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The Taming of the Shrew

the rest of the characters, it is in act five, scene one, when
INTR
INTRODUCTION
ODUCTION Lucentio's real father Vincentio confronts the merchant who
was disguised as Vincentio at Lucentio's house in Padua.
BRIEF BIOGRAPHY OF WILLIAM SHAKESPEARE Lucentio is forced to reveal his true identity (and the identity
Shakespeare's father was a glove-maker, and Shakespeare of Tranio) to Baptista. All of the characters' various disguises
received no more than a grammar school education. He are put aside, and Baptista and Vincentio approve of the
marriage between the real Lucentio and Bianca.
married Anne Hathaway in 1582, but left his family behind
around 1590 and moved to London, where he became an actor • Antagonist: For Lucentio, the antagonists are all those who
and playwright. He was an immediate success: Shakespeare stand between him and Bianca: Hortensio, Gremio, and
Baptista. Petruchio and Katherine may be said to be each
soon became the most popular playwright of the day as well as
other's antagonist, as Petruchio tries to tame her and she
a part-owner of the Globe Theater. His theater troupe was
struggles against his abusive dominance.
adopted by King James as the King's Men in 1603. Shakespeare
retired as a rich and prominent man to Stratford-upon-Avon in
EXTRA CREDIT
1613, and died three years later.
Adapting the Shrew. The Taming of the Shrew has been prone to
HISTORICAL CONTEXT adaptations since the 17th century. In the early 1600s, John
Fletcher wrote a sequel called The Tamer Tamed in which
The play is set in an unspecified time in Renaissance Italy, which Petruchio is himself tamed by a new wife. In 1948, Cole Porter
forms the cultural backdrop for Lucentio as a young scholar and adapted Shakespeare's play into a musical comedy called Kiss
the assortment of wealthy, noble families in separate Italian Me, Kate. And in more recent years, the 1999 movie 10 Things I
cities of which Baptista and Vincentio's families are examples.
Hate About You moved Shakespeare's romantic comedy from
Renaissance Italy to Padua High School, where characters
RELATED LITERARY WORKS scheme to take the sisters Kat and Bianca to the prom.
The Taming of the Shrew has basic similarities to other
Shakespearean comedies and can be seen as following in the
tradition of ancient Roman comedy, especially those of the PL
PLO
OT SUMMARY
playwright Plautus, whose plays are filled with clever slaves
The play begins with an Induction, which establishes a frame
tricking their masters and star-struck young lovers whose plans
for the main plot. The drunken beggar Christopher Sly gets
for marriage are delayed and obviated but ultimately fulfilled.
thrown out of a tavern and falls asleep. A noble lord passing by
finds him and decides to play a joke on him. He dresses Sly up in
KEY FACTS noble clothes and convinces him that he is a wealthy nobleman
• Full Title: The Taming of the Shrew who has recently been mad and had forgotten his true identity.
The lord has his young page dress up as Sly's noble wife, and
• When Written: Early 1590s
hires a group of traveling players to put on a play for Sly. The
• Where Written: England rest of the play is then the production of these players.
• When Published: 1623 The main plot of the play begins in Padua, where the young
• Literary Period: English Renaissance (also called the early scholar Lucentio arrives with his servant Tranio. They soon
modern era) catch sight of Baptista and his two daughters: Bianca and
• Genre: Elizabethan Comedy Katherine. Bianca is followed by male suitors, while Katherine
• Setting: The main action occurs in Padua, Italy and appears to be harsh and ill-mannered. Baptista tells Bianca's
Petruchio's country home. (Though the main action is suitors, that because Bianca is his younger daughter, she will
actually a play-within-a-play, and the frame of the play not be married until his older daughter, Katherine, finds a
regarding Christopher Sly occurs at the home of an husband. Upon seeing Bianca, Lucentio falls madly in love.
anonymous English lord.) Tranio suggests that Lucentio should disguise himself as a
• Climax: There are multiple climaxes for the various plot- teacher to tutor Bianca, so that he can get close to her and
threads of the play. For Petruchio and Katherine, the climax spend time with her. Tranio, then, will dress up as Lucentio.
comes when they are journeying to Padua and Petruchio Lucentio agrees to the plan.
makes her say that the sun is the moon, showing that he has
Another man, named Petruchio, arrives in Padua with his
achieved complete mastery over Katherine's wild nature. For
servant Grumio, seeking a wife. His friend (and a suitor of

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Bianca) Hortensio alerts Petruchio to Katherine, and Petruchio Back at Petruchio's home, Katherine complains of Petruchio's
says that he is interested in her. Hortensio promises to direct behavior. She has not been able to sleep or eat at all, and begs
Petruchio to Katherine's father, but asks that Petruchio then Grumio for some food. Grumio tempts her by suggesting
introduce Hortensio in disguise as a music teacher, so that the various dishes, but decides that none of them are suitable for
disguised Hortensio can enter the house and be with Bianca. Katherine. Like Petruchio, he thus starves her under the
At Baptista's house, Katherine teases and bullies Bianca. pretense of caring for her. Petruchio enters with a large portion
Baptista stops their quarreling as Gremio (one of Bianca's of meat. He does not let Katherine eat until she thanks him for
suitors), Lucentio (disguised as the teacher Cambio), Petruchio, it, and when she does, he allows her to eat. Petruchio brings in a
Hortensio (disguised as the teacher Litio), and Tranio (disguised tailor and a haberdasher with clothes for Katherine to wear to
as Lucentio) all arrive. Petruchio announces his intention to Bianca's wedding banquet. The clothes are made exactly to
marry Katherine, and the two "teachers" introduce themselves. Petruchio's specifications, but he rejects them as a way of
Baptista sends the teachers inside to Bianca, and negotiates exerting control over Katherine. His goal is to make her agree
Katherine's dowry with Petruchio. When Katherine comes to to any whim or opinion of his.
see Petruchio, she is rude, doesn't like him, and hits him. Tranio brings the merchant (disguised as Lucentio's father) to
Petruchio, though, is confident in his ability to reform her Baptista. The merchant guarantees Lucentio's inheritance, and
manners. Baptista agrees to marry Katherine to Petruchio, and Baptista is ready for the marriage with Bianca to happen.
then turns to deciding who he will get to marry Bianca: Baptista, Tranio (still in the guise of Lucentio), and the merchant
Lucentio (Tranio in disguise), Hortensio, or Gremio. After go to Lucentio's house in Padua to discuss the financial
hearing the suitors' describe their riches, Baptista decides that particulars of the marriage arrangement. Meanwhile, the real
Bianca will marry Lucentio, on the condition that Lucenito's Lucentio and Bianca plan to elope to a church to be married.
father (Vincentio) will guarantee that Lucentio will indeed Petruchio, Katherine, Hortensio, and some of Petruchio's
inherit his fortune. servants make the journey to Padua for Bianca's wedding
Within Baptista's home, Lucentio and Hortensio (disguised as banquet. On the way, Petruchio calls the sun the moon, and an
teachers) instruct Bianca. While pretending to teach her, old man they encounter a young woman. He forces Katherine
Lucentio reveals his true identity and intentions to her. On to agree with his mad statements, showcasing his dominance
Katherine and Petruchio's wedding day, Petruchio is late, much over her. The old man, a bit confused by being called a young
to the dismay of Katherine. When he finally arrives, he is woman, introduces himself as Vincentio, Lucentio's real father.
wearing an absurd outfit, which irritates Baptista and He is on his way to see his son in Padua, and he joins Petruchio's
Katherine. Meanwhile, Tranio comes up with a plan to help company on the journey there.
Lucentio get Bianca. He will find a stranger to pretend to be When Petruchio and his group arrive in Padua, Vincentio
Lucentio's father, in order to guarantee Lucentio's finances. encounters the merchant and Tranio in their disguises. He gets
Petruchio and Katherine return from the church where they into a furious argument with both of them, who insist that they
were just married. Petruchio announces that he and Katherine are Lucentio and his father. Baptista believes Tranio and the
must leave immediately, skipping the elaborate feast that has merchant, and Vincentio is about to be carried off to jail by a
been prepared for the wedding. Katherine wants to stay, but police officer, when Lucentio arrives with Bianca. Lucentio
Petruchio takes her with him, as they go to his country home. confesses to his deceit, and reveals the true identities of the
At Petruchio's home, Petruchio acts like a madman and is rude merchant and Tranio. Baptista and Vincentio are upset by all
to all of his servants. He constantly corrects and berates this, but ultimately approve of the marriage between Bianca
Katherine, and pretends to find something wrong with all the and the real Lucentio.
food that his servants bring her so that she gets nothing to eat. At the banquet celebrating Lucentio and Bianca's wedding, the
This is all part of his plan to tame her by denying her food and various male characters tease Petruchio for being married to a
preventing her from even sleeping. shrew. Petruchio responds by proposing a bet. He, Hortensio,
In Padua, Hortensio discovers Bianca and Lucentio (still and Lucentio will all call their wives, and the husband whose
disguised as a teacher) kissing. Frustrated, he gives up on wife comes first will win a sum of money. Hortensio's widow
Bianca and decides to marry a wealthy widow. Meanwhile, and Bianca do not come when called, but Katherine comes
Lucentio's servant Biondello comes to Lucentio and Tranio and immediately when Petruchio sends for her. The other husbands
informs them that he has found someone to play Lucentio's are amazed at Katherine's newfound obedience. Petruchio
father. He introduces Tranio to the man, an old merchant. sends Katherine to fetch the other wives. When they are all
Tranio lies and tells the merchant that his life is in danger in present, Katherine delivers a long speech detailing a wife's
Padua, so he should pretend to be Lucentio's father in order to duties owed to her husband. Petruchio is pleased with her
protect himself. The merchant agrees to dress up as Lucentio's speech and the two go off to bed, leaving the other characters
father, and thanks Tranio for his apparent help. to marvel at how Katherine has been tamed.

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of the play, she refuses to come when called by Lucentio,
CHARA
CHARACTERS
CTERS showing by contrast how obedient Katherine has become.
MAJOR CHARACTERS Petruchio – Petruchio is a gentleman who comes to Padua
from Verona seeking a wife. He is loud, stubborn, and
Christopher Sly – Christopher Sly is a drunken beggar, who
boisterous—in some ways a male version of Katherine. He
begins the play by being thrown out of a tavern. A noble lord
accepts the challenge of taming Katherine and is confident in
passing by decides to play a joke on him and dresses him up in
his ability to exercise male dominance over her. He explains
noble clothes. Sly awakes in a lavish room, and the lord and his
that he approaches taming Katherine as a falconer tames a
attendants pretend that Sly is a nobleman who has recently
hawk, by depriving her of sleep and food. Petruchio is violent
been mad and had forgotten his real identity. Sly accepts his
and rude toward his servants, and heavily misogynistic toward
new identity and enjoys a play put on by a group of traveling
Katherine. Nonetheless, he may at least be admirable in his
players, which turns out to be the real play of The Taming of the
individuality. As demonstrated when he wears bizarre clothes
Shrew.
to his wedding and disregards everyone else's jokes and jibes
A LLord
ord – An unnamed nobleman, the lord finds Christopher Sly about marrying Katherine, Petruchio generally does not care
drunkenly passed out and decides to play a trick on him, what other people think of him or his actions.
convincing him that he is actually a wealthy nobleman. He Gremio – Gremio is a rather old, wealthy suitor of Bianca,
arranges for his servants to play along with the elaborate prank competing for her hand in marriage with Lucentio and
and has a group of traveling players (actors) put on for Sly the Hortensio, as well as others. When Baptista decides to marry
play that turns out to be The Taming of the Shrew. Bianca to Lucentio, he adds that she will marry Gremio if
Baptista Minola – The wealthy father of two daughters, Bianca Lucentio's financial guarantees don't check out. When Lucentio
and Katherine, Baptista establishes a rule that no man may gets the merchant, disguised as Vincentio, to guarantee his
marry Bianca until his older daughter Katherine is married. This dower, Gremio is out of luck with Bianca.
is Baptista's way of ensuring that someone will marry the ill- Hortensio – Hortensio is another suitor of Bianca. He disguises
mannered, stubborn Katherine. Throughout the play, Baptista himself as the music teacher Litio in order to get closer to her.
seems more interested in potential son-in-laws' financial When he sees Bianca kissing her other teacher Cambio
matters than their love for Bianca (or Bianca's love for them). (Lucentio in disguise), he gives up on Bianca and marries a
He eagerly marries Katherine off to Petruchio against her will wealthy widow, instead. This quick spousal change suggests
and only assents to marrying Bianca to Lucentio because he that he is more interested in money than love in marriage.
makes the best offer of a dower (the money Bianca would be Hortensio also accompanies Katherine and Petruchio on their
entitled to in the case of Lucentio's death). journey to Padua, and remarks upon Petruchio's successful
Katherine – Katherine is the "shrew" of the play's title. Because taming of Katherine, seeing Petruchio as an exemplary husband
she is stubborn, is sometimes ill-mannered, and does not allow worth imitating. At the end of the play, though, he lacks the
herself to be ordered around by men, she is constantly insulted, control Petruchio has over his wife, as illustrated when the
made fun of, and otherwise denigrated by practically all the widow refuses to come after he calls for her.
other characters in the play. After she marries Petruchio, Lucentio – Lucentio is a young man who arrives in Padua ready
Petruchio tries to "tame" her, and he forces her into obedience to pursue his studies, along with his servant Tranio. Almost
by withholding food from her and not letting her sleep. Toward immediately, though, he falls in love with Bianca, and devotes all
the end of the play, Katherine seems to change completely and his energy to wooing her. He disguises himself as Cambio, a
become utterly obedient and subservient to Petruchio. Her teacher of languages, so that he can teach Bianca and spend
long, final speech in which she details a wife's duties to her time with her. When he reveals his true identity and intentions
husband is often particularly troubling to modern readers to Bianca and she replies favorably, he elopes with her to a
uncomfortable with her sudden acceptance of sexism. church where they are married. Lucentio is young and
However, Katherine's sincerity in this transformation is somewhat irresponsible—it is Tranio who comes up with the
debatable, and one could argue (as some productions of the ideas for how he can woo Bianca, and Lucentio suffers no real
play present it) that Katherine is merely pretending to submit consequences from his deceit. In the end, he is happily married
to Petruchio and that her final speech is so over the top that it to Bianca, though her disobedience toward him at the end of
becomes sarcastic and a parody of wifely obedience. the play suggests his dreamed-for marriage may not turn out to
Bianca – Bianca is Katherine's younger, more desirable sister. be exactly what he thought it would be.
While she is better liked by most characters than Katherine, Vincentio – Vincentio is Lucentio's wealthy father. Lucentio
she has a slightly smaller role in the play. When she does speak, needs his father's guarantee of his dower before he marries
she shows herself to be clever, as when she flirts and trades Bianca, but he gets a merchant to pretend to be Vincentio
witticisms with Lucentio while he is "teaching" her. At the end instead. When the real Vincentio arrives in Padua to see

