Mary Potter had always been a difficult child. Her parents, always trying to look on the good side, repeated Longfellow's famous poem:
There was a little girl,Who had a little curl,Right in the middle of her forehead.When she was good,She was very good indeed,But when she was bad she was horrid.
It wasn't that the little girl had a mean streak, something hateful and malicious. It was just that she was obstinate. One day she sat on the bottom of the stairs screaming at the top of her lungs, finding the demand to go to her room wrong and insulting.
She howled and howled until her face was a red fireball, her blouse wet with spit, snot, and tears. Anguished, misunderstood, put upon, and as angry as a wolverine, she finally turned, ran up the stairs to her room.
Everything was quiet. The maelstrom was no more. The tempest had played itself out, and when Mr. and Mrs. Potter went up to her room to offer their love and consolation, they saw her on the floor, slowly ripping the pages out of a first edition Robert Louis Stevenson A Child's Garden of Verses, a precious book put on her bedside table to be read to her every night. A special book, a meaningful book, poems about innocence, fragrance, and simply beauty - now in shreds on the floor, ripped to pieces by the horrid Mary.
She couldn't have been more than two, and her tantrums had always been dismissed as 'the terrible twos', but this was in a different category altogether. A two-year-old's tantrums are wild, incontrollable, inchoate affairs without focus, determination, or purpose. They are personal cyclones of anger; but this act of deliberate, conscionable, purposeful, directed rage was adult in nature. The little Potter girl was composed of something unexpectedly well beyond her age.
At the same time, Mary was a very loving, considerate little girl. It was just 'umbrage' as her father called it, a hyper-sensitive sense of personal affront, and righteousness that set her off. Put to bed before she was tired was an affront, an intrusion. How could they know what was going on in her body, her circadian rhythms, her biological clock? Didn't they know that forcing her to drink milk with her vinegary salad churned her stomach, acid and alkali mixing in a witch's brew? Layering her up against the cold, stuffing her like a rag doll, sending her to school like an Eskimo girl all bound up in fur and sealskin was demeaning.
'I hope she grows out of it' said Marfa Potter to her ever-patient husband, 'or she will have a tough time in life.'
Mrs. Potter knew that the world was filled with abutments, barricades, and impassable chasms - she herself had faced every manner of adversity in a man's world and had to learn how to evade, avoid, and negotiate her way around them. Frontal attack was no way for a woman to succeed, and although the new age in which her daughter was growing up was far more accommodating to women, a shrewish one would still have a hard time.
Mary met her match in Sister Marie Joseph, her Catechism teacher. These were the days long after the black-habited, rosary bead clacking, scary nuns of her mother's generation, but Sister Marie Joseph had lost none of spinsterish, child annoyance of the previous generation. Children were necessary to God's Creation, penitential trials to all parents, and destined to grow up as godless adults unless discipline and irrevocable faith were instilled in them at a very early age.
'Don't you dare talk like that to me', Sister Marie Joseph said to Mary Potter six inches from her face, towering over her in the front row of the Catechism room, almost spitting at this vile, presumptuous, unpleasant girl beneath her.
Mary squirmed and fidgeted at the nun's twisted, maniacal face. She had met her match, and after that episode was as perfectly composed and respectful as all the other students in the class.
To assume that Mary had learned her lesson would be a gross underestimation of the natural belligerence and self-righteousness of the girl - a character trait that came neither from mother or father, had been bestowed upon her by some quirk in the genetic chain of family history. 'My Great Aunt Betty was considered a shrewish woman', Marfa Potter said. 'There's no accounting for the twists and turns of ancestry.'
Cold comfort Arthur Potter thought. Whatever strands of the old lady's DNA got tangled up with his daughter's genes were there for keeps, so no point in delving into bygones. Mary was the here and now, a handful, and unless they somehow managed to rein her in, the awaiting world would be no picnic.
Katherine is the main character in Shakespeare's The Taming of the Shrew, and in the first scenes of the play is indeed a shrew – so much so that even her father has given up on her as a vixen and unmarriageable harridan. She meets Petruchio, a worldly, sophisticated man who has tired of the complaisant, dutiful, uninteresting world of Italian aristocracy, and is tamed by him. Thanks to him, her anger, hostility, and misanthropy - provoked by an abusive father and jealous sister - are mitigated and then disappeared.
Kate is at first put off by Petruchio’s advances. What are his intentions? Why has he not, like all other men, been repelled by her? What deceptive, selfish motives are behind his interest? At the same time, she realizes that Petruchio is the man she has hoped to find – one who can see beyond her defenses; a man who is unintimidated, as strong as she as sexually confident as she is passionate.
The marriage is one of perfect symmetry. She, now having left her shrewishness behind, loves Petruchio without hesitation or restraint. He is her rescuer, her savior from a life of hard-bitten, resentful spinsterhood. He is what men should be – strong, confident, male, and yet understanding of women.
At the end of the play Kate confesses her love for Petruchio and the necessarily dutiful obedience she owes to him:
A woman moved is like a fountain troubled,
Muddy, ill-seeming, thick, bereft of beauty,
And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it.
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign, one that cares for thee,
And for thy maintenance commits his body
To painful labor both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe
Thousands of feminist critics have taken this soliloquy as an outdated, primitive, prehistoric statement of female complaisance; but Shakespeare intended nothing of the kind. He in fact anticipated D.H. Lawrence. Both writers knew that dominance and submission are interchangeable, and that the best marriages are those in which there is perfect symmetry. Either the man or the woman can be dominant or submissive. It is the complementarity which counts.
And so it was with Mary Potter who angrily bulldozed her way through school, university, and the law which was, not surprisingly the right profession for such a confrontational, unbowed and uncowed woman. She won every case she defended and became Washington's go-to attorney for the most difficult cases. She became known - behind her back of course - as The Harridan Of Superior Court, a well-deserved although harsh description.
Men kept her at arms length, and few even attempted to approach her. Those that did limped away, licking their wounds warning others. She was as hostile and threatening a women as anyone had seen, in or out of the legal profession.
Until she met Mr. Right, an unintimidated, confident, independent man who, like Petruchio, saw in Mary something prized, unique, and desirable. He, again like Petruchio, saw beyond the Sturm und Drang, bullying overlordship to what he knew was a very accommodating woman.
Now, of course Taming of the Shrew is a romantic fantasy - such strikingly unusual and satisfying love affairs do not exist in real life - but that between Mary Potter and her Prince Charming disproved the fantasy and proved Shakespeare and Lawrence right. Epiphanic coming together of arbitrary souls, sexual mutuality, and ying-yang complementarity is not confabulation.
In an environment of very ordinary, unexciting, depressing marital affairs, the relationship between Mary Potter and her man was unique.
'I knew she would turn out all right ', said her father when she brought her lover home to meet the parents. The same girl, the same Mary, but without all the vixenish, beleaguering anger she had had as a child. Tamed indeed, thought Mr. Potter, and better off for it.


