The Taming of The Shrew

The Taming of
the Shrew
Study Guide by Course Hero
Katherine's shrewish behavior as a challenge to be overcome;

What's Inside he sets out to "tame" her through a mixture of cruel practical
jokes and outright abuse.
j Book Basics ................................................................................................. 1
d In Context ..................................................................................................... 1
d In Context
a Author Biography ..................................................................................... 3
h Characters .................................................................................................. 4
An Early Comedy
k Plot Summary ............................................................................................. 8
The Taming of the Shrew was written very early in
c Scene Summaries .................................................................................. 13 Shakespeare's career. Scholars generally date the play to 1590
or 1591, though some have suggested a date of 1589. This
g Quotes ........................................................................................................ 22
makes the play roughly contemporary with The Comedy of
l Symbols ..................................................................................................... 24 Errors (c. 1589–94) and Love's Labour's Lost (c. 1588–98), two
other comedies about courtship and the "battle of the sexes."
m Themes ....................................................................................................... 25 Each of these other plays has a single major plot, complicated
by various comic mishaps. The Taming of the Shrew instead
b Motifs ........................................................................................................... 27
gives similar importance to two plots: Lucentio's courtship of
e Suggested Reading .............................................................................. 28 Bianca, and Petruchio's "taming" of Katherine.
Sources and Influences

j Book Basics
The main plot of Shakespeare's play closely resembles that of
The Taming of a Shrew, published in 1594. The relationship
AUTHOR
between these two texts—A Shrew and The Shrew—is still
William Shakespeare
debated. A Shrew, which was published anonymously, may be
YEARS WRITTEN an earlier version of Shakespeare's play, but few consider the
c. 1590–94 writing to be up to the usual caliber of Shakespeare's works.
Others regard A Shrew as an earlier work by a different author,
GENRE with Shakespeare borrowing its plot for his own play. Still other
Comedy scholars have described A Shrew as a memorial
reconstruction, a version of Shakespeare's play written down
ABOUT THE TITLE
from memory by actors or playgoers.
Shrew is an old-fashioned and sexist term for an ill-tempered
woman. Such characters were often the butt of comic The source of the Lucentio/Bianca plot is easier to identify: it
literature in Shakespeare's time. In this play, Petruchio sees comes from another 16th-century comedy entitled Supposes
The Taming of the Shrew Study Guide In Context 2
(1566) by George Gascoigne (c. 1539–77). This is an English one during Shakespeare's lifetime, took place in 1594. It was
translation of an earlier Italian play, I suppositi (1509) by described in the diary of Philip Henslowe, manager of the rival
Ludovico Ariosto (1474–1533). Both Ariosto's and Gascoigne's troupe The Admiral's Men. However, Henslowe's notes are
versions tell of a man who, like Lucentio, switches places with ambiguous: he may have seen A Shrew and not the
his servant in order to be closer to the woman he loves. Shakespearean version.
Whichever play Henslowe saw, The Taming of the Shrew
Gender in Elizabethan England remained popular into the early 17th century. It was so well-
liked, in fact, that it provoked a sequel of sorts. In 1611 John
Fletcher, who had collaborated with Shakespeare on other
Female submissiveness may seem like an odd theme for a play
comedies, wrote a new play called The Woman's Prize, or The
written during the reign of a powerful queen. Elizabeth I,
Tamer Tamed. This comedy brings back the character of
however, was regarded as an exception to the normal or
Petruchio, who remarries after his first wife's death. His second
"natural" gender restrictions of her time. Few dared to openly
wife, Maria, proves more than a match for her new husband.
question the queen's right to rule, but the notion of a woman in
King Charles I saw both The Taming of the Shrew and The
charge was seldom accepted in other areas of life.
Woman's Prize in 1633 and reportedly enjoyed both plays.
Elizabeth herself was well aware of her subjects' prejudices
The Taming of the Shrew was not published until 1623, when it
and sometimes sought to cultivate a martial, masculine public
appeared in the First Folio. A quarto edition—smaller, cheaper,
image. In one famous 1588 speech, Elizabeth urged her
and more portable—was printed in 1631. Modern editions of the
subjects to overlook her feminine frailty: "I know I have the
play are based primarily on the Folio.
body but of a weak and feeble woman," she said to a group of
soldiers assembled at Tilbury to defend against a Spanish
invasion, "but I have the heart and stomach of a king." Her
speech, which came on the eve of a great victory for the Production History
English Armada, was widely celebrated. Those in attendance
copied it down for posterity. Like many of Shakespeare's works, The Taming of the Shrew
fell out of favor during the Restoration era (1660–1710), which
Still, other writers admonished their readers not to misinterpret followed the reinstatement of the monarchy after a period of
Elizabeth's example: although a queen might rule England, they Commonwealth rule, when a newer, bawdier, and more
suggested, a wife should not be allowed to rule her household. sexually explicit style of comedy came into fashion. John
Dozens of misogynistic books and pamphlets were published Lacy's adaptation entitled Sauny the Scot, was first performed
during Elizabeth's reign, warning of the disasters that would in 1667 and quickly became more popular than Shakespeare's
befall if women overstepped their bounds. One such treatise, original version. Typical of Restoration comedy, Sauny takes
entitled A Godly Form of Household Government, was place in the fashionable city of London and features
published in 1598, five years before Elizabeth's death. Its characters with blatantly symbolic names. Vincentio becomes
author, Robert Cleaver, issued a grim prediction for "Sir Lionel Winlove," a country gentleman, and Lucentio is
households in which the wife "will make her head" against her replaced by "Young Winlove," who comes to the city not to
husband "and seek to have her own ways." "Things will go study, but to amuse himself.
backward," Cleaver warned, and "the house will come to ruin."
In the 18th century even more adaptations emerged: David
Garrick, one of the most famous actor-directors of his time,
Publication and Performance produced a simpler and more lighthearted adaptation called
Catharine and Petruchio (1754). Like Sauny the Scot before it,
Dates Garrick's romantic comedy largely replaced Shakespeare's