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Lucentio and encounters the merchant, as well as Tranio in Grumio – Grumio is one of Petruchio's servants, and goes with
Lucentio's clothes, Lucentio is forced to reveal his deceitful him to Padua. He is the object of much of Petruchio's abuse.
plans and cast off the disguise of Cambio. Curtis, Nathaniel, Phillip, Joseph, Nicholas, and P
Peter
eter – These
Tranio – Tranio is Lucentio's servant and the mastermind servants at Petruchio's house prepare hastily for Petruchio and
behind much of the scheming throughout the play. He Katherine's arrival, but Petruchio treats them rudely and
encourages Lucentio to disguise himself as a teacher for Bianca harshly, as part of his plan to tame Katherine.
and he himself pretends to be Lucentio for much of the play. Haberdasher – Much like the tailor, the haberdasher is
Tranio uses his clever wit to get Lucentio and himself out of ordered by Petruchio to make Katherine a hat for Bianca's
difficult situations, and also to poke fun at the noblemen he wedding banquet. Petruchio rejects the hat just like he rejects
serves. He often feigns ignorance and interprets things overly the tailor's dress, even though it is a perfectly fine hat.
literally, allowing him to annoy and joke with Lucentio and
Vincentio.
Merchant – Biondello finds this merchant to dress up as THEMES
Lucentio's father Vincentio. Tranio tells the merchant, who is
from Mantua, that the duke of Padua has ordered for the death In LitCharts literature guides, each theme gets its own color-
of any Mantuans found in Padua, because of a dispute between coded icon. These icons make it easy to track where the themes
the two cities. Tranio convinces him to pretend to be Vincentio, occur most prominently throughout the work. If you don't have
supposedly in order to save his life (but really in order to a color printer, you can still use the icons to track themes in
convince Baptista that Lucentio is a suitable husband for black and white.
Bianca).
Widow – After discovering Bianca's affections for Lucentio
GENDER AND MISOGYNY
(disguised as Cambio), Hortensio stops trying to woo Bianca Issues related to gender are hugely important in
and instead marries this wealthy (unnamed) widow. At the end this play, which centers around Petruchio "taming"
of the play, the widow refuses to come when called by Katherine and forcing her into the traditionally
Hortensio, showing that he has less control over her than submissive role of a wife. The play is filled with characters who
Petruchio has over Katherine. fit and don't fit traditional gender roles—particularly the idea of
the male as dominant and the female as submissive. The quiet,
Tailor – Petruchio hires the tailor to make a custom dress for
mild-mannered Bianca, for example, plays the traditional role of
Katherine to wear to Bianca's wedding banquet. However, he
a woman well, while Katherine rebels against this stereotype
rejects the dress in order to tease Katherine, as part of his
with her boisterousness and refusal to be ordered around by a
ongoing effort to tame her. Petruchio is rude to the tailor, but
man. In the last scene of the play, Petruchio, Baptista,
has Hortensio tell him that he will at least get paid after all his
Hortensio, and Lucentio tease each other over who is ruled by
effort.
his wife and is thus less of a man. Perhaps with the exception of
Petruchio, these men do not live up to the masculine ideal of a
MINOR CHARACTERS commanding husband in control of his wife, just as Bianca and
Hostess – The hostess throws the drunken Christopher Sly out the widow Hortensio marries turn out not to be the epitomes
of her tavern in the play's opening scene. of female obedience their husbands may have thought they
The LLord's
ord's Hunstmen – These attendants of the wealthy lord were.
pretend to be Christopher Sly's servants, helping to convince While both men and women in the play don't always behave in
him of his new identity. accordance with traditional gender roles, it is the women—and
Bartholomew the P Page
age – The lord has this young, male servant particularly Katherine—who are punished for such behavior.
dress up as Sly's wife. This disguise is very similar to the Katherine's stubbornness and strong will cause her to be
practice in Shakespeare's day of having young men play female denigrated, insulted, and abused throughout the play. She is
roles in the theater. less highly valued as a potential wife than her sister and
humiliated by various male characters, by none more than her
Pla
Playyers – This group of traveling actors is hired by the lord to
own husband Petruchio. This would seem to make
put on a play for Christopher Sly. The Taming of the Shrew is then
Shakespeare's play rather sexist and misogynistic, especially as
their play, performed within the framing story established by it showcases Petruchio's abusing Katherine for comedic value.
the Induction. But, although the play contains much misogyny on-stage, it can
Biondello – Biondello is one of Lucentio's servants. He helps also be seen as exposing some of the fallacies of traditional,
Tranio and Lucentio carry out their plan to woo Bianca for oppressive gender roles. For one thing, with all of the disguises
Lucentio and finds a merchant to dress up as Vincentio. and deceptive performances in the comedy, it is somewhat

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unclear whether Katherine is really tamed by Petruchio, or as Vincentio. Moreover, the entire play is performed for the
whether she is simply pretending to be obedient to him. It is entertainment of Christopher Sly, a drunken beggar who has
even possible that he and she are pretending together, in order been tricked into thinking that he is a noble lord. As with
to surprise Baptista and the other characters. Different gender, categories that society may often deem to be natural
productions of The Taming of the Shrew may choose to are revealed in the play as identities that have to be performed
interpret this ambiguity differently, but with the play's and put on like a costume. Social class is as much a matter of the
emphasis on performance and swapping roles (more on this clothes one wears and the way one behaves as it is a matter of
below), Shakespeare may be seen as suggesting that gender one's birth. Thus, even as Shakespeare's comedy shows with
roles are just that: roles to be played, rather than natural, true comic lightness the brutal treatment of servants, it exposes the
identities. This is furthered by the cross-dressing servant in the arbitrariness of this kind of social hierarchy.
beginning of the play who convinces Christopher Sly that he is
his wife, and perhaps by the fact that in Shakespeare's day, THEATER, PERFORMANCE, AND
women's parts on the stage were played by young male actors. IDENTITY
In the end, the fact that the play portrays a heavy dose of The Taming of the Shrew is a play that thinks a great
misogyny is unavoidable, and much of Shakespeare's audience
deal about theater itself. This kind of self-reflexivity
would doubtlessly have laughed at the sexist joking and
and theater about theater (often called meta-theater), allows
slapstick abuse in the comedy. Whether Shakespeare would
the play to raise questions about performance. To begin, the
have shared in this reaction, or whether the play endorses this
central plot involving Baptista's daughters and their suitors is a
misogyny is somewhat more up for debate, but in any case
play within a play, performed by a group of traveling actors for
reading the play offers just as much of an opportunity to
Christopher Sly and a small audience who are themselves
critique misogyny and traditional gender roles as it does to
acting, pretending to be the attendants (and wife) of the
reinforce them.
supposedly noble Sly. And within this play, numerous
characters don costumes and pretend to be people they are
SOCIAL HIERARCHY not—Lucentio, Tranio, Hortensio, and the merchant, in
Women are just one socially oppressed group in particular. Even Petruchio can be seen as performing, when he
the play; another is the class of servants that are pretends to be mad and find fault with Katherine's food and
continually beaten, abused, and insulted by the clothing. Moreover, it is unclear to what degree Katherine is
likes of Petruchio, Vincentio, and other noblemen. In fact, the only pretending to be obedient to Petruchio in the later parts of
play begins with a scene not about the relation between men the play, merely playing the role of a dutiful wife. As all of these
and women, but between men of different social classes, as the acts of performance suggest, appearances crucially affect how
Lord plays a practical joke on the poor Christopher Sly. Social people are perceived and treated by others. The importance of
standing is arguably a more important method of appearances is emphasized by Petruchio's insistence on
categorization than gender in the play. While women like wearing bizarre clothes to his wedding and his refusal to let
Bianca and Katherine are disciplined and evaluated with Katherine wear the gown and hat that have been made for her
respect to a strict code of gender roles, they enjoy privileges to wear to Bianca's wedding-banquet. Petruchio uses the social
unavailable to their servants. Grumio is able to join Petruchio in importance of clothing and appearances in constructing one's
teasing Katherine with the prospect of food, but she is able to identity to his advantage in manipulating Katherine.
hit him without consequence. All of this emphasis on performance questions to what degree
Despite disadvantages from being at the lower end of the social anyone can have a stable or natural identity, or whether such
hierarchy, Tranio, and even arguably Biondello and Grumio, are identity is really only formed through continual performance
often more clever than their masters. Grumio often (acting like a nobleman or acting like a lady, for example). An
misinterprets things overly literally, but this can also be seen as individual playing a role in society may ultimately not be so
playing or joking with Petruchio, under the pretense of not different from one of the play's characters dressed up like
understanding him. Tranio, meanwhile, comes up with the plan someone else, or from one of Shakespeare's actors playing a
by which Lucentio successfully woos Bianca and, in devising the scripted part on the stage. This opens up possibilities in the play
various disguises by which he and Lucentio trick Baptista, he is to criticize traditional hierarchies of gender and social class,
the force behind much of the plot of The Taming of the Shrew. since there may be nothing natural or inherent about the
identities that these systems make so much of.
Shakespeare's play displays a rigid social hierarchy between
noblemen and lower-class characters like the servants, but it Finally, the swapping of roles and questioning of identity that
also turns this hierarchy upside-down. The Lord dresses as a happens throughout the play suggests that the theater, in
servant, Lucentio dresses up as the slightly lower-class Cambio, particular, is often connected with some kind of reversal of
Tranio dresses up as Lucentio, and the old merchant dresses up social roles. Indeed, we find in The Taming of the Shrew

