalin.

Cameron James, a new student at Padua High School in the Seattle area, becomes instantly smitten with popular sophomore Bianca Stratford. Geeky Michael Eckman warns him that Bianca is vapid and conceited, and that her overprotective father does not allow Bianca or her older sister, the shrewish Kat, to date. Kat, a senior, is accepted to Sarah Lawrence College in New York, but her father, Walter, wants her to stay close to home. Bianca wishes to date affluent senior Joey Donner, but Walter, an obstetrician worrisome of teenage pregnancy, will not allow his daughters to date until they graduate.

Matchill soon confronts his sister and her companions with the news that he has married his meek and rather brow-beaten serving-woman Rachel. The now-merry Matchill makes Sir Swithin laugh instead of weep; the old knight's merriment increases when the now-married Rachel reveals herself to be a vociferous and demanding wife, as shrewish as her predecessor. True to his name, Matchill has "match'd ill." Meanwhile, Strigood, calling himself Lightfoot and presenting Joyce and Gabriella as his daughters, has started a school to teach "music, dancing, fashion, compliment" and the French language to London gentry.

They and their simple pleasures are the butts of a cheap and > shrewish set of critics, who cannot endure in others a taste which is absent > in themselves. Important new books have actually been condemned of late > years because they were printed on good paper, and a valuable historical > treatise was attacked by reviewers quite angrily because its outward array > was not mean and forbidding. Of course, critics who take this view of new > books have no patience with persons who care for "margins," and "condition," > and early copies of old books. We cannot hope to convert the adversary, but > it is not necessary to be disturbed by his clamour.

In Elizabethan England, shrew was widely used to refer to women and wives who did not fit into the social role that was expected of them. In William Shakespeare's The Taming of the Shrew, Katherina "has a scolding, shrewish tongue," thus prompting Petruchio to try and tame her. More modern, figurative labels include battle-axe and dragon lady; more literary alternatives (all deriving from mythological names) are termagant, harpy, and fury. Shrew derives from Middle English ' for 'evil or scolding person', used since at least the 11th century, in turn from Old English ' or ', 'shrew' (animal); cognates in other Germanic languages have divergent meanings, including 'fox', 'dwarf', 'old man', and 'devil'.

When the giant and the Bard arrive at the ruined church, there follows a traditional court case under the Brehon law form of a two-part debate followed by the judge's ruling. In the first part, a young woman declares her case against the young men of Ireland for their refusal to marry. She complains that, despite increasingly desperate flirtation at hurling matches, wakes, and pattern days, the young men insist on ignoring her in favour of late marriages to richer, older, uglier, and often extremely shrewish women. The young woman describes at length her use of pishogues, Satanism, and black magic, which have also failed to gain her a husband.

Walter Wanger's Vogues of 1938 (also known by its shortened form, Vogues of 1938) is a 1937 musical comedy film produced by Walter Wanger and distributed by United Artists. It was directed by Irving Cummings, written by Bella Spewack and Sam Spewack, and starred Warner Baxter and Joan Bennett. It was filmed in New York City in Technicolor. It tells the story of a successful fashion designer, beset at home by his shrewish wife and at work by his competitors, whose life becomes even more complicated when one of his customers, a bride-to-be, jilts her wealthy husband and comes to him looking for a job—and possibly romance.

Orphan Phillip "Pip" Pirrip (Anthony Wager) lives with his shrewish older sister and her kind-hearted blacksmith husband, Joe Gargery (Bernard Miles). One day, Pip runs into an escaped convict, Abel Magwitch (Finlay Currie), who intimidates the boy into getting him some food and a file for his chains. Magwitch is caught when he attacks a hated fellow escapee, and is taken back to the prison ship. Miss Havisham (Martita Hunt), an eccentric rich spinster, arranges to have Pip come to her mansion regularly to provide her with company and to play with her adopted daughter, a cruel but beautiful teenage girl, Estella (Jean Simmons).