Shrew on the stage.
Little is known about the early performance history of The The original The Taming of the Shrew finally returned to the
Taming of the Shrew. The first recorded performance, the only stage in the mid-19th century. Since that time, productions of
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The Taming of the Shrew Study Guide Author Biography 3
the play have often focused on its comic and romantic little is known about his birth, education, or upbringing.
elements, downplaying the violence with which Petruchio However, according to church records, he was baptized on
"tames" Katherine. The Cole Porter musical Kiss Me Kate April 26, 1564, in Stratford-upon-Avon, England, which leads
(1948) also follows this trend. Taking a "play within a play" scholars to the conclusion that he was born on April 23 of that
approach, this adaptation follows two actors, Fred Graham and year. Birth records were not usually kept in Shakespeare's
Lilli Vanessi, who are co-starring in a production of The Taming time, although church records—baptisms, weddings,
of the Shrew. Fred and Lilli, who were married long ago, bicker burials—were kept fastidiously by clergy.
furiously on and offstage, but they reconcile their differences
before the curtain falls. Shakespeare's family was solidly middle class, and he would
have had a typical education for an English boy of his time at a
public school endowed by Elizabeth I, which would have
Film and TV Adaptations included studying the Latin language and Roman and Greek
classical literature. At age 18, Shakespeare married Anne
Hathaway, a woman eight years his elder who was already
The Taming of the Shrew has frequently been adapted for film
pregnant with their daughter Susanna. Anne gave birth to
and television. Aside from the film version of Kiss Me Kate
twins—Judith and Hamnet—a few years later. Church records
(1953), the most famous film version is the 1967 The Taming of
reveal Hamnet died in childhood.
the Shrew, directed by Franco Zeffirelli and starring Elizabeth
Taylor and Richard Burton. Like Kiss Me Kate, Zeffirelli's
version occasionally plays up the comic dimensions of
Katherine and Petruchio's relationship, with some scenes Theatrical Life
suggesting that Katherine has "tamed" Petruchio rather than
the other way around. Shakespeare moved to London to pursue a career as an actor
and playwright, and over time, he achieved success. He
More recent adaptations that invert the power dynamic and became a shareholder in the open-air Globe Theatre in London
leave Kate untamed include the 1999 teen comedy 10 Things I and had widespread fame as a playwright whose works
Hate About You and the 2009–10 television series of the same included romantic and classically inspired comedies, histories,
name. In the movie, protective father Walter Stratford refuses and tragedies. He is credited with writing at least 37 plays and
to let his younger daughter Bianca start dating until her older over 150 sonnets.
sister, now known as Kat, does. Joey Donner, who wants to
date Bianca, finds a way around this parental restriction: he Throughout his career Shakespeare and his fellow actors were
bribes his classmate Patrick Verona to start dating Kat, who supported by the patronage of the nation's monarchs—first by
reluctantly comes to see Patrick as boyfriend material. Both Elizabeth I (1533–1603), under whose reign Shakespeare's
versions are full of Shakespeare reference jokes: Kat and company was known as The Lord Chamberlain's Men. When
Bianca's last name, Stratford, is a nod to Shakespeare's James I (1566–1625) assumed the throne in 1603, the company
birthplace; Patrick Verona is named for Petruchio's hometown. was renamed The King's Men. Although many of
Even the setting, Padua High, is named after the Italian city in Shakespeare's plays were written for performance at the
which the play takes place. Globe, the King's Men also performed at the nearby Blackfriars
Theater, a smaller indoor space, after 1608.
a Author Biography Retirement and Legacy