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servants dressing up as noblemen and noblemen acting like Bianca and, as the two develop affection for each other, their
servants. This topsy-turvy, upside-down world is characteristic relationship seems to exemplify this idealistic version of
of comedic drama and allows comedies to question social marriage. But, throughout the play, marriage is often more a
norms. However, like all comedies, The Taming of the Shrew matter of economic exchange than reciprocal love. As Baptista
has to come to an end, where everything is resolved and social negotiates dowries and dowers (what the wife is entitled to if
norms are restored. Lucentio confesses to his deceit, while the husband dies), he appears to be almost selling off his
Tranio and the merchant are revealed for who they really are daughters, rather than marrying them away. While he approves
and go back to their original roles. The playful profusion of of the match between Lucentio and Bianca, he will not let the
performance and role reversals might have some subversive marriage happen until he is guaranteed of Lucentio's financial
potential, but at the end of the play the masks and costumes status. And the speed with which Hortensio abandons his love
come off, we return to normal, and the performance must end. for Bianca and marries a wealthy widow (who is never even
Nevertheless, if we go as far as to say that all social identity is a named in the play!) suggests that money is his first priority in
kind of acting, does the performance ever really end? finding a wife.
Another way of understanding marriage is provided by the
EDUCATION example of Petruchio and Katherine. In this case, marriage is
Shakespeare's comedy has many scenes of simply a power structure, a way of enforcing female obedience
instruction, but tends to poke fun at formal to a male husband. In her long, final speech, Katherine
education. Lucentio arrives in Padua as a young summarizes this idea of marriage, telling Bianca and the widow
scholar ready to pursue his studies, but when Tranio tells him to that "Thy husband is thy lord, thy life, thy keeper, / Thy head,
study what he likes the most, he follows his heart... to the thy sovereign," (v.2.162-163).
beautiful Bianca. "Cambio" and "Litio" (really Lucentio and Still another version of marriage can be seen when Petruchio
Hortensio) are supposed to teach Bianca, but this teaching is greets Vincentio as his father-in-law and when Lucentio greets
merely an excuse to get close to her and try to woo her. While Petruchio and Katherine at his wedding banquet as his brother
these examples show young people who are more interested in and sister. Here, marriage is a way primarily of uniting families,
love than education, the character Tranio exemplifies another rather than individual spouses. It serves to connect family units
kind of learning. He is clever, socially savvy, and has learned and, in this case, link together different wealthy, powerful
how to act like a nobleman and trick others in order to help families.
Lucentio and himself get out of difficult situations. While he has Ultimately, marriage isn't definitively any one of these versions.
not had a formal education in philosophy, Latin, or music, Tranio Different couples create different unions that function in their
has clearly gotten a very effective social education by learning own ways. While marriage can be a way for a father like
from real-life experience. Baptista to "sell off" his daughters or for a man like Petruchio to
Another example of a kind of education is Petruchio's "taming" exercise control over his wife, the very fluidity of what marriage
of Katherine. As he teaches her to be a submissive wife, the is means that marriage doesn't always have to be either these
play reveals some forms of education to be violent and a means things. Even if Lucentio and Bianca's marriage doesn't
of exercising power and control. His act of taming also serves to necessarily live up to the ideal union of young lovers (as their
teach Hortensio by example, as Hortensio remarks several squabbling at the end of the play might suggest), Shakespeare's
times that Petruchio has shown him the right way to handle play shows that marriages are not all alike, and can be as much
one's wife. But is this really a lesson worth learning? If apparent of an economic exchange, loving partnership, or hierarchical
education in the play is often just a pretense for something else, power structure as an individual couple makes it.
and the only truly successful teacher in the play (Petruchio) is
violent and abusive, the play might be seen as harshly critical of
formal education. The best education may be learning through SYMBOLS
life, becoming socially savvy and adept like Tranio, whose
practical wit helps both him and Lucentio. Symbols appear in teal text throughout the Summary and
Analysis sections of this LitChart.

MARRIAGE
The plot of The Taming of the Shrew hinges on the CLOTHING
marriages of Baptista's two daughters. Over the The Taming of the Shrew is filled with scenes
course of the play, there is a significant tension involving the importance of clothing. In the
between different understandings of what marriage is. One Induction, Christopher Sly is dressed by the unnamed lord in
understanding of marriage is that it is simply a union of two wealthy clothes, while the Page dresses up as a woman. In the
people in love. This is what Lucentio seems to desire with play proper, numerous characters—Lucentio, Tranio, Hortensio,

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and the merchant—dress up in various disguises. And while gender roles.
Petruchio does not wear a disguise, he wears a costume of
sorts when he purposely wears bizarre clothes to his own
wedding. He also refuses to let Katherine wear the dress and QUO
QUOTES
TES
hat that he has had made for her for Bianca's wedding banquet.
All this emphasis on clothing points out the significance of Note: all page numbers for the quotes below refer to the Simon
appearance and performance in establishing an identity, & Schuster edition of The Taming of the Shrew published in
2004.
showing identity to be fluid and changeable.
By merely putting on expensive clothes, Christopher Sly
becomes noble in his own mind, while the Page is able to Induction, Scene 1 Quotes
assume a female identity through clothes. Clothing is thus What think you, if he were conveyed to bed,
particularly important for signaling gender and class identity. Wrapped in sweet clothes, rings put upon his fingers,
This is evident when Petruchio rejects the hat that has been A most delicious banquet by his bed,
made for Katherine: when she says, "gentlewomen wear such And brave attendants near him when he wakes,
caps as these," (iv.3.74) Petruchio replies, "When you are Would not the beggar then forget himself?
gentle, you shall have one too," (iv.3.75). For Petruchio here,
clothing is importantly linked to one's identity and character.
Related Characters: A Lord (speaker), Christopher Sly
Clothing in the play thus symbolizes how identity is
constructed through appearances and performance, how being Related Themes:
someone is often a matter of looking like or acting like that
someone. When Katherine is upset by Petruchio's outlandish
Related Symbols:
outfit at their wedding, he may tell everyone, "To me she's
married, not unto my clothes," (iii.2-119) but throughout the Page Number: Ind.1.38-43
play Shakespeare shows that it is often the clothes that make
the man (or woman). Explanation and Analysis
The Taming of the Shrewbegins with a strange "Induction,"
ANIMALS in which a drunken Christopher Sly, a beggar, refuses to pay
what he owes, gets kicked out of a bar, and passes out. A
The title of the play already contains an animal Lord enters after finishing a hunt and notices Sly, unsure if
metaphor, implicitly comparing Katherine to an he is "dead, or drunk." Finding the drunkard to be breathing,
unruly shrew. Similar imagery pervades the play. Katherine is the Lord begins making fun of Sly and devises a prank to
often called a shrew and Gremio calls her a “wildcat,” (i.2.198). humiliate him.
Petruchio builds on this pun with “cat” and “Kate” when he tells
her he will “bring you from a wild Kate to a Kate / Conformable The prank turns out to be more of a social experiment. In
as other household Kates,” (ii.1.292-293). This notion of the quote, the Lord wonders what would happen if the
Katherine as a wild animal that must be tamed continues over sleeping Sly were brought to a nice bed, dressed in "sweet
the course of the play, as when Petruchio compares his method clothes" (which symbolize social status), brought delicious
of taming her to that of a falconer taming a falcon. These food, and given servants to tend on him when he woke up.
insulting comparisons symbolize Katherine’s wild What would happen, the Lord wonders, if Sly suddenly woke
temperament, but also the misogyny with which the play’s male up and found himself in the position of a nobleman? "Would
characters regard her. Simply because she doesn’t adhere to a not the beggar then forget himself" and think that he truly
strict definition of a noblewoman, she is denigrated as animal- was a wealthy nobleman?The Lord orders his men to
like. orchestrate this elaborate plot, directing them like a troupe
of actors. He asks them to do as he has described and refer
It is not just Katherine who is compared to animals. The lord in to Sly as "your Honor" and "your Lordship" when he wakes.
the Induction calls Christopher Sly a “monstrous beast,” and “a He also arranges for his page Bartholomew to crossdress (a
swine,” (Induction 1.35), further exemplifying animal imagery as common occurrence on the Elizabethan Stage, as all parts,
insulting. Throughout the play, animal imagery is used to male and female, were played by men) and pretend to be
degrade various characters who are seen as of a lesser status, Sly's fictitious wife.
often because of gender or social class. But no one is the object
of these animal insults more than Katherine, as the imagery of a Just as the Lord is setting up his plan, a troupe of players
wild animal and a tamer has particular symbolic significance for (actors) enter. He asks them if they will put on a play for a
the play’s sexist portrayal of male-female unions and traditional Lord so that they will perform for Sly during the ruse. Their

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performance will be the actual play, the Taming of the Related Characters: Lucentio (speaker), Tranio
Shrew. Thus Shakespeare stages scenes filled with
theatricality, acting, performance, and changing identities to Related Themes:
introduce a play within a play which is also filled with
theatricality, performance, and changing identity. Related Symbols:

Page Number: 1.1.208-209

Am I a lord, and have I such a lady?
Or do I dream? or have I dreamed till now? Explanation and Analysis
I do not sleep: I see, I hear, I speak, The players have begun the play within the play, and the
I smell sweet savors, and I feel soft things. central plot is underway: Baptista has two daughters, Kate
Upon my life, I am a lord indeed and Bianca, and will not permit the younger Bianca to marry
And not a tinker, nor Christopher Sly. until her older, "shrewish" sister gets married first. A
student Lucientio has arrived in the Italian city of Padua, the
Related Characters: Christopher Sly (speaker), setting for the play, along with his servant Tranio. Lucentio
Bartholomew the Page almost immediately falls in love with Bianca, and is so
captivated by her beauty that he needs Tranio to summarize
Related Themes: Baptista's conditions. Learning that Bianca will only accept
tutors instead of suitors, Lucentio decides to pose as a Latin
Page Number: Ind.2.68-73 tutor (later named Cambio, which in Italian means
"change").
Explanation and Analysis
In the quote, Lucentio responds to prompts from Tranio,
The Lord's preparations have been made and Sly has woken
who reminds his master that someone aught to pose as
up; he is extremely confused. To complete the inversion of
Lucentio. The master says to his servant, "Thou shall be
the social hierarchy, the Lord is dressed up as a servant, and
master, Tranio," and instructs him to carry out all of the
addresses Sly as a lord. When Sly denies his new identity,
masterly duties. The two then exchange clothes and start on
the Lord tells the confused Sly to stop acting crazy and to
their courtship plan, with Lucentio changed into Cambio
remember his noble birth, cataloging the privileges that the
and Tranio changed into Lucentio. Note that in this way the
new position offers and mentioning Sly's 'beautiful wife.'
first scene of the play within the play echoes the outer play:
Here Sly begins to question his identity and reality,
masters become servants and servants become masters;
wondering, as the Lord predicted, if he really is a lord.
social hierarchy is inverted and everything is performance.
"Do I dream?" Sly asks, "or have I dreamed till now?" This This scene is also the last scene in which Christopher Sly (or
line describes the profound uncertainty that comes with any one from the induction) speaks, and the only scene in
being unsure if you are dreaming, or have woken up into which the induction bleeds into the play within the play.
your real life from a long, convincing dream. Sly concludes
he is not asleep, reporting "I see, I hear, I speak, / I smell
sweet savors, and I feel soft things." Trusting his sensory Act 1, Scene 2 Quotes
experiences, he determines that he is indeed a lord, not
Christopher Sly. He forgets himself. The Lord's ruse is And I have thrust myself into this maze,
successful, and 'lord' Sly, alongside his crossdressed wife, Happily to wive and thrive, as best I may.
ultimately sits down to watch the rest of the play.
Note that this experience is a favorite of Shakespeare's: Related Characters: Petruchio (speaker)
characters often enter identity crises, lose themselves,
awake from and live strange dreams, or find themselves Related Themes:
suddenly somewhere and someone else. Sly's acceptance of
Page Number: 1.2.56-57
his new role can be seen as a statement on the fluidity of
identity; social roles, gender, and self are all performance Explanation and Analysis
and subject to change.
Petruchio has arrived in Padua and met with his friend
Hortensio. Petruchio announces that his father has died,
Thou shalt be master, Tranio, in my stead and that he has come to Padua "to wive and thrive." In other
Keep house, and port, and servants, as I should.

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words, he hopes to find a wife from a wealthy family and would certainly be seen today as profoundly sexist. Yet in
make money. He reveals that a large dowery is his focus in the world of the play, it is taken as a simple matter of course
finding a wife and that he believes it's simply time to get thatKatherine must be changed and brought under control.
married; he does not express romantic ideals about love or a
soulmate.
Hortensio, who is one of Bianca's suitors, realizes if he can But will you woo this wildcat?
get Petruchio to marry Katherine, according to Baptista's
rules Bianca will be eligible for marriage. Below, Hortensio
Related Characters: Gremio (speaker), Katherine,
tells Petruchio about Katherine in the hopes that he will win
Petruchio
Bianca for himself. Petruchio's introduction and desire for a
wealthy wife set in motion one of the key plots and
Related Themes:
marriages in the play.
Related Symbols:

I can, Petruchio, help thee to a wife Page Number: 2.1.198

With wealth enough, and young and beauteous,
Brought up as best becomes a gentlewoman. Explanation and Analysis
Her only fault, and that is faults enough, Gremio, another of Bianca's suitors, has entered with
Is that she is intolerable curst, Lucentio, who is disguised as Cambio. Gremio plans to use
And shrewd and forward, so beyond all measure Cambio to convince Bianca to marry him, not knowing that
That, were my state far worser than it is, Cambio is really Lucentio and also wants to marry Bianca.
I would not wed her for a mine of gold. Hortensio, Petruchio, and Grumio enter, and inform Germio
of the plan for Petruchio to marry Katherine. Gremio is
shocked, and asks Petruchio if he knows about all of Kate's
Related Characters: Hortensio (speaker), Petruchio,
faults, before delivering the line in this quote: "But will you
Katherine
woo this wildcat?" Gremio doesn't at first believe that Kate
Related Themes: can possibly be tamed, though Petruchio responds with
confidence.
Page Number: 1.2.86-93 Note also that Katherine is described here as an animal
instead of a person, and that wildcat puns on 'wild Kat,' a
Explanation and Analysis
nickname for Katherine. Naming and renaming will be a
In this quote, Hortensio tells Petruchio that there is a crucial tool that Petruchio uses in his "taming school."
potential wife for him, "With wealth enough, and young and
beauteous." She is attractive and will cary a large dowry, and
she is of an acceptable social status. But there is a problem Act 2, Scene 1 Quotes
with her: "she is intolerable curst"; she is a shrew. Hortensio
Nay, now I see
says that even if he were poor, he would not wed Katherine
She [Bianca] is your [Baptista's] treasure, she must have a
"for a mine of gold." Kate's shrewishness and
husband,
unwomanliness make her an unacceptable choice for
I must dance barefoot on her wedding day
Hortensio and other male suitors, but all that Petruchio
And, for your love to her, lead apes in hell.
cares about is wealth. What's more, he seems eager to take
Talk not to me. I will go sit and weep
on the challenge of interacting with, marrying, and
Till I can find occasion of revenge.
ultimately taming Katherine.
Here we see the characterization of Kate as a shrew
continue to develop. It's important to recognize what the Related Characters: Katherine (speaker), Baptista Minola,
characteristics of a "shrew" were: speaking out of turn, Bianca
forwardness, self-confidence, and basically any behavior by
a woman that involved her not obeying the men in her life Related Themes:
(father or husband). In other words, the idea of a "shrew"
Page Number: 2.1.34-39