Roger Porter (Washington), a young and somewhat naive black man, is the long-lost son of Walter Whitney (Segal), a successful businessman living in the exclusive, predominantly white community of San Marino, California. Walter, who is secretly Jewish, lives a frustrating life in his gated community as he constantly has to beg his shrewish wife for sex, plus he has to put up with his obnoxious step-daughter's antics. Roger turns up at Walter's office, revealing that he is the result of Walter's long- ago relationship with a black woman, who is now dead. For purposes of professional advancement in the business, Walter had left Roger's mother.

However, when he runs into Eva while at work delivering meat to local restaurants they make amends and begin a relationship. Eva and Ray fall in love, and Eva even temporarily abandons her shrewish ways. But when things start to get serious, Eva's sisters all start comparing their relationships to Ray and Eva's relationship, making things even worse than before. After they find out about Eva's job offer, the significant others panic and attempt to break up the blossoming romance, claiming their wives never let them hear the end of the latest with Eva and Ray, and that Eva intends to stay in the city.

Raymond West, the writer-nephew of Miss Marple, shows Horace Bindler, a literary critic, round the grounds of a local hall popularly known as 'Greenshaw's Folly'. It was built in the 1860s or 1870s by a man who had made an immense fortune but had little idea of architectural style, the house being a strange mish mash of buildings from around the world. Although strictly speaking they are trespassing, they are nevertheless welcomed by Miss Greenshaw, the elderly granddaughter of the man who built the house, when they come across her in her garden. She is a sharp, slightly shrewish woman who keeps her staff of two in order.

One- eyed Mrs. Taggart is an emasculating woman whose husband, a successful building contractor, has been dead for ten years. Joining her for the traditional annual celebration of her wedding anniversary are her three sons: eldest Henry is a transvestite; middle son Terry is planning to emigrate to Canada with his shrewish wife Karen and their five children; and youngest Tom, a promiscuous philanderer whose many past relationships have ended at his mother's insistence, arrives with his pregnant girlfriend Shirley in town. Throughout the day and evening, the domineering, evil, vindictive, manipulative matriarch does everything in her power to remind her children who controls the family finances and ultimately their futures.

Sam learns that a local widow has inherited $5 million and plans to marry her, after which he plans to buy the old ladies' home and kick the old ladies out, close the orphanage and get rid of the police department (just like he tried to do in Hare Trimmed). When the woman says she now has someone to help spend her money, Sam finds out that the woman is ugly, but he agrees to marry her and tries to run. Sam also sees her as a shrewish harridan when she showed her true colors. Sam is quickly turned into a maid, forced to do backbreaking house chores while the wife sits idly by, watching his every move.

The character has a shrewish maiden aunt (Auntie Mayhem) who is indirectly responsible for her nephew becoming a superhero: In a fit of pique, she slams the fabled cooking pot over Irving's head, inadvertently providing him with the disguise he'd been looking for. The fictional October 13, 1939, edition of the Daily Bugle claims an "Irving Forbush" was born on Friday the 13th, his parents Stan and Jacqueline wanting a daughter instead. Like his better-known Marvel contemporaries, Forbush-Man triumphs over a number of super powered adversaries, starting with 'The Juggernut' in Not Brand Echh #5. All of his victories are purely accidental; lacking superhuman powers, dumb luck plays a major role in all his adventures.

He described the use of the word in reference to males as "ancient", but also quoted Shakespeare using it to satirise a man by likening him to the shrewish woman central to his play: "By this reckoning he is more shrew than she." (Cf. modern use toward men of other female-targeted slurs like bitch.) As a synonym for the shrew in literature and theatre, the word termagant derives from the name Termagant, an invented, mock-Muslim, male deity used in mediaeval mystery plays, characterised as violent and overbearing. Termagant features in many period works of the 11th through 15th centuries, from The Song of Roland to Chaucer's Canterbury Tales (in "The Tale of Sir Thopas").

In April 1945, outside the titular address in the fictional town of Gibbsville, Pennsylvania, a radio reporter is describing the funeral of distinguished attorney Joseph Chapin (Gary Cooper). While his shrewish wife Edith (Geraldine Fitzgerald) delivers his eulogy, daughter Ann (Diane Varsi) thinks back to Joe's fiftieth birthday celebration five years earlier. Via a flashback, we learn rebellious ne'er-do-well son Joby (Ray Stricklyn) has been expelled from boarding school and wants to pursue a career as a jazz musician, a decision Edith feels will harm the family's reputation. The ambitious woman is determined to get Joe elected lieutenant governor, and she uses her wealth, political connections, and social influence to achieve her goal.