In 1610 or 1611 Shakespeare retired, moving back to Stratford-
Childhood and Family Life upon-Avon. Despite his retirement from London life, the
playwright continued to do some writing, contributing to Henry
The childhood of William Shakespeare is a murky area for VIII and Two Noble Kinsmen as well as to another play,
scholars since few records of his early activities exist. Very Cardenio, now lost. Scholars believe these final works to be

The Taming of the Shrew Study Guide Characters 4
collaborations with John Fletcher (1579–1625), another

playwright. Baptista Minola
Shakespeare most likely died on April 23, 1616, leading to the Baptista Minola is a rich Paduan merchant who is anxious to
romantic notion he was born and died on the same date, marry off his elder daughter, Katherine. Until a husband is
although there are no records of the exact date of either event. found for Katherine, he refuses to let anyone even court his
He was 52 at his death and was buried on April 25 at Holy younger daughter, Bianca. Although Baptista is "an affable and
Trinity Church in Stratford-upon-Avon. Over 400 years after courteous gentleman," he often seems oblivious to his
his death, Shakespeare is still regarded as the greatest daughters' real wishes, as when he mistakes Katherine's tears
playwright of the English-speaking world. of anger for tears of disappointment that her wedding has
been cancelled. He is perplexed by Petruchio's bad behavior,
but he does nothing to stop his mistreatment of Katherine.
h Characters Baptista also arranges Bianca's marriage based on money, not

love: for him, the man who can pay the biggest dower, money a
wife is entitled upon her husband's death, is the ideal son-in-
law.
Petruchio
Petruchio is a Veronese man who comes to Padua with one Lucentio
purpose: to marry into money. Through his friend Hortensio, he
learns about Katherine and decides to make her his wife. Lucentio is a young man from Pisa who has come to Padua to
Bianca's suitors see Petruchio as an answer to their prayers, further his education. He sees Bianca by chance and
since they may not even court Bianca until Katherine is immediately falls in love. When he learns about her fondness
married. After the wedding, Petruchio sets about "taming" for books and learning, he decides to disguise himself as a
Katherine by treating her harshly and pretending to have language tutor named Cambio. Baptista Minola then hires
violent mood swings. Katherine puts up a fight but ultimately "Cambio," granting him a chance to court Bianca in secret.
gives in. Near the end of the play, Lucentio casts off his disguise and
elopes with Bianca.
Katherine
Hortensio
Katherine, the elder of Baptista Minola's two daughters, is
notorious for her shrewish temper. Because of this, her father Hortensio, who lives in Padua, is an old friend of Petruchio's. He
has a hard time finding a man willing to marry her. When introduces Petruchio to the idea of wooing Katherine, but when
Petruchio takes on the task, she is dismayed and angered by the "taming" begins, he fears his friend has gone too far.
his rude behavior. She eventually gives in to Petruchio's taming Hortensio is also one of Bianca's suitors. Because Baptista
efforts, but not without a mighty struggle. Minola will not let him court Bianca openly, he disguises himself
as a music teacher and sneaks love poems into Bianca's
lessons. He eventually gives up his courtship of Bianca after
Bianca seeing her with Lucentio.
In terms of personality, Bianca is nearly the opposite of her