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Say that she [Katherine] rail, why then I'll tell her plain
Explanation and Analysis She sings as sweetly as a nightingale.
Say that she frown, I'll say she looks as clear
This strange scene begins with a striking interaction:
As morning roses newly washed with dew.
Katherine has tied up Bianca and is hitting her, demanding
Say she be mute and will not speak a word,
that she say which of her suiters she most prefers. When
Then I'll commend her volubility
Baptista enters to discover the scene, he unties Bianca and
And say she uttereth piercing eloquence.
calls Katherine a devilish spirit, yelling at her for abusing her
If she do bid me pack, I'll give her thanks
sister. This scene can be interpreted literally, or playfully.
As though she bid me stay by her a week.
Many modern productions choose to make the violence
If she deny to wed, I'll crave the day
humorous, making it a kind of ironic parody of Katherine's
When I shall ask the banns, and when be married.
eventual taming and lightening the themes of abuse and
starvation that follow.
But the scene can also be read as one of violence, bondage, Related Characters: Petruchio (speaker), Katherine
and a bitter sibling rivalry.Such a reading may be reinforced
Related Themes:
by Katherine's lines in the quote. Bianca's obedience and
conformity infuriate Katherine: she claims to see that her
sister is the favorite who must be married, and that she, Related Symbols:
Katherine, must be damned and kept without a husband.
Page Number: 2.1.178-188
She asks to be left alone, saying she'll sit and cry until she
can find an opportunity for revenge. This dark desire for Explanation and Analysis
revenge shows the intensity of Katherine's frustration with
Petruchio delivers this soliloquy moments before he will
her family and the misogynistic culture in which she lives.
meet Katherine for the first time. In it, he describes his plan
for wooing her and taming her. If she gets angry and yells,
he'll say that she's singing sweetly; if she frowns, he'll say
Then tell me, if I get your daughter's love, she looks beautiful; if she's silent, he'll praise her for her
What dowry shall I have with her to wife? eloquence; if she tells him to leave, he'll thank her for the
invitation to stay. In short, he'll act as though her actions and
Related Characters: Petruchio (speaker), Baptista Minola, words are not her own. He will not allow anything she says
Katherine to carry the meaning she ascribes to them. Instead,
Petruchio will ascribe his own meaning to her words and
Related Themes: force his own reality upon Katherine, regardless of her
experience.
Page Number: 2.1.126-127 This technique will be the crux of his taming. During their
first interaction, the two exchange witticisms and puns in a
Explanation and Analysis
humorous back and forth, and Katherine ends up hitting
Katherine, after calling for revenge, has run off stage, and Petruchio. Again, we are faced with the question of how to
Gremio and Cambio as well as Petruchio and Hortensio interpret the dark notes of the play. Does Katherine relish in
(now disguised as Litio, a music tutor, in his own quest to meeting a challenge to her wit and finally having someone
woo Bianca) have entered. Tranio, too, has entered in the who can go back and forth with her? Is her slap playful? Or is
guise of Lucentio. The tutors are introduced, and Petruchio this a violent courtship in which the dominant male asserts
has expressed his interest in Katherine. his will forcefully upon his unwilling bride?
Here Petruchio cuts directly to the chase: he wants to
marry Katherine and wants to know what the dowry is.
Satisfied with the amount, he immediately decides he will Thus in plain terms: your father hath consented
marry her. When Baptista doubts Petruchio's ability to woo That you shall be my wife, your dowry ‘greed on,
his daughter, the suitor explains that he is as insistent on And will you, nill you, I will marry you.
obedience as Katherine is stubborn. He is "rough" and will
"woo not like a babe." In this scene, Petruchio's strength of
will is established, and the stage is set for a battle of wills Related Characters: Petruchio (speaker), Katherine,
between him and Katherine – the "taming" – to begin. Baptista Minola

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singular master.
Related Themes:
Note that the social hierarchy depicted in the play is
Page Number: 2.1.284-286 extremely rigid and narrow: lords rule over servants and
men rule over their wives, but there is no Duke or extra-
Explanation and Analysis powerful political figure to overrule unfair treatment. In this
Katherine and Petruchio have been going back and forth way Petruchio's power over Kate is made even more
after first meeting. According to plan, he has denied absolute.
everything she said or did and asserted the opposite,
beginning with her very name. The entire scene, and the
courtship in general, is extremely performative. He first calls Act 3, Scene 2 Quotes
her Kate, and when she tries to correct him, saying she is No shame but mine. I must, forsooth, be forced
called Katherine, he calls her a liar and tells her that she is To give my hand, opposed against my heart,
only known by Kate. Thus begins the series of witty jabs, Unto a mad-brain rudesby, full of spleen,
and slaps, and innuendos. Who wooed in haste and means to wed at leisure.
Here Petruchio breaks off the dialogue to deliver his
intentions "in plain terms." Baptista has agreed on the
Related Characters: Katherine (speaker), Petruchio
marriage, the dowry has been settled, and regardless of
Katherine's desires, Petruchio is going to marry her. This Related Themes:
marks a break from his usual tactic of taming, where he
forces his "reality" over hers. Here Petruchio's lesson is Page Number: 3.2.8-11
outright: what you desire is meaningless. Her willingness or
unwillingness is irrelevant, since she is the daughter and Explanation and Analysis
wife, and he is the husband and the man. It is the wedding day, and everyone has gathered, but
Petruchio is late. When Baptista complains that the lateness
brings him shame, Katherine laments that the shame is only
For I am he born to tame you, Kate, hers, since she is forced to marry against her will and give
And bring you from a wild Kate to a Kate her heart to a madman. She believes that Petruchio is
Conformable as other household Kates. insane, not even knowing the full extent to which he will
extend his cruelty after the wedding. She claims that he
"wooed in haste" – insisted immediately on getting married
Related Characters: Petruchio (speaker), Katherine – but now wants to be married "at leisure", which is to say
whenever he wants to show up to the ceremony.
Related Themes:
Katherine here reiterates that she is being married against
Related Symbols: her wishes, that she thinks it's wrong, and that there is
nothing she can do about it. Such is the lesser status of
Page Number: 2.1.291-293 women during the play. Her emotions and her words are
dismissed as the rantings of a shrew, a name which she is
Explanation and Analysis even called by her father as she exits crying, abandoned at
Just a few lines earlier, Petruchio told Katherine's that her the alter on her wedding day. It is worth noting that
desires are meaningless (and she will marry Petruchio Petruchio's "lessons" that Katherine's speech and wants are
whether she wants to or now), here Petruchio says that he meaningless are constantly upheld and reinforced by the
is the man who was born to tame Kate, and bring her from a entire society presented in the play. Katherine is an
"wild Kate to a Kate / Comfortable as other household outspoken woman; everyone else in the play, from her sister,
Kates." to the men pursuing her sister, to her father, to her fiancé
want to make her obedient.
Earlier, Gremio asked Petruchio if he could woo the
"wildcat," treating Katherine as a kind of animal. Here,
Petruchio again "animalizes" Katherine, figuring her as a
beast that needs to be tamed. By suggesting that he is the To me she's married, not unto my clothes.
only one to tame her, he elevates his status among the other
men of the play and reinforces his role as Katherine's

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Related Characters: Petruchio (speaker), Katherine Explanation and Analysis

Related Themes: The marriage has happened according to Petruchio's
wishes, and he has immediately begun his taming by
Related Symbols: continuing to disrespect tradition and Katherine's wishes.
As soon as the wedding is over, Petruchio says that he and
Page Number: 3.2.119 Katherine will be going home. Baptista pleads with them to
stay, and Kate even appeals to Petruchio, asking him to stay
Explanation and Analysis if he loves her, but Petruchio still refuses.
Petruchio has finally arrived at the wedding, but he is Here Katherine attempts to refuse, asserting her "spirit" by
wearing the clothes of a poor man. Baptista is disgruntled, trying to "resist" the will of her husband, lest she be made a
and an argument begins surrounding Petruchio's attire. fool. But she is powerless; the whole wedding and post-
Tranio (disguised himself as his master Lucentio) suggests wedding performance is under Petruchio's control. To these
that Petruchio change, and Baptista says that he will not let lines, Petruchio responds (below) that Katherine is
Katherine marry when Petruchio is dressed this way. essentially his property. She leaves with him, again against
Petruchio, however, insists she will marry him just as he is, her wishes, and misses her post-wedding feast.
stating thatKatherine is marrying him, not his clothes. While
clothes symbolize social status and gender, Petruchio is
here asserting that they are changeable and ultimately I will be master of what is mine own.
unimportant. What matters, according to Petruchio, is She is my goods, my chattels; she is my house,
Petruchio's own wit, will, and power, which he boldly asserts My household stuff, my field, my barn,
in this scene. My horse, my ox, my ass, my anything.
Within the structure of the larger play, from Sly who gets
dressed up as a lord and begins to think he is a lord, to the Related Characters: Petruchio (speaker), Katherine
suitors who dress up as tutors to try to trick their way into
getting close to Bianca, Petruchio's comment here is almost Related Themes:
revolutionary. Every other character acts as if their clothes
do define them. Petruchio insists otherwise. And Related Symbols:
byimposing his will over Baptista and the other male
characters of the play, Petruchio establishes himself as a Page Number: 3.2.235-238
sort of alpha male, with unquestionable authority over his
self and his wife. This gesture assures that none can Explanation and Analysis
intervene with his taming of Katherine. Responding to those that would try to limit his control over
It is worth noting that Petruchio is not asserting that Katherine, since they want her to stay for the feast that
everyone is an individual worthy of respect. He is asserting follows her wedding, Petruchio says that he owns
that he is – he has no interest in Katherine's individuality for Katherine, and is master over her. In a stunning, horrifying
example, and showing up to his own wedding dressed as a list and very direct language, he characterizes her as his
beggar is part of his plan for taming any of her individuality property: "my goods, my chattels." She is also his "house"
out of her. and all of his "household stuff." She is his "field," his "barn,"
and, in a series of animal comparisons, his "horse," "ox," and
"ass."
I see a woman may be made a fool Describing his wife as property, fields, and beasts of burden
If she had not a spirit to resist. is cruel, but the final item in his list demonstrates the full
extent of is control. He concludes, she is "my anything."
Whatever Petruchio desires her to be, she will be. He is
Related Characters: Katherine (speaker) saying that his words and his will shape her reality, her
identity, and her very being, until she is nothing more than a
Related Themes:
fluid "anything" – whatever he desires – that he completely
Page Number: 3.2.226-227 owns.

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Thus have I politicly begun my reign,
And ‘tis my hope to end successfully. Page Number: 4.2.56-60
My falcon now is sharp and passing empty,
And, till she stoop, she must not be full-gorged, Explanation and Analysis
For then she never looks upon her lure. This scene takes place back in Padua, where Lucentio (as
Another way I have to man my haggard, Cambio) has been courting Bianca. Hortensio has seen the
To make her come and know her keeper's call. two kissing, and been convinced by Tranio (disguised as
Lucentio) to cease his attempts to woo Bianca. Tranio then
Related Characters: Petruchio (speaker), Katherine goes up to Bianca and Lucentio to tell them the news that
Hortensio has given up.
Related Themes: Here they discuss Hortensio's intention to learn from
Petruchio at "the taming school." Bianca questions what
Related Symbols: such a place could be, and Tranio responds that it indeed
exists, and "Petruchio is the master" who teaches how to
Page Number: 4.1.188-194 "tame a shrew and charm her chattering tongue." In this
quote, taming is treated as a kind of education, and thus
Explanation and Analysis
Petruchio is framed as a master, a husband, and also an
Katherine and Petruchio have made it home to Petruchio's educator who teaches women how to be good wives, and
house after a difficult journey. Petruchio continuously men how to be good trainers of women. And the men of the
berates his servants to irritate Katherine and to act insane; play all seem to believe that such training is necessary, that
he has taken her to her bedroom, and here in a soliloquy all women must be "trained" to be good obedient wives to
outlines in greater detail the next stages of his "taming." their husbands.
Using more animal imagery, he calls her a "falcon" which
needs to be trained, saying that he will not allow her to eat
or sleep until she is well trained. He will keep here "haggard, Well, come, my Kate, we will unto your father's.
/ To make her come and know her keeper's call." Even in these honest mean habiliments.
Our purses shall be proud, our garments poor,
Again, as readers, we may question whether Petruchio's
For ‘tis the mind that makes the body rich,
plan is meant to e taken literally. Treating a woman like a
And as the sun breaks through the darkest clouds,
hunting animal in training (recall the Lord from the
So honor peereth in the meanest habit.
Induction just returned from a hunt) is cruel, but what is the
true extent of the cruelty. Does Petruchio really starve
Katherine and keep her sleep deprived. Is this taming Related Characters: Petruchio (speaker), Katherine
comedy or torture, or both?
Related Themes:
Petruchio's basic plan going forward is to find something
wrong with all her food and her bedding, so that in the name
Related Symbols:
of caring for her and her best interests, he will keep her
from comfort and food. In this way he intends to "kill a wife
Page Number: 4.3.175-180
with kindness."
Explanation and Analysis
Tranio: Faith, he is gone unto the taming school. Petruchio has informed Katherine that they will be
attending the celebration of Bianca's wedding back at
Bianca: The taming school? What, is there such a place?
Padua. He has brought in a tailor with a hat and gown, but
Tranio: Ay, mistress, and Petruchio is the master, with each design he pretends that there is something
That teacheth tricks eleven and twenty long wrong, denying Katherine what she desires. In the quote,
To tame a shrew and charm her chattering tongue. Petruchio says that they will go to the wedding in their
everyday clothes. They will dress like they are poor, but "tis
Related Characters: Bianca, Tranio (speaker), Petruchio, the mind that makes the body rich," and like the sun
Katherine breaking through clouds, honor will shine through even the
meanest clothing.
Related Themes: Here Petruchio asserts his dominance yet again, while