Ernestine grew up in Los Angeles and started her acting career at age four. In 1935, Ernestine was a member of the Four Hot Chocolates singing group. She appeared in bit parts in films and did the voice performance of a butterfly in the 1946 Walt Disney production Song of the South. Wade was a member of the choir organized by actress-singer Anne Brown for the filming of the George Gershwin biographical film Rhapsody in Blue (1945) and appeared in the film as one of the "Catfish Row" residents in the Porgy and Bess segment. She enjoyed the highest level of prominence on Amos 'n Andy by playing the shrewish, demanding and manipulative wife of George “Kingfish” Stevens.

His plot thoroughly unraveled, Pseudolus appears to be in deep trouble – but Erronius, completing his third circuit of the Roman hills, shows up fortuitously to discover that Miles Gloriosus and Philia are wearing matching rings which mark them as his long- lost children. Philia's betrothal to the Captain is nullified by the unexpected revelation that he's her brother, and, as the daughter of a free- born citizen, she's freed from Marcus Lycus. Philia weds Hero; Pseudolus gets his freedom and the lovely courtesan Gymnasia; Gloriosus receives twin courtesans to replace Philia; and Erronius is reunited with his children. A happy ending prevails for all – except for poor Senex, stuck with his shrewish wife Domina.

It came into the collections of Rudolf II, Holy Roman Emperor, then was looted by the Swedish troops in 1648, and reappeared in Stockholm in 1800. Art collector Fritz Mayer van den Bergh discovered it in 1897 at an auction in Cologne, where he bought it for a minimal sum, discovering its actual author a few days later.Pieter Bruegel : The Dulle Griet, in the Mayer van den Bergh Museum, Antwerp, by Leo van Puyvelde, publication in 1900 for the Museum Mayer van den Bergh Griet was a disparaging name given to any bad-tempered, shrewish woman. Her mission refers to the Flemish proverb: > She could plunder in front of hell and return unscathed.

Kaufman observed Burton to be "utterly convincing as a man with a great lake of nausea in him, on which he sails with regret and compulsive amusement", and Taylor "does the best work of her career, sustained and urgent". In her review for The New York Daily News, Kate Cameron thought Taylor "nothing less than brilliant as the shrewish, slovenly. blasphemous, frustrated, slightly wacky, alcoholic wife" while noting that the film gave Burton "a chance to display his disciplined art in the role of the victim of a wife’s vituperative tongue". However, Andrew Sarris of The Village Voice criticised Taylor, believing her performance "lack[ed] genuine warmth" but his review of Burton was more favourable, noting that he gave "a performance of electrifying charm".

Other Freleng fancies were man at war with the insect world (as in Of Thee I Sting (1946) and Ant Pasted (1953)), an inebriated stork delivering the wrong baby (in A Mouse Divided (1952), Stork Naked (1955) and Apes of Wrath (1959)), and characters marrying for money and finding themselves with a shrewish wife and a troublesome step-son (His Bitter Half (1949) and Honey's Money (1962)). Freleng was occasionally the subject of in-jokes in Warner cartoons. In Canary Row (1950), there were billboards in the background of scenes advertising various products called "Friz". The "Hotel Friz " featured in Racketeer Rabbit (1946) and "Frizby the Magician" was one of the acts Bugs Bunny was pitching in High Diving Hare (1949).

They advance him to a time in life where he is free of his nagging wife and is now old enough for it be respectable for him to take it easy and play with children, working when he wants to instead of when he has to, supported by his loving, grown children. The theme of independence is also explored; the young Van Winkle lives in British America and is a subject of the King; the old Van Winkle awakes in a country independent of the Crown. On a personal level, the awakened Van Winkle has gained another form of "independence": being widowered from his shrewish wife. In Orkney, there is a similar folktale linked to the burial mound of Salt Knowe, adjacent to the Ring of Brodgar.

