And You Call this Marriage?

When thinking about if Heywood is upholding the basic principle and theology of marriage, I would have to say yes. According to Whatley, women are supposed to be “meeke, quiet, submissive,” but in “A Woman Killed with Kindness,” Anne does not follow these ideals when she betrays her husband for another man (30). Interestingly enough, when Anne is being flattered in the opening scene of the play, she comments on how her husband and brother should find “a fitter theme” than her many accomplishments (Heywood sc. 1, line 29). Although this might indicate that Anne is following the set criteria to play her role as a wife, but she does not conform to the entirety of what Whatley considers a good marriage.
Furthermore, Frankford does not keep his place as head of the house. He creates a trap to ensnare the treachery of his wife, and in doing so, gives his command to Wendoll to take his place as the head of the household. Whatley says that this creates a “deformed family” (19). Heywood proves this to be true when he makes Frankford’s character create a semblance of what one could call the “Trojan Horse” effect when he sets a trap for his wife, finds that she does betray him, and then takes away her rights as a mother and wife. This deformity, as Whatley would call it, signifies that Heywood conveys the very essence of what a marriage (in theology) would be which is to say that the wife is supposed to be completely submissive in all things and that the husband should take the lead. When these things are nonexistent, the marriage becomes a tragedy.