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showing that status is mainly performance and exterior. Baptista's house for Bianca's wedding. Continuing with the
However, he notes that certain features, like honor (or "lesson" he gave with "It shall be what o'clock I say it is,"
power), are constant; true character matters more than Petruchio has said that the moon is shining, even though it is
surface-level qualities. daytime. When Katherine protests that it is the sun,
Petruchio offers this quote in response.
Note that he begins by swearing by his "mother's son," that
It shall be what o'clock I say it is. is, by himself, and says that "It shall be the moon, or star, or
what I list." Whatever Petruchio says shall be. He swears by
himself since to Katherine, he is the absolute figure of
Related Characters: Petruchio (speaker), Katherine
authority. No Duke, no King, no God will supersede his
authority. His will dictates her very experience of the world.
Related Themes:

Page Number: 4.3.202

Forward, I pray, since we have come so far,
Explanation and Analysis
And be it moon, or sun, or what you please.
The household is preparing to leave for Bianca's wedding, And if you please to call it a rush candle,
after Petruchio insists that he and Katherine attend in their Henceforth I vow it shall be so for me.
basic clothing. During preparations, he says incorrectly that
it is seven o'clock. Katherine corrects him: "I dare assure
you, sir, 'tis almost two." Petruchio's response is one of Related Characters: Katherine (speaker), Petruchio
absolute power and control: "It shall be what o'clock I say it
Related Themes:
is."
Here he goes beyond controlling Katherine's life to Page Number: 4.5.14-17
dictating what her sensory experience of the world should
be. Petruchio demands that the forces of nature and time Explanation and Analysis
itself for Katherine must all be viewed through the lens of In response to Petruchio swearing on his own self,
Petruchio's will, subject to change on his whim. By Katherine seems to finally give in. When he says they'll turn
continuing to assert that Katherine knows nothing without back if she disagrees, he says that since they have come so
him and that her desires are meaningless, he hopes to break far, she will call it "moon, or sun, or what you please," even "a
her and make her completely subservient. At the end of the rush candle." She vows that whatever Petruchio says the
scene, Hortensio remarks in a prophetic aside, "Why, so, this sun is, it will be for her. Katherine appears to be broken, and
gallant will command the sun!" foreshadowing Petruchio's for the rest of the play she goes on with his jokes and his
continued use of this technique. crazy assertions that things are not what they seem. As
Hortensio says, the field is won; the "shrew" has been
tamed.
Act 4, Scene 5 Quotes
Now, by my mother's son, and that's myself, Let's each one send unto his wife,
It shall be moon, or star, or what I list, And he whose wife is most obedient
Or e'er I journey to your father's house. To come at first when he doth send for her
Shall win the wager which we will propose.
Related Characters: Petruchio (speaker), Katherine,
Baptista Minola Related Characters: Petruchio (speaker), Petruchio,
Hortensio, Widow, Katherine, Bianca
Related Themes:
Related Themes:
Page Number: 4.5.7-9
Page Number: 5.2.68-71
Explanation and Analysis
Petruchio, Katherine, and their train are traveling to Explanation and Analysis

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I am ashamed that women are so simple
This is in the final scene of the play; the marriages are done, To offer war where they should kneel for peace,
the plot has been mostly resolved. All that remains is this Or seek for rule, supremacy, and sway
bet, and the test of "whose wife is most obedient." Petruchio When they are bound to serve, love, and obey.
suggests that each man send for his wife, and that the man
whose wife comes first when sent for wins the bet. This
Related Characters: Katherine (speaker)
demeaning experiment is meant to demonstrate Petruchio's
mastery, and remind the other males in the play that
Related Themes:
Petruchio is the head of the taming school. More broadly,
the bet, with its emphasis on wifely obedience, implies that Page Number: 5.2.177-180
all women are "shrews" who must be trained, that any
woman who does not show total obedience to her husband Explanation and Analysis
is a shrew. This is another excerpt from Katherine's long, controversial
The wager also sets up Katherine's controversial final final speech. Here she says she's ashamed that women are
speech so simple, and that they fight their husbands when instead
they should be obedient. This line could be ironic, since she
describes the type of woman she has been the entire play,
or dark, showing that her old personality has been erased.
Thy husband is thy lord, thy life, thy keeper,
She continues to say that women should seek the "rule,
Thy head, thy sovereign, one that cares for thee.
supremacy, and sway / When they are bound to serve, love,
and obey." This little rhyme suggests that she has finally
Related Characters: Katherine (speaker), Petruchio conformed to Petruchio's rule and to the ideal of silent,
obedient women.
Related Themes:
Again, we must question whether this speech should be
Page Number: 5.2.162-163 taken directly or ironically. It's length and extreme excess
might suggest that it is sarcastic, and typically in modern
Explanation and Analysis productions the speech is delivered as a wink to the
Petruchio wins the bet, as Katherine comes first and most audience, implying that Katherine's true beliefs and
obediently. At his request, she explains to everyone, personality have survived. But given the severity of
addressing her friends, all the characters, and often the Petruchio's tutelage and the extent to which he asserts his
audience in a lengthy monologue about obedience. Here will over his wife's even to the point of deconstructing and
she explains that a husband is "thy lord, thy life, thy keeper, / rebuilding her very reality, it is also easy to read this final
Thy head, thy sovereign, one that cares for thee." Recall that speech as a haunting display of a woman broken down by
Petruchio suggested that Katherine was his anything. Here torture and ultimately oppressed by the misogynistic
she seems to suggest that he is her everything. Across culture she lives in.
various frames of reference, including life itself, the husband
is the master.
Each production and reading of The Taming of the Shrew Now, go thy ways, thou hast tamed a curst shrew.
must find a way to interpret this challenging speech. For
modern audiences where this kind of misogyny and sexism Related Characters: Hortensio (speaker), Petruchio,
are taken to be antiquated and wrong (and frankly Katherine
horrifying), the final speech is usually delivered ironically,
with a hint or even more that Katherine hasn't been tamed Related Themes:
either entirely or at all. But the speech can also be evidence
that Katherine has been completely broken, her former Page Number: 5.2.205
character and outspokenness completely eliminated by
Petruchio's taming. Explanation and Analysis
The wager is over, the speech is done; everyone is awed at
Katherine's transformation, and the field seems to be won.
After Petruchio leaves with his wife, Hortensio says that his
friend has "tamed a curst shrew." While our interpretation is

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debatable, it is clear that the characters within the play speech. And, in fact, there are many very different
believed the final speech to be in earnest. Katherine has interpretations of the play. Some critics argue that it is,
become Kate, an obedient woman without any concrete simply, horribly misogynistic. Others argue that the
beliefs or identity other than those of her husband. "cruelty" of the play is in fact a kind of play, a back and forth
Note also that Christopher Sly and the outer play are here both characters, having met their match, enjoy. Still others
forgotten. The play within the play ends, and with it the argue that the misogyny represented in the play is supposed
entire play ends. Whether forgotten by the playwright or to make an audience reflect on the misogyny in their
simply considered superfluous at this point, audiences and society; that the play is forcing an audience to see and be
readers are left to consider Katherine's harrowing final horrified by society's expectations for women.

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SUMMARY AND ANAL

ANALYSIS
YSIS
The color-coded icons under each analysis entry make it easy to track where the themes occur most prominently throughout the
work. Each icon corresponds to one of the themes explained in the Themes section of this LitChart.

INDUCTION, SCENE 1
The play opens with a beggar named Christopher Sly getting The comedy begins with a poor beggar, already suggesting that
thrown out of a bar by a hostess. Sly refuses to pay for some social class and hierarchy will be important issues in this play.
glasses he broke, and the hostess leaves to get a constable. Sly
drunkenly falls asleep.

A wealthy Lord enters, having just finished a hunting trip, along This is the first example of a nobleman abusing or poking fun at a
with several hunstmen. He notices the sleeping Sly and decides lower-class character. In addition, the lord's prank illustrates the
to play a prank on him. He wonders if the beggar would "forget fluidity of identity. By merely putting on different clothes and being
himself" (Induction 1.43) if the Lord had him carried away to a treated differently by those around him, Christopher Sly will think
bed, dressed him in expensive clothes, and gave him an that he is an entirely different person.
entourage of attendants. He tells the hunters to do this and to
address Sly as "your Honor" and "your Lordship." He tells them
to pretend that Sly has been mad recently, and has forgotten
that he was "a mighty lord," (Induction 1.68). They carry Sly off-
stage.

A band of traveling players (that is, actors) arrive. The Lord asks Bartholemew dressing up as a woman illustrates that performance
them to perform for a lord (Sly). He then orders a servant to tell and appearances are especially important in displaying gender
his page Bartholomew to dress like a woman and pretend to be identity and gender roles. The lord's planning of an elaborate prank
Sly's wife. The Lord exits, excited for the practical joke and with costumes and fictional characters (such as Sly's supposed wife)
hoping that no one will spoil it by giving away the joke with mirrors the process of putting on a play like The Taming of the
laughter. Shrew.

INDUCTION, SCENE 2
Christopher Sly awakes and is confused when servants address Christopher Sly is confused by his apparently new identity, but
him as a lord, offering him fancy food and drink. The Lord is especially by his changed social class. Not only is Sly made into a
dressed as a lowly attendant and says that it is a pity Sly has nobleman, but the Lord is also dressed as a servant, demonstrating
gone mad. Sly is confused, and insists that he is Christopher Sly. how theatrical games often invert social hierarchies.

The Lord tells Sly, "O noble lord, bethink thee of thy birth," The Lord continues to carry out his prank, and begins to convince
(Induction 2.30) and catalogues all the luxuries that Sly has at Sly of his noble identity.
his disposal: servants, caged nightingales, luxurious furniture,
horses, hawks, and hounds for hunting. The Lord again tells
him, "Thou art a lord, and nothing but a lord," (Induction 2.61)
mentioning his beautiful wife.

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Sly begins to question his own identity and finally agrees that Sly is totally convinced by the page's costume, again showing how
he is indeed a wealthy lord. He asks to see his wife. The important performance is in establishing gender roles. The page's
servants tell him that he has been mad for fifteen years. The costume also comically mirrors the practice of Shakespeare's own
Lord's page enters, dressed as a woman. Sly is convinced that actors: in Shakespeare's time, female parts were played by young
the page is his wife and asks her to come to bed. The page male actors in female costumes.
declines, saying, "For your physicians have expressly charged, /
In peril to incur your former malady, / That I should absent me
from your bed," (Induction 2.122-124).

A messenger enters, announcing that the group of players the The group of traveling players put on a play within a play. This
Lord earlier hired is ready to perform. The messenger says that makes the characters' "real" identities even more ambiguous. For
Sly's doctor thinks it will be good for him to see a play. Sly asks example, we could regard "Cambio", later in the play, as really
the page to sit next to him and watch the play. Lucentio, or as really a traveling player acting as Lucentio, or as
Shakespeare's actor portraying a player acting as Lucentio.

ACT 1, SCENE 1
Lucentio enters with his servant Tranio. He has just arrived in Lucentio arrives in Padua to further his education. Tranio
Padua, eager to study philosophy. Tranio says that he, too, is encourages him not to focus exclusively on his studies, unaware of
excited for Lucentio's studies, but he encourages Lucentio to just how far Lucentio will take this advice.
mix his studies with pleasure. He tells Lucentio, "study what
you most affect [like]," (i.1.40).

Baptista enters with his two daughters, Katherine and Bianca. The entrance of Baptista, his daughters, and Bianca's suitors
Two men, Gremio and Hortensio, enter as well, seeking to woo establishes the importance of marriage in the play. Baptista's rule
Bianca. Baptista reminds them that he has decided not to give about Kate having to marry before Bianca shows him almost
Bianca away in marriage until Katherine, the ill-mannered older bargaining to marry off his daughters. Katherine is quickly
daughter, finds a husband. Gremio says Katherine is "too characterized as ill-tempered and not traditionally feminine. But, to
rough," (i.1.55) for him. Katherine responds harshly to Gremio some degree, her rudeness is only a response to the harsh treatment
and Hortensio, and Tranio notes how difficult and badly she receives from characters like Gremio.
behaved Katherine seems.