What is Coming? Wells states, "I hate and despise a shrewish suspicion of foreigners and foreign ways; a man who can look me in the face, laugh with me, speak truth and deal fairly, is my brother, though his skin is as black as ink or as yellow as an evening primrose".What is Coming? A Forecast of things after the war, London, Cassell, 1916 (p. 256). In The Outline of History, Wells argued against the idea of "racial purity", stating: "Mankind from the point of view of a biologist is an animal species in a state of arrested differentiation and possible admixture . . . [A]ll races are more or less mixed.".H. G. Wells, The Outline of History, 3rd ed. rev. (NY: Macmillan, 1921), p. 110 (Ch. XII, §§1–2).

The work has sometimes been interpreted as representing a deep disillusionment with the emperor Justinian, the empress, and even his patron Belisarius. Justinian is depicted as cruel, venal, prodigal and incompetent; as for Theodora, the reader is given a detailed portrayal of vulgarity and underage sex, combined with shrewish and calculating mean-spiritedness; Procopius even claims both are demons whose heads were seen to leave their bodies and roam the palace at night. Alternatively, scholars versed in political rhetoric of the era have viewed these statements from the Secret History as formulaic expressions within the tradition of invective. Procopius' Buildings of Justinian, written about the same time as the Secret History, is a panegyric which paints Justinian and Theodora as a pious couple and presents particularly flattering portrayals of them.

William Butler Yeats' play The Pot of Broth (1904) tells a version of the story in which a clever Irish tramp uses his wits to swindle a shrewish medieval housewife out of her dinner. The story is the basis of Marcia Brown's 1947 children's book Stone Soup (1947), which features soldiers tricking miserly villagers into cooking them a feast. The book was a Caldecott Honor book in 1948 and was read aloud by the Captain (played by Bob Keeshan) on an early episode of Captain Kangaroo in the 1950s, as well as at least once in the 1960s or early 1970s. In 1965, Gordon R. Dickson published a short story called "Soupstone", where a headstrong pilot is sent to solve a problem on a planet under the guise of a highly educated and competent official.

This thriller is set in Blackpool, where trained chemist Jim Harding (Douglass Montgomery) has been reduced to making a living peddling potions and medicines from a fairground stall with a former army colleague Dan Collins (Ronald Shiner). Trapped in a loveless marriage with the vulgar, shrewish and domineering harpy, Diana (Patricia Burke), a woman who harbours ambitions of breaking into showbusiness, Jim finds himself attracted to the kinder working-class Jane Thompson (Hazel Court), who sells candyfloss and ice cream at an adjacent stall. Jim does not reveal to Jane that he is married as the two fall in love and begin an affair. Diana meanwhile is engaged in a liaison of her own with the older Jerry Burns (Garry Marsh) who, she believes, will be able to help with her theatrical aspirations.

All the English seem to turn on him: he is bed- tricked into marrying Honoria's shrewish maid, who cheats on him; one of the maid's former suitors tries to kill him; and his wife eventually poisons him. Castiliano dies just as Belphagor's predetermined time on Earth expires, and the devil returns to Hell with great relief at escaping the toils of earthly existence and its ferocious females. (The play's depiction of its devil is surprisingly restrained; he is described as "patient, mild, and pitiful," and is rather a sympathetic character than otherwise. Its infernal domain, ruled by Pluto, is a mixture of Christian and classical elements.) In the play's subplot, Grim the collier is a simple and good-hearted soul who is devoted to his love, Joan of Badenstock.

Using the journal and personal recollection, Joubert tells the story of Gemma's final few months: Magazine illustrator Gemma Tate has just been dumped by her supercilious lover Patrick Large and is taken in by kindly but impoverished furniture restorer Charlie Bovery, whom she soon marries. Depressed by London life and infuriated by the demands made by Charlie's shrewish ex-wife Judi, Gemma persuades Charlie to sell up and move to Bailleville in Normandy. Gemma's initial delight at her simple new life soon gives way to ennui: their crumbling cottage is smelly and uncomfortable, and Charlie (who settles in Normandy far better) maddens her with his laid-back attitude to everything. Despite doing some piece work for rich, boorish neighbours Mark and Wizzy Rankin, the Boverys are soon considerably in debt.