sister. She loves books and music, and her father hires tutors Tranio
for her to encourage these hobbies. She initially has her doubts
about Lucentio but eventually agrees to marry him in secret. The loyal Tranio agrees to switch places with his master,
Lucentio, enabling him to court Bianca. When Baptista Minola
finally agrees to marry Bianca to her richest suitor, Tranio

places a winning "bid" on Lucentio's behalf. He then finds a

merchant who is willing to pose as Lucentio's father and
approve the match.

Character Map
Petruchio
Fortune-hunter from Verona
Father-
in-law Friends
Baptista Minola
Hortensio
Wealthy, respected
Fickle suitor; lives in Padua
Paduan gentleman Future
spouses
Father
Father
Katherine
Siblings Ill-tempered young woman
Bianca
Lucentio
Studious, demure
Student from Pisa
young woman
Suitor Servant
Gremio
Tranio
Elderly, extremely
Servant and schemer
rich Paduan
Fake suitor
Future spouses
Suitor
Main Character
Other Major Character
Minor Character

Full Character List Grumio (not to be confused with

Gremio) is Petruchio's clownish
Grumio
servant who accompanies him to
Padua.
Character Description
The haberdasher brings a cap for

Petruchio is a fortune-hunter from
Haberdasher Katherine. Like the tailor, he becomes
Verona who seeks a wealthy wife in
a victim of Petruchio's bad temper.
Petruchio Padua. He marries Katherine and then
"tames" her through rude and abusive
behavior. The hostess chases Christopher Sly
Hostess out of the alehouse after he refuses to
pay his tab.
Katherine is the hot-tempered elder
Katherine
daughter of Baptista Minola.
The first huntsman pretends to be a
servant to help his master delude
Bianca is the mild and studious Christopher Sly. The three huntsmen
Bianca
younger daughter of Baptista Minola. First huntsman are almost certainly the three
servingmen in the Induction, Scene 2.
Baptista Minola is a wealthy Paduan The lord instructs the huntsmen to
who insists on marrying off his elder pretend to be servants.
Baptista Minola
daughter before the younger one can
be courted. The second huntsman also poses as a
servant as part of the joke on
Lucentio is one of Bianca's suitors. He Christopher Sly. The three huntsmen
Second
sneaks into her house disguised as a are almost certainly the three
Lucentio huntsman
tutor and succeeds in winning her servingmen in the Induction, Scene 2.
heart. The lord instructs the huntsmen to
pretend to be servants.
Hortensio is one of Bianca's admirers

Hortensio and poses as a music teacher to get The third huntsman also disguises
close to her. himself as a servant in order to
bamboozle Christopher Sly. The three
Third huntsman huntsmen are almost certainly the
Tranio is Lucentio's servant. He three servingmen in the Induction,
Tranio disguises himself as Lucentio in order Scene 2. The lord instructs the
to help his master woo Bianca. huntsmen to pretend to be servants.
Biondello is another servant of Joseph is another of the servants who

Joseph
Lucentio. He pretends to be Tranio's greet Grumio upon his return.
Biondello
servant in order to help Lucentio woo
Bianca.
The lord, who appears in the
Induction, visits the alehouse after a
Curtis, a servant of Petruchio, greets Lord hunting trip. He tricks Christopher Sly
Grumio upon his return from Padua. into believing himself to be a
Curtis
He has the largest speaking part of nobleman.
the servants introduced in Act 4.
The merchant, who comes from

Gremio, a rich old man, is another of Merchant Mantua, agrees to pose as Lucentio's
Bianca's suitors. He is mocked by his father so Lucentio can marry Bianca.
Gremio
rivals who think he is too old to marry
such a young woman.
The messenger appears in a single
Messenger scene to announce the "play within a
play."