Lucentio, meanwhile, has become obsessed with Bianca's Bianca displays the deferential good manners that the male
beauty. Baptista tells Bianca to leave and go inside, and she is characters expect of subservient women. Gremio and Hortensio
polite and deferential, in contrast to Katherine's rudeness. compete with each other to marry Bianca, while Lucentio falls
Gremio and Hortensio protest Baptista's condition for the madly in love with her.
marriage of Bianca, but he says that his mind is made up.

Baptista says that he will keep only schoolmasters in his house, Katherine resists being told what to do by men, rebelling against
to instruct Bianca in music and poetry. He asks Gremio and traditional gender roles.
Hortensio if they know of any teachers, then exits, telling
Katherine to stay. Katherine is offended at being told what to
do, and leaves.

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Gremio insults Katherine, then says that he would gladly find a Gremio again heaps abuse on Katherine, reacting to her refusal to
teacher for Bianca. Hortensio agrees, but also tells Gremio that be ordered about by men. He and Hortensio cooperate in trying to
they should cooperate in finding Katherine a husband, since fulfill Baptista's conditions for Bianca to be married. In some ways,
they both desire it. Gremio jokes that a devil would be a fitting they seem more interested in the competition with each other for
husband for Katherine. Gremio and Hortensio agree to seek a Bianca than in Bianca herself.
husband for Katherine, so that they may fairly compete for
Bianca's hand in marriage. They exit, leaving Tranio and
Lucentio alone on-stage.

Lucentio says that he has suddenly fallen in love with Bianca Though he lacks a noble education, Tranio appears more clever and
and is desperate to win her heart. Tranio asks if Lucentio also observant than Lucentio. Not only does Lucentio not register
heard about the arrangement with Katherine, and saw Bianca's Baptista's condition for Bianca's marriage, but Tranio is the one
rude, boisterous sister, but Lucentio speaks only of Bianca's who actually comes up with a plan for him to get Bianca.
beauty. Tranio fills Lucentio in on Baptista's condition for
Bianca's marriage. Lucentio says he has an idea, and Tranio says
that he does, too. Lucentio asks to hear Tranio's idea first.
Tranio suggests that Lucentio disguise himself as a teacher and
go to teach Bianca in her house. Lucentio acts as if he had the
same idea.

Tranio coyly asks who will play the part of Lucentio, if Lucentio Tranio cleverly acts as if he doesn't know who will pretend to be
is the teacher. Lucentio tells Tranio to pretend to be him. The Lucentio, letting Lucentio think that he comes up with that part of
pair exchange clothes, so that Tranio looks like a nobleman. the plan. Their identity switch offers another example of
Lucentio's servant Biondello enters and is confused to see performance establishing someone's identity, aided by their
Lucentio and Tranio in each other's clothes. Lucentio tells him exchange of clothing. It is also a playful turning upside-down of the
they have switched identities, because Lucentio has killed a social hierarchy.
man in Padua and fears retribution. Tranio is thus disguising
himself as Lucentio, to protect the real Lucentio. Lucentio and
his servants exit.

Meanwhile, Christopher Sly is watching the play (just like As the scene ends, Christopher's reaction reminds us of the fact that
Shakespeare's audience). One of his servants nudges him and we are watching a play within a play. His falling asleep during the
tells him he is nodding off to sleep. Sly pretends that he is play pokes fun at his lower-class background (and is perhaps a slight
enjoying the play and asks, "Comes there any more of it?" toward Shakespeare's own audience, which didn't always
(i.1.261) appreciate his productions).

ACT 1, SCENE 2
Petruchio arrives in Padua with his servant Grumio, to see his Grumio can be seen as either incompetent, failing to understand
friend Hortensio. Petruchio tells Grumio, "knock me here" Petruchio's idiom, or as jokingly clever, pretending not to
(i.2.8) at Hortensio's gate, meaning knock on the door to understand so as to irritate his master.
announce his arrival. Grumio misunderstands (or pretends to),
asking why Petruchio wants him to knock him (that is, hit him).
Hortensio enters as Petruchio is angrily hitting his disobedient
servant.

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Hortensio tells Petruchio to end his quarrel with Grumio and Petruchio seeks a wife because he feels it's time for him to be
asks what has brought Petruchio to Padua. Petruchio says that married, not out of any kind of love or romantic desire. He is
his father has passed away and he now seeks a wife. Hortensio interested in Katherine because of her father's wealth, further
asks if he would be interested in a wife that is very wealthy, but showing non-romantic understanding of marriage.
a shrew. Petruchio says that all he cares about is finding a
wealthy wife, and is eager to meet Katherine. He adds that
Baptista knew his father and wants to go see Katherine
immediately. Grumio is confident that Petruchio can reform
Katherine's bad manners.

Hortensio tells Petruchio that he must accompany him to Katherine continues to be insulted by virtually all the male
Baptista's house, since he is in love with Baptista's younger characters of the play. Hortensio's planned disguise is another
daughter Bianca, whom Baptista refuses to marry off "Till example of all the acts of performance and false identities that
Katherine the curst have got a husband," (i.2.129). He asks pervade the play.
Petruchio to present him (in disguise) as a music teacher, so
that he can enter the house and be near Bianca.

Gremio enters with Lucentio, who is disguised as a Gremio hopes that Cambio's teaching will make Bianca desire
schoolmaster named Cambio. Gremio tells Lucentio to teach romantic love. Little does he know that Lucentio will try to use his
Bianca only "books of love," (i.2.147). Lucentio promises to teaching to make her fall in love with him, not Gremio.
plead for Bianca to marry Gremio while he teaches her.

Hortensio greets Gremio, who tells him that he is on the way to Petruchio is again interested in Katherine mostly for her dowry.
Baptista's house, to bring Cambio to teach Bianca. Hortensio Gremio's misogynistic comparison of Katherine to a wildcat that
responds that he has found someone to teach Bianca music. He must be tamed insults her as animal-like and less than human. The
then introduces Gremio to Petruchio, who he says "Will idea of "taming" captures the men's ideal of ownership and control
undertake to woo curst Katherine," (i.2.185) for her dowry. over their wives, and of women in general.
Gremio asks if Petruchio is aware of Katherine's faults and
wonders if he can "woo this wildcat," (i.2.198). Petruchio is
confident that he can.

Tranio enters, disguised as Lucentio, with his servant Biondello. Tranio's confident claim that his father knows Baptista reveals an
Tranio asks the group how to get to Baptista's house. Hortensio understanding of marriage as primarily about linking together
asks if he is a suitor of one of Baptista's daughters. Gremio and families (and the financial fortunes of those families).
Hortensio each protest that Bianca is already theirs. Tranio
says that his father knows Baptista, and he is not worried that
Bianca has other suitors.

Petruchio informs Tranio that Bianca cannot marry until her As Bianca's suitors cooperate as friends in their common goal of
older sister, whom he wants as his wife, is married. Tranio getting Katherine married, their pursuit of Bianca seems almost as
agrees with Hortensio that Petruchio's pursuit of Katherine is important for establishing their bonds of friendship as for the actual
in all their best interest. Tranio encourages all the others to eat desired marriage to Bianca.
and drink with them as friends, since they share the common
goal of having Katherine marry Petruchio.

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ACT 2, SCENE 1
In Baptista's house, Katherine is teasing Bianca. She has In one of the few scenes where Katherine and Bianca interact,
Bianca's hands tied and asks her which of her suitors she likes Katherine takes out her anger against traditional female roles and
the best. Bianca says she is not in love with any of them. an economic understanding of marriage on Bianca, who—as an
Katherine says perhaps Bianca desires a wealthy husband, in obedient woman and valuable bride—exemplifies both.
which case Gremio would do just fine. Katherine hits Bianca.

Baptista enters and is upset to see Katherine abusing Bianca. Katherine is offended by Bianca because she is an example of the
He unties Bianca's hands and sends her off to sew. He chastises kind of obedient, good-mannered woman Katherine refuses to be.
Katherine, saying Bianca has done her no wrong and has said
nothing against her. Katherine replies, "Her silence flouts me,
and I'll be revenged!" (ii.1.32) She accuses Baptista of favoring
Bianca over her and leaves angrily.

Gremio enters with Lucentio (disguised as Cambio). Petruchio It is almost hard to keep everyone's identity and disguise straight,
enters with Hortensio (disguised as a tutor named Litio). Tranio showing how the play's proliferation of disguises and performing
(disguised as Lucentio) enters with Biondello. Petruchio raises questions about one's "real" identity.
introduces himself and tells Baptista he is interested in
Katherine. He introduces "Litio" (really Hortensio) as a teacher
of math and music, who can instruct Bianca. Baptista thanks
him for finding the teacher, but is skeptical that Petruchio really
wants Katherine.

Gremio interrupts to introduce "Cambio" (really Lucentio) as a Baptista thinks that Bianca is receiving an education in languages
teacher of Greek, Latin, and other languages. Baptista thanks and music, safe at home, but she will really receive a practical
him for the teacher, and then asks who Tranio is. Tranio education in romantic courtship.
introduces himself as Lucentio, and says that he is a suitor for
Bianca. He presents Baptista with some Greek and Latin books
as a gift. Baptista is pleased and says that he knows Lucentio's
father. He has a servant lead the two "teachers" inside to
Bianca.

Petruchio discusses the dowry for Katherine and assures Petruchio is again interested in marrying Katherine for her money,
Baptista that he is strong enough to make Katherine yield to but is not willing to take her as she is. He sees it as necessary to
him. He claims, "I am rough and woo not like a babe," (ii.1.144). make her "yield" to him if he is to marry her.

Hortensio enters (still disguised as the music-teacher Litio), Hortensio's comedic injury shows that Katherine is not interested in
pale and with an injury on his head. He reveals that he tried to learning traditionally proper female activities like music, and is not
teach Katherine how to play the lute, but she got frustrated and afraid of using physical violence. Petruchio seems to like Katherine
broke the lute over his head. Petruchio is amused and says he for this, whether because he enjoys a challenge in wooing/taming
loves her even more than before. Baptista tells "Litio" her or because he actually wants a marriage of two like-minded
(Hortensio) to try teaching Bianca instead. He goes inside to (that is, stubborn) people.
send Katherine out to meet Petruchio.

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Alone on-stage, waiting for Katherine, Petruchio plans how he Petruchio approaches marriage as an opportunity to exert control
will woo her. Regardless of what she says, he plans to over a wife. However, the extended feud of wordplay between
compliment her and act as if she is being polite and kind. Katherine and him shows that they might actually be a good match,
Katherine arrives and Petruchio praises her as beautiful and as they are both equally strong-willed and quick-witted.
fair. Katherine tells him to leave, and the pair engage in a long
exchange of witty word-play, each using punning to twist the
other's words.

Katherine strikes Petruchio and he threatens to "cuff" her if Petruchio describing Katherine as pleasant and sweet (exactly the
she does so again. The two continue to spar with words and wit. kind of personality she refuses to have) irritates her even more than
Petruchio says that he has heard that Katherine is "rough, and the usual insults of characters like Gremio. His use of the imagery of
coy, and sullen," (ii.1.257) but that she is actually pleasant and taming (punning on the similarity of "Kate" and "cat") again shows
sweet. Katherine is frustrated by his absurd praise. Petruchio his misogynistic desire for complete control over his wife.
tells her that Baptista has agreed to make him Katherine's
husband. He tells her, "I am he am born to tame you, Kate, / And
bring you from a wild Kate to a Kate/ Conformable as other
household Kates," (ii.1.291-293).

Baptista enters with Gremio and Tranio (disguised as Lucentio). Petruchio's claim that he and Katherine are pretending to hate each
Katherine complains to her father that he has wed her to a other seems to be an obvious lie—but with all the pretending going
lunatic. Petruchio says that Katherine is modest, patient, and on in the play, how certain can we be? In any case, Baptista is easily
chaste, and announces that they have agreed to marry on the persuaded, as he simply wishes to marry Katherine off to someone,
upcoming Sunday. Katherine quips that she'll have him hanged regardless of how she feels about the union. Katherine leaves
on Sunday. Petruchio says that he and Katherine have agreed through a different door than Petruchio as a minor act of defiance
that she will pretend to still be ill-mannered and upset in public, against his control.
but that in private she and he are getting along nicely. Baptista
approves of the wedding. Petruchio and Katherine leave, but
through different doors.

Baptista now sets his mind to figuring out who Bianca's Baptista decides who will be Bianca's husband based solely on the
husband will be. Gremio claims that he loved Bianca first, but suitors' financial situations. Since Lucentio's wealth is dependent on
Tranio says he loves her more. Baptista breaks up their dispute inheriting his father's property, the ideas of marriage as a union of
by saying that whoever offers the better financial situation for families and as an economic exchange are shown to be closely
Bianca will get her. Gremio lists all of his property and riches. related.
Tranio (speaking as Lucentio) catalogues all the wealth of
Lucentio's father (which is even more than what Gremio can
offer), to whom he is the sole heir.