The first three kinds are heading for unhappiness (in this world or the next). They are: # The destructive-wife (vadhaka or vadhakabhariya: alternate translations include “troublesome-wife” and “slayer-wife”) – she is described as pitiless, fond of other men and neglectful, even contemptuous, of her husband; # The thievish-wife (chorisama or corabhariya: an alternate translation is “robber-wife”) – she squanders the family wealth and is dishonest with her husband, especially as regards money; # The mistress-wife (ayyasama or ayyabhariya or "swamibhariya": alternate translations include “lordly-wife”, “master-wife” and “tyrant-wife”) – she is shrewish, rude and coarsely-spoken when it suits her, lazy and domineering. The Buddha then states that the following four types are heading for happiness – in this world or the next. A common feature of each of these wives is that they are also imbued with “long term self-control”.

The plot focuses on the trials and tribulations of a touring concert party known as the Dinky-Doos who are stranded in the English countryside when their manager absconds with the most recent box-office revenue and the lady pianist. Jess Oakroyd, an amiable man who has abandoned his shrewish wife, endears himself to the company with his homespun advice, and they invite him to join them as a carpenter, baggage handler, and dogsbody. Elizabeth Trant comes to their rescue when she decides to use her inheritance to finance the troupe and escape from her boring life in the Cotswolds. Because of his habit of playing the piano late at night, songwriter Inigo Jollifant has been fired from his position at the Washbury Manor School in East Anglia, and he replaces the concert party's recently departed pianist, bringing with him banjo player and illusionist Morton Mitcham.

She then appeared in a sequence of highly regarded film noir thrillers directed by Fritz Lang, with whom she and Wanger formed their own production company. Bennett appeared in four movies under Lang's direction, including as Cockney Jerry Stokes in Man Hunt (1941) opposite Walter Pidgeon, as mysterious model Alice Reed in The Woman in the Window (1944) with Edward G. Robinson, and as vulgar blackmailer Katharine "Kitty" March in Scarlet Street (1945), another film with Robinson. Bennett in Scarlet Street (1945) Bennett was the shrewish, cuckolding wife, Margaret Macomber, in Zoltan Korda's The Macomber Affair (1947) opposite Gregory Peck, as the deceitful wife, Peggy, in Jean Renoir's The Woman on the Beach (also 1947) opposite Robert Ryan and Charles Bickford, and as the tormented blackmail victim Lucia Harper in Max Ophüls' The Reckless Moment (1949) opposite James Mason. Then, easily shifting images again, she changed her screen persona to that of an elegant, witty and nurturing wife and mother in two comedies directed by Vincente Minnelli.

In the city of Rome during the reign of Emperor Nero, Pseudolus (Zero Mostel) is "the lyingest, cheatingest, sloppiest slave in all of Rome", whose only wish is to buy his freedom from his master's parents, the henpecked Senex (Michael Hordern) and his shrewish wife, Domina (Patricia Jessel). When he finds out that his master, Senex's handsome but dim son Hero (Michael Crawford), has fallen in love with Philia (Annette Andre), a beautiful virgin courtesan from the house of Marcus Lycus (Phil Silvers), buyer and seller of beautiful women next door, Pseudolus makes a deal: he will get the girl for Hero in return for his freedom. Senex and Domina leave to visit her mother, and Hero uses the time to act. Going to the House of Lycus, Pseudolus states that he bought his freedom this morning following the death of his uncle, the well-known elephant breeder on the last day of breeding season, and seeks a wife.

It's as if Ryan didn't trust that the audience would get behind Will and the saga of his ragtag glee club and so saw fit to give the teacher the shrewish, nagging wife from hell." In contrast, Tom Shales for The Washington Post criticized Morrison as Will, writing: "Morrison is definitely not gleeful and doesn't seem particularly well equipped to be a high-school impresario; as pipers go, he's not even marginally pied." Shales was more positive regarding Lynch's performance, and concluded that: "Dramatic tension isn't exactly plentiful, but pleasingly staged songs and a general aura of retro ingenuousness come through, and seem awfully if fitfully refreshing". Variety Brian Lowry also highlighted acting and characterization issues with the show, writing that: "It's among the adults, alas – who are mostly over- the-top buffoons – where Glee nearly sails off the rails, from Jane Lynch's tyrannical cheer matron to the salivating football coach, a bit like the Rydell High gang in Grease.