The Taming of the Shrew Study Guide Plot Summary 8
Nathaniel
Nathaniel, a servant of Petruchio,
expresses amazement at his master's
k Plot Summary
bizarre behavior.
Nicholas
Nicholas is one of Grumio's fellow
servants and greets him when he
Induction
returns to Verona.
The Taming of the Shrew begins with an induction, a pair of
introductory scenes outside the main action of the play. In the
The officer arrests Vincentio but is
Officer first scene a nobleman finds the beggar Christopher Sly
stopped by Lucentio's sudden return.
passed out at an alehouse and decides to play a practical joke
The page is one of the lord's servants on him. He orders his men to have Sly bathed, groomed, and
who appear in the Induction. He dressed as a "mighty lord," then carried to the finest bedroom
Page
dresses as a noble lady and pretends in the lord's manor. When Christopher Sly wakes up, the
to be Christopher Sly's wife.
servants convince him he is actually a nobleman, and that his
previous life of poverty was a delusional dream. He protests at
Peter, a servant of Petruchio, briefly
Peter first but is then completely taken in by their ruse. Later, at the
comments on his master's wild antics.
end of Act 1, Scene 1, the characters from the Induction
exchange a few brief remarks about the play they are
Phillip is one of the servants who
Phillip greet Grumio when he returns from watching. After this, they are silent for the remainder of the
Padua. performance.
The first player is a traveling actor

First player
who offers his services to the lord. Act 1
The second player is another of the Lucentio, a bookish young man from Pisa, arrives in Padua to
Second player
traveling actors who visit the lord.
study. While looking for a place to stay, he happens to
overhear an argument between Baptista Minola (a wealthy
Sly, a tinker (or handyman), appears in
Paduan), and Gremio and Hortensio, who are suitors to
Christopher Sly the Induction. He is the butt of an
elaborate practical joke. Baptista's daughter Bianca. Baptista announces that he will
only allow Bianca to be courted when a husband has been
The tailor visits Petruchio's home, found for her older sister Katherine. Although they are rivals,
bringing a fine gown for Katherine. He Hortensio and Gremio decide to work together to find such a
Tailor
is driven away by Petruchio, who man, but they fear nobody will take up the challenge.
pretends to find fault with the gown.
Fortunately for them, Petruchio of Verona has just arrived in
town, looking for a rich wife. Lucentio and Hortensio plan to
Vincentio is an immensely wealthy
Pisan merchant and Lucentio's father. disguise themselves as tutors and woo Bianca under the
Vincentio pretext of teaching her. Tranio, Lucentio's servant, agrees to
He learns about Lucentio's elopement
by chance but later gives his blessing. switch places with his master so that Lucentio will be able to
carry out his scheme.
The widow is a longtime admirer of
Widow Hortensio, who marries her hastily
after rejecting Bianca.
Act 2
This act consists of a single long scene. Hortensio and
Lucentio, now disguised as "Litio" and "Cambio" respectively,
visit the Minola residence to woo Bianca. First, however,
Hortensio is sent to teach music to Katherine, who strikes him