Baptista says that he will give Bianca to Lucentio on the Sunday Again, Baptista's approval of the marriage between Lucentio and
after Katherine and Petruchio's wedding, provided that Bianca is contingent upon a financial guarantee from Lucentio's
Lucentio's father guarantees Lucentio's inheritance. father. Baptista does not stop to think what Bianca might think
Otherwise, Bianca will be married to Gremio. Baptista leaves. about this union. Meanwhile, Tranio continues his clever plotting,
Gremio is confident that Lucentio's father will not turn over all driving the plot of the play forward.
his property to Lucentio, and he leaves. Left alone, Tranio plots
to find someone he can disguise as Lucentio's father.

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ACT 3, SCENE 1
Within Baptista's household, Lucentio (disguised as Cambio) Lucentio and Hortensio's teaching is really just an excuse to spend
and Hortensio (disguised as Litio) instruct Bianca. The two time with Bianca and attempt to convince her to marry them—to
squabble for Bianca's attention, Hortensio wanting to teach "teach" her to love them.
her music while Lucentio wants to teach her philosophy. Bianca
tells Hortensio to tune his lyre while she listens to Lucentio's
lecture.

While pretending to teach Bianca Latin, Lucentio reveals his Lucentio reveals his true identity to Bianca, but remains disguised
true identity to Bianca and tells her that he is in love with her. for most of the play's other characters. But even though Bianca now
Hortensio says his instrument is ready, but Bianca pretends it knows who Lucentio is, she still does not truly know him (as she
sounds out of tune so that she can finish talking to Lucentio. herself remarks) and is suspicious of how genuine the real Lucentio
She whispers to Lucentio that she doesn't know him and thus actually is.
doesn't trust him. She tells him not to be presumptuous with his
love, but also not to despair.

Bianca declares that she is ready for her music lesson now, and Bianca cleverly uses the music lesson to bring her meeting with
Hortensio sends Lucentio away. Under the pretense of Lucentio to an end. There is perhaps more to her than a simple,
teaching Bianca musical scales, he encourages Bianca, "take obedient, pretty woman. Hortensio is upset by the prospect of
[Hortensio] for thy lord," (iii.1.78). A servant interrupts and tells Bianca loving someone of a lower social standing—never
Bianca that she must help Katherine prepare for her wedding. considering the fact that he himself is pretending to be of a lower
Bianca, the servant, and Lucentio leave. Hortensio notes that social standing and perhaps someone else is as well—revealing how
Cambio (really Lucentio) is in love with Bianca and thinks to important social status and wealth are to his conception of
himself that if Bianca gives in to the affections of a lowly tutor marriage. He only wants a wife who wants a rich nobleman.
(he doesn't realize that Cambio is really Lucentio), perhaps she
is not for him.

ACT 3, SCENE 2
It is Katherine and Petruchio's wedding day, and Baptista, Katherine and Petruchio's wedding is more than just a union of two
Gremio, Katherine, Bianca, Tranio (disguised as Lucentio), and people. It is an elaborate, social event and performance. Here we
Lucentio (disguised as Cambio) are all present for the also gain some insight into Katherine's character: while she often
ceremony. Petruchio, however, is late. Katherine complains that eschews what other people think, she is still hurt by being
she is being married off against her will, that Petruchio is mad, humiliated in front of so many people.
and that he probably doesn't even intend to really marry her.
She exits, crying.

Biondello enters and announces that Petruchio is coming, but The strange outfits of Petruchio and Grumio are almost like
he is dressed in bizarre and old clothes (including two costumes. As he will continue to do, Petruchio performs the role of a
mismatched boots) and is riding an old, feeble horse. His madman in order to irritate and ultimately tame Katherine.
servant Grumio, accompanying him, is equally ridiculously
dressed.

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Petruchio and Grumio finally arrive. Petruchio acts as if nothing Petruchio's strange clothing exposes the importance of appearances
is strange about his attire, and asks where Katherine is. in signaling social status and establishing identity. Everyone else
Baptista is offended by Petruchio's lateness and ridiculous wants him to wear clothes suitable for a noble wedding, but
clothing. He and Tranio tell Petruchio to change his clothes Petruchio—who sees his wildness as an asset—does not seem to
before seeing Katherine. Petruchio refuses and goes to find care.
Katherine. Baptista pursues him.

Left alone, Tranio and Lucentio discuss their plan to get Bianca The fake Vincentio offers another example of a deceptive false
for Lucentio. Tranio tells him that he will find a man who will identity. Once again, Baptista's main concern in finding a husband
pretend to be Lucentio's father, Vincentio. This man will for Bianca is money.
promise great riches to Lucentio, so that Baptista will approve
of his daughter marrying him. Tranio assures Lucentio that he
will beat out all of Bianca's other suitors.

Gremio enters, having just come from the church where Gremio describes Petruchio's elaborate performance at the wedding
Katherine and Petruchio were wed. He calls Petruchio "a devil, (though it is unclear how genuine some of his bad behavior might
a devil, a very fiend," (iii.2.157). Tranio counters that Katherine be). The same strong-willed qualities that make Katherine a shrew
is a devil, herself, but according to Gremio, she's "a lamb, a dove, make Petruchio "a devil", and perhaps make him a good match for
a fool to him," (iii.2.159). Petruchio acted rudely at the wedding Katherine. Though note how Petruchio is partially admired for his
and swore loudly in front of the priest who was marrying the behavior, while Kate decidedly is not. There is a double standard at
couple. He drank raucously, made a mess, and kissed Katherine play here.
"with such a clamorous smack / That at the parting all the
church did echo," (iii.2.180-181).

Petruchio enters, along with Katherine. Bianca, Baptista, Petruchio begins to exercise his authority and control over
Hortensio, and Grumio. Petruchio announces that he will leave Katherine, now that they are married. Katherine asks him to stay at
now, skipping the traditional wedding feast that has been the feast out of love for her, but Petruchio shows that, for him,
arranged. Tranio and Gremio ask him to stay, but Petruchio marriage is more about power than love.
insists that he must leave, offering no explanation for why he
cannot stay. Katherine asks him, "Now, if you love me, stay,"
(iii.2.209) but Petruchio refuses.

Katherine says she will not go with Petruchio, but rather will Petruchio sees Katherine as his property. For him, marrying a
enjoy the feast without him. Petruchio insists that she come woman means essentially owning her and having complete control
with him, calling her his property and saying, "I will be master of over her.
what is mine own," (iii.2.235). He acts as if he is protecting
Katherine from her family and takes her away, leaving with
Grumio.

Everyone is astonished at Petruchio's behavior. Bianca says It is still unclear how much of Petruchio's bizarre behavior is an
that Katherine is mad and has found a fittingly mad mate. intentional performance, an act put on to tame Katherine, or
Baptista tells everyone that they can still enjoy the feast, and whether he is actually this difficult. From Bianca's point of view,
that Lucentio (actually Tranio) and Bianca can take the places of Katherine and Petruchio make a good match, since they are both so
Petruchio and Katherine. stubborn and mad.

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ACT 4, SCENE 1
At Petruchio's country home, Grumio complains about how All of Petruchio's servants hastily prepare for his arrival, as
cold it is and prepares to start a fire. He tells another servant, Petruchio (and other noblemen) are liable to insult, abuse, and hit
Curtis, to help start a fire, since Petruchio and Katherine will be the servants upon whom they rely if those servants do not meet
arriving soon. He asks if everything is ready for their arrival, the their expectations.
house cleaned, the supper ready, and all the servants properly
dressed. Curtis tells him everything is ready, and asks him for
news.

Grumio tells Curtis that, on her way to the house, Katherine fell Petruchio continues to irritate Katherine, by irrationally punishing
off her horse into the mud. Instead of helping Katherine up, his servant Grumio when her horse falls in the mud, instead of
Petruchio beat Grumio, whom he blamed for the horse falling. helping her up. This would seem to be more of Petruchio's deliberate
Katherine finally had to pull Petruchio off Grumio, while the act, but given his propensity for treating servants harshly at other
horses all ran away. Grumio calls an assortment of servants to times, it is unclear to what degree Petruchio is simply performing.
come line up and be prepared to welcome Katherine and
Petruchio.

Petruchio and Katherine arrive. Petruchio is angry that the Petruchio treats Katherine and his servants equally harshly,
servants did not meet him outside and immediately begins to showing how both women and those of lower social classes are in
insult them. He sends the servants off to bring him his dinner similarly oppressed positions in the play.
and continues to act rudely toward them. When he hits a
servant, Katherine tells him not to be so harsh toward them.
Petruchio tells her not to worry and takes her to the bedroom.
Curtis reports that Petruchio is constantly correcting, scolding,
and berating Kate.

Petruchio re-enters and announces, "Thus have I politicly Petruchio uses animal imagery both to degrade Katherine and to
begun my reign," (iv.1.188). He says that he will train Katherine suggest the complete mastery over her he desires in marriage. He
as falconers tame falcons: he will not let her eat or sleep until also compares his relationship to Katherine to a king ruling over a
she obeys him. He will pretend to find something wrong with subject, implying that the subservient role of women is similar to
her food and with the bed, whenever she tries to eat or sleep. that of people lower on the social hierarchy. Meanwhile, to tame
This is his plan to reform Katherine's behavior and thus "tame a Katherine he is literally denying her food and sleep, which seems like
shrew," (iv.1.210). a kind of torture.

ACT 4, SCENE 2
Back in Padua, Hortensio (disguised as Litio) leads the person While Hortensio thinks he has discovered a secret, he is still
he thinks is Lucentio (in reality Tranio) to spy on Bianca and the ignorant of the actual identities of Lucentio and Tranio. The
real Lucentio (disguised as Cambio). They see Bianca and instruction "Cambio" gives is again merely a pretense for Lucentio
"Cambio" flirt and kiss, and Tranio, pretending to be Lucentio, and Bianca to spend some romantic time together, for him to
acts as if he is greatly upset by this. Hortensio reveals his true "teach" her to love him. Thinking that Bianca is attracted to non-
identity to Tranio and vows that he is done trying to woo noble men makes Hortensio see her as unworthy. He's looking for
Bianca. After seeing her with her teacher Cambio, he has class and money in a wife—thus, the widow. At the same time, this
decided that she is unworthy of his affections. Tranio promises shows that Hortensio's "love" for Bianca wasn't really love at all.
also not to marry Bianca. Hortensio says that he will marry a
rich widow instead and leaves.

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Tranio goes forward to Bianca and Lucentio and tells them the Hortensio sees Petruchio as a kind of teacher, who shows him how
news about Hortensio. He also tells them that Petruchio is a to "tame shrews." The merchant will become yet another character
master at taming shrews. Biondello arrives and tells Tranio that who disguises his real identity during the course of the play.
he has found a merchant who may be able to act as Lucentio's
father, Vincentio. Lucentio and Bianca exit, as the merchant
enters.

Tranio asks the merchant where he is from and the merchant Tranio again displays his cleverness, tricking the merchant into
responds that he is from Mantua. Tranio makes up a story that wanting to dress up as Vincentio. Once again Tranio is, in a sense,
Mantua and Padua are in the middle of a political dispute and the architect of the play's plot, despite the fact that he is a mere
"'Tis death for anyone in Mantua / To come to Padua," servant.
(iv.2.86-87). Still pretending to be Lucentio, Tranio tells the
merchant that he will do him a favor. Since the merchant
resembles Lucentio's father Vincentio, he will allow the
merchant to assume Vincentio's identity and stay with him.
That way, no one will know that the merchant is from Mantua
and he will be safe.

The merchant agrees and thanks Tranio for helping him. As All that the merchant needs in order to assume a new identity and
Tranio leaves to find suitable clothes for the merchant, he become a nobleman is a suitable set of clothes. Yet again, identity is
mentions that he will need Lucentio's "father" to make established through performance, and that performance relies
assurances about his inheritance, in preparation for a wedding. heavily on appearances.

ACT 4, SCENE 3
At Petruchio's home, Katherine complains to Grumio about Grumio exercises a little bit of power over Katherine, teasing her like
Petruchio's behavior, telling him she is starved and has not Petruchio. However, Katherine quickly reminds him of his place
been able to sleep. She begs him to bring her any food. Grumio when she hits him. She may be a woman, but she is a noblewoman,
tempts her by asking if she'd like different kinds of dishes, but and he is just a servant.
he ends up saying that none of them would suit her, and so does
not bring any food. Katherine hits him and sends him away
angrily.

Petruchio and Hortensio enter. Petruchio has brought a large Petruchio's method of "taming" is humiliating and treats Katherine
portion of meat with him, and demands that Katherine thank like a pet animal. She appears to begin to relent, thanking Petruchio
him for bringing her food. Katherine thanks him, and Petruchio for the food he has brought. The clothes that Petruchio has made
allows her to begin to eat. Petruchio says that he and Katherine for Katherine (but then rejects) again show the importance of
will celebrate Bianca's upcoming marriage at her father's clothes in a social context. The hat, in particular, signals that its
house, and he brings in a tailor and a haberdasher with clothes wearer is a noble gentlewoman, as Petruchio jokes that Katherine
for Katherine. The haberdasher presents a hat, but Petruchio can wear it when she is gentle.
rejects it. Katherine says that it is fine, and that it is the sort of
hat gentlewomen wear. Petruchio replies that she can wear one
like it when she is gentle.