Xiaofei Kang writes that the story "exemplifies the contrast between the two types of fox", namely the malevolent fox spirit terrorising Yue Yujiu's family and the benevolent one living in their neighbour Zhang's house. Because fox spirits in general also represent financial opportunity, Yue does not immediately attempt to drive the fox away but tries to negotiate with her instead. Kang suggests that Yue "sought to take the fox's powers under his own control and make her serve the family's interests" by offering her a place in the family as either his daughter or his sister. However, the fox spirit demands "a permanent place" in the household as Yue's daughter-in- law, echoing the commonly-held notion during Pu Songling's time that "shrewish wives and unruly daughters-in-law" were an "unsettling factor in Chinese family life", with some even resorting to witchcraft to manipulate their husbands and "undermine old family ties".

The series was based around conflict within the Hammond family over the direction of the family firm, a London-based road haulage business called Hammond Transport Services, after the death of patriarch Robert Hammond. The eldest son, Edward (played by Glyn Owen during the first series and by Patrick O'Connell for the remainder of the show's run), prepares to take over the running of the business, only to find that his father has left equal shares to his two other sons, Brian (Richard Easton), a dull accountant and David (Robin Chadwick), a young graduate - and to his mistress and secretary Jennifer Kingsley (Jennifer Wilson). Storylines throughout the series dealt with plans to expand the business into an international concern, coupled with more family-orientated plots as Edward and Jennifer fall in love and marry. Other prominent characters included Robert Hammond's hard-faced widow and the mother of the three brothers, Mary (Jean Anderson), who is determined to continue exercising her own influence over her family, Brian's shrewish wife Ann (Hilary Tindall) and David's girlfriend then wife Jill (Gabrielle Drake).

During a rough music performance, the victim could be displayed upon a pole or donkey (in person or as an effigy), their "crimes" becoming the subject of mime, theatrical performances or recitatives, along with a litany of obscenities and insults. Alternatively, one of the participants would "ride the stang" (a pole carried between the shoulders of two or more men or youths) while banging an old kettle or pan with a stick and reciting a rhyme (called a "nominy") such as the following: Rough music processions are well attested in the medieval period as punishments for violations of the assumed gender norms. Men who had allowed themselves to be dominated by their shrewish wives were liable to be targeted and a frieze from Montecute House, an Eizabethan Manor in Somerset depicts just such an occurrence. However, in the nineteenth century the practice seems to have been somewhat refocused; whilst in the early period rough music was often used against men who had failed to assert their authority over their wives, by the end of the nineteenth century it was mostly targeted against men who had exceeded their authority by beating them.

" Michael Phillips of Chicago Tribune called the scoring 'remarkable', 'throbbing' underscoring by composers Trent Reznor and Atticus Ross, enough to make one forget the story's phonier constructs and less plausible supporting characters.Gone Girl 3.5 At Vulture, David Edelstein praised the score stating, "The spooky astral music (by Trent Reznor and Atticus Ross) is like purgatory in beige" Critic Matt Zoller Seitz wrote, "For long stretches, Fincher's gliding widescreen camerawork, immaculate compositions and sickly, desaturated colors fuse with Trent Reznor and Atticus Ross's creepy-optimistic synthesized score to create a perverse big-screen version of one of those TV comedies built around a pathetically unobservant lump of a husband and his hypercontrolling, slightly shrewish wife."Gone Girl review Richard Roeper of Chicago Sun-Times wrote, "The score from Trent Reznor and Atticus Ross is nomination-worthy." Liam Lacey of The Globe and Mail commented, "Throughout, the electronic score by Trent Reznor and Atticus Ross grinds, squawks and groans, communicating the rising panic beneath the placid surface."‘Gone Girl: Fincher builds an ingenious contraption Writing for The Rolling Stone, Peter Travers noted, "Composers Trent Reznor and Atticus Ross, artfully escalate the seething tension.