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Katherine protests, telling Petruchio, "I am no child, no babe," Petruchio continues to act irrationally. He wants Katherine to obey
(iv.3.79) but he sends the haberdasher off and asks the tailor to his every word, no matter how wrong or illogical what he says is. At
show them Katherine's gown. As with the hat, he acts as if the this point, she is still resistant to his control. The gown is such a
gown is hideous and unacceptable. The tailor says that he made point of contention precisely because of the social importance of
it just as he was ordered to, and Katherine says that she likes clothing and appearances that has been so emphasized throughout
the gown. Petruchio acts as if the tailor is insulting Katherine by the play.
offering her the gown, and tells him to leave. The tailor reads
out the written instructions he was given for the gown, but
Petruchio and Grumio still deny that the gown is as they
ordered. Petruchio sends the tailor away, but has Hortensio go
and tell the tailor that he will be paid tomorrow.

Petruchio tells Katherine that they will go to her father's in In contrast to the importance of clothing and appearances
their humble, everyday clothes, minimizing the importance of throughout the play, Petruchio insists that such surface-level
outward appearances. As they prepare to leave, he says that it qualities do not matter as much as someone's true identity and
is seven o'clock and she corrects him: it is two o'clock. Petruchio character. He is also beginning to gain some control over Katherine,
tells her, "It shall be what o'clock I say it is," (iv.3.202) and insisting that she agree with him when he is wrong about the time of
Hortensio marvels at how he orders her around. day. Note how Hortensio does not care about how Katherine is
being treated. He just admires Petruchio's ability to control his wife.

ACT 4, SCENE 4
In Padua, Tranio (still disguised as Lucentio) brings the Nearly every character on the stage is in a disguise, highlighting the
merchant, who is dressed up as Vincentio, to Baptista's house. very performance of Shakespeare's play itself. After all, Baptista is
Biondello arrives, as well, and Tranio reminds him to act as if merely an actor in a costume, too. Furthermore, we are still
the merchant is Vincentio. Baptista enters with Lucentio supposed to imagine that all of this is being staged for the
(disguised as Cambio) and Tranio introduces the merchant to entertainment of a beggar dressed up as a noble lord (Christopher
him as Vincentio. The merchant tells Baptista that he approves Sly).
of the marriage between Lucentio and Bianca.

Baptista is convinced that the merchant is Vincentio. Baptista, Here, the marriage between Bianca and Lucentio seems to be less a
the merchant, and Tranio decide to go to Lucentio's lodging to romantic matter between those two and more a financial or
discuss the financial particulars of the marriage in private. economic matter between the various men arranging it. Of course,
Before they depart, Tranio tells Baptista to send "Cambio" to the real Lucentio and Bianca aren't even in this scene (except for
inform Bianca that the marriage has been approved. "Cambio" "Cambio" being used as a messenger).
(that is, Lucentio) goes to find Bianca. Baptista, Tranio, and the
merchant leave to discuss their financial matters.

Lucentio returns and Biondello informs him of their plans. In asking for "Cambio" to bring Bianca to the banquet, Baptista
Baptista has asked for Cambio to bring Bianca to a banquet, unwittingly sends Lucentio to Bianca. Lucentio and Bianca's
agreeing to marry her to the person he thinks is Lucentio elopement may be the only way for them to have a marriage that is
(actually Tranio). Before going to the banquet, Lucentio will (potentially) more about love between two people than economic
elope with Bianca to a church and get married in secret. exchange between two families—at least, until Baptista and
Vincentio find out.

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ACT 4, SCENE 5
Petruchio, Katherine, Hortensio, and some of Petruchio's Petruchio demands Katherine's complete obedience, even when he
servants are making the journey from Petruchio's house to is clearly wrong. This is, for him, the ideal structure of a marriage.
Padua. Though it is the middle of the day, Petruchio comments
on how brightly the moon shines. Katherine corrects him and
Petruchio refuses to continue their journey until she says that
he is right.

Katherine relents and agrees that it is the moon shining, not Katherine seems to be affected by Petruchio's abusive course of
the sun. Petruchio immediately changes his mind and says that "taming." But has she truly changed so dramatically, or is she merely
it is the sun and Katherine is wrong. Katherine agrees with him pretending?
that the sun is shining. Hortensio comments that Petruchio has
tamed Katherine and that "the field is won," (iv.5.26).

Pleased that Katherine is obedient, Petruchio prepares to Petruchio now tests how far Katherine's obedience will go. As it
continue the journey, but just as they are setting out again, they turns out, she is willing to (pretend to?) obey him even if it means
encounter an old man. Petruchio addresses the man as a young acting like a complete fool.
woman, praising her beauty. He tells Katherine to embrace the
young woman, and Katherine complies. She calls him a "young
budding virgin, fair and fresh and sweet," (iv.5.41) but then
Petruchio calls her mad and says that he is clearly an old man.
Katherine apologizes.

The old man introduces himself as Vincentio and says that he is In Petruchio's view, the marriages between Katherine and him and
traveling to Padua to see his son Lucentio. Petruchio happily between Bianca and Lucentio have united all of their three families.
greets him as his father-in-law, since Lucentio is marrying Hortensio continues to see Petruchio's dominance over Katherine
Katherine's sister. Vincentio is confused by this and thinks that as an instructive model for other men to learn from.
Petruchio is playing a joke on him. They all continue their
journey to Padua together, with Hortensio commenting on how
remarkably Petruchio tamed Katherine.

ACT 5, SCENE 1
Outside of Lucentio's home in Padua, Lucentio runs off with Now all the disguises and false identities of the play are coming to a
Bianca and Biondello to the church where he will marry Bianca. head, as the appearance of Vincentio threatens to reveal the
Meanwhile, Gremio waits outside Lucentio's door, remarking deception of Tranio and Lucentio. At the same time, the merchant is
on how long Cambio is taking to bring Bianca. After Lucentio so emboldened by his own disguise that he refuses to give in to the
leaves with Biondello and Bianca, Petruchio arrives with reality that he is not Vincentio even when the real Vincentio
Katherine, Vincentio, and Grumio. Vincentio knocks on the appears.
door and asks for Lucentio. The merchant (who is
impersonating Vincentio) tells him Lucentio is busy. Petruchio
says that Vincentio is Lucentio's father, here to see his son. The
merchant denies that Vincentio is Lucentio's father and says
that he is, instead.

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Biondello returns from the church, where Lucentio and Bianca Normally, Vincentio would be able to beat his servant Biondello and
have been married. Vincentio recognizes Biondello, but discipline Tranio, but all of the mixed-up identities and theatrical
Biondello pretends not to know Vincentio. Vincentio angrily disguises of the play have turned these kinds of social standards
beats Biondello, causing Biondello and the merchant to cry out upside down, such that Vincentio is now at risk of going to jail
that a madman is attacking them. Biondello leaves. Baptista and because no one believes that he is who he actually is. Baptista,
Tranio (still impersonating Lucentio) enter. Vincentio is furious much like the reader or audience of Shakespeare's play perhaps, is
at his servant Tranio when Tranio pretends not to know him. confused by all the opposing claims of who is who.
Tranio says that Vincentio is a madman. Baptista is confused
and asks Vincentio who he thinks Tranio is. Vincentio identifies
him as Tranio, but Tranio continues to say that he is Lucentio.
Vincentio thinks that Tranio has murdered Lucentio and stolen
his clothes. A police officer arrives and Baptista tells him to
carry Vincentio off to jail.

Biondello, Lucentio, and Bianca enter. Thinking that their Lucentio reveals his deception, as the numerous disguises of the
deception has been uncovered and fearing punishment, play unravel. Baptista and Vincentio forgive Lucentio and Bianca,
Biondello, Tranio, and the merchant run away. Lucentio reveals but go to discipline their servants, showing how the rigid social
his true identity to Baptista and Vincentio, and explains how he hierarchy, at times subverted by the comedy, has now been re-
and Tranio changed places. He says that he was motivated by established.
love, and that he and Bianca are now married. Vincentio and
Baptista are upset and leave to take out their frustrations on
the servants who have deceived them. Lucentio and Bianca
exit.

Petruchio and Katherine, meanwhile, have been watching all Katherine shows a final flicker of resistance, but ultimately gives in
this commotion. Katherine suggests they go see how the to Petruchio, kissing him in the street.
matter will be resolved. Petruchio says that she must kiss him
first. At first, she refuses to kiss him in the middle of the street,
so Petruchio threatens to take her back home. Katherine
relents and kisses him.

ACT 5, SCENE 2
It is finally time for Lucentio and Bianca's wedding banquet. While Lucentio and Bianca eloped to marry out of love, their
Baptista, Vincentio, Gremio, the merchant who had pretended wedding banquet firmly establishes their marriage as a social event
to be Vincentio, Lucentio, Bianca, Petruchio, and Katherine are bringing together different families.
all present. The servants Tranio, Grumio, and Biondello are
there as well, as are Hortensio and the widow he has married.
Lucentio welcomes everyone to the banquet, calls Petruchio
and Katherine his brother and sister, and says that all the
earlier chaos and confusion is now happily resolved.

As the guests at the banquet trade jokes and jibes, the widow The characters who have not seen Katherine's apparent
teases Petruchio for being married to a shrew, offending transformation, continue to heap their usual abuse on her, insulting
Katherine. The women leave, and Tranio also teases Petruchio, her for her resistance to male authority.
saying he is ruled by his wife. Baptista tells Petruchio that he
has "the veriest shrew of all," (v.2.66).

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In response to all this teasing, Petruchio proposes a bet. He, Petruchio's bet shows how important he thinks a wife's obedience is
Lucentio, and Hortensio will call their wives, and the husband in marriage. The other husbands are surprised to find that they are
whose wife comes first will win a wager of money. Lucentio not as powerful in their marriages as they thought they were, and
sends Biondello to fetch Bianca, but he returns with the news that their wives may have a bit of Katherine's nerve, as well.
that she says she is busy and won't come. Hortensio then sends
Biondello to get the widow, but she refuses to come, as well.

Petruchio tells Grumio to find Katherine and tell her that Katherine, in contrast to Bianca and the widow, is entirely devoted
Petruchio commands her to come to him. Grumio goes to get to Petruchio. But it is still possible that she is simply performing the
her and, to the surprise of everyone but Petruchio, she comes role of a subservient wife, perhaps even in cahoots with Petruchio to
immediately. Petruchio orders her to go and bring the other win the bet.
wives to them, and she obeys.

The men are amazed at Katherine's obedience. Baptista says Regardless of how real Katherine's transformation is, the other
that Petruchio has won the bet, and jokes that he'll give him characters believe that it is genuine. Lucentio tries to show some
even more money as a second dowry, since Katherine is now a authority in chastising Bianca, but she shows that she has a will of
completely different daughter. Katherine returns with Bianca her own, and is not merely a passive wife.
and the widow. Lucentio chides Bianca for not coming, telling
her that her disobedience cost him money. Bianca replies that it
was his fault for betting the money.

Petruchio asks Kate to tell the other wives what duty they owe Katherine's long speech is perhaps the most controversial part of
to their husbands. The widow protests, but Petruchio insists on the play. How can the strong-willed Katherine expound at such
it. Katherine begins a long speech, detailing the importance of a absurd length the duties of a docile, submissive wife? Has she really
wife's submission to her husband. She tells the wives, "Thy been so tamed, or is she pulling one over on the other characters?
husband is thy lord, thy life, thy keeper, / Thy head, thy Depending on the choices a particular production of the play makes,
sovereign," (v.2.162-163). She says that a wife owes her Katherine's speech can be seen as ironically over the top or
husband "love, fair looks, and true obedience," (v.2.169) and startlingly sincere. Whether she means it or not, her speech outlines
that women are bound to "serve, love, and obey," (v.2.180). the essential qualities of a good wife according to traditional,
Petruchio is pleased with her speech and asks her to kiss him, oppressive gender roles.
which she does. As they leave together to go to bed, Hortensio
and Lucentio marvel at Petruchio's ability to tame Katherine.

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To cite any of the quotes from The Taming of the Shrew covered in
HOW T
TO
O CITE the Quotes section of this LitChart:
To cite this LitChart: MLA
MLA Shakespeare, William. The Taming of the Shrew. Simon & Schuster.
2004.
Fredericksen, Erik. "The Taming of the Shrew." LitCharts. LitCharts
LLC, 11 Nov 2013. Web. 21 Apr 2020. CHICA
CHICAGO
GO MANU
MANUAL
AL
CHICA
CHICAGO
GO MANU
MANUAL
AL Shakespeare, William. The Taming of the Shrew. New York: Simon
& Schuster. 2004.
Fredericksen, Erik. "The Taming of the Shrew." LitCharts LLC,
November 11, 2013. Retrieved April 21, 2020.
https://www.litcharts.com/lit/the-taming-of-the-shrew.

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