on the head with a lute and sends him running back onstage.
Petruchio shows up too: he wants a hefty dowry from Baptista
Act 5
Minola and wastes no time in courting Katherine. After a long
Tranio (still disguised as "Lucentio") invites Baptista Minola to
exchange of insults with Katherine, Petruchio tells Baptista
his house to finalize the marriage contract with Bianca.
Minola that the match is made, when in fact Katherine wants
Lucentio's real father, Vincentio, arrives in Padua and attempts
nothing to do with him. Baptista is ecstatic and agrees to plan
to visit his son, but is nearly arrested as an impersonator.
the wedding for the very next Sunday. He then addresses
Lucentio and Bianca, having just been married, save Vincentio
Gremio and the disguised Tranio, telling them that he wants to
from the police in the nick of time and explain the deception to
marry Bianca off quickly as well. Bianca, he declares, will wed
Baptista Minola. The closing scene takes place at Baptista
the man who can best provide for her if she is widowed. Tranio
Minola's house, at the wedding feast of Lucentio and Bianca.
(posing as Lucentio) wins the contest by promising huge
Here, Petruchio reveals to the other men the marvelous
wealth to Bianca, but Baptista Minola insists on meeting
transformation in Katherine's behavior. Baptista is so stunned
Lucentio's father first.
by the change in his daughter that he gives Petruchio a huge
sum of money, "another dowry to another daughter." Katherine
gives a long, emotional speech about the role of a wife, urging
Act 3 women to be submissive to their husbands. Petruchio applauds
and bids his fellow revelers good night.
Lucentio ("Cambio") and Hortensio ("Litio") give lessons to
Bianca, revealing their identities in the process. She neither
encourages nor discourages them, though she seems to favor
Lucentio. The next scene takes place on Petruchio and
Katherine's wedding day, with Baptista and his guests
anxiously waiting for the groom to show up. When Petruchio
arrives he does everything he can to make the wedding a
disaster and embarrass his bride. Petruchio's "mad" behavior is
beginning to alarm the other men—even those who originally
applauded his efforts to domesticate Katherine. After the
ceremony Petruchio announces he and Katherine must depart
for Verona, missing their wedding feast in the process. She
protests, but Petruchio gives her no choice but to leave
immediately.
Act 4
At home in Verona, Petruchio takes the "taming" experiment to
new extremes. He deprives Katherine of food and sleep,
quarrels loudly with the servants, and generally makes her as
miserable as possible—all while pretending that he does it out
of concern for her. By the time the two head back to Padua,
Katherine is utterly submissive to Petruchio, fearing what her
husband will do if she contradicts him even slightly. In the
meantime the disguised Tranio has found a man who will
pretend to be Lucentio's father. With Tranio's help, Lucentio
and Bianca make plans to elope.

Plot Diagram
Climax
7
Falling Action
6
Rising Action
5 8
4
9
3
Resolution
2
1
Introduction
7. Katherine finally gives in and agrees to obey Petruchio.

Introduction
1. Petruchio arrives in Padua seeking a rich wife.

Falling Action
8. Petruchio and Katherine return to Padua.
Rising Action
2. Hortensio tells Petruchio about Katherine.

Resolution
3. Petruchio visits Katherine at her home.
9. Katherine delivers her speech on wifely obedience.
4. Petruchio obtains Baptista's consent to marry Katherine.
5. Petruchio and Katherine are married.
6. Petruchio takes Katherine back to Verona to "tame" her.
Climax

Timeline of Events
Italian Renaissance
Lucentio travels to Padua to study philosophy.
Soon after
Petruchio arrives in Padua, looking for a wealthy wife.
Within a few days
Lucentio and Hortensio are hired as Bianca's tutors.
That same afternoon
Petruchio gets Baptista's approval to marry Katherine.
Moments later
Tranio, acting on Lucentio's behalf, gets permission to

marry Bianca.
A few days later
Lucentio and Hortensio woo Bianca through their

lessons.
Following Sunday
Petruchio and Katherine are married.
Immediately after the wedding
Petruchio and Katherine depart for Padua.
Shortly thereafter
Petruchio "tames" Katherine by denying her food and

sleep.
Meanwhile
Hortensio renounces Bianca and leaves for Padua.
Within a few days
Petruchio, Katherine, and Hortensio return to Padua.
Later that week

Lucentio and Bianca elope.
Soon after
Hortensio marries a rich widow.
A few days later
Lucentio and Bianca celebrate their marriage with a

feast.
Wedding feast
A changed Katherine speaks out against female

rebellion.

The Taming of the Shrew Study Guide Scene Summaries 13
much bigger role than Sly does here, suggesting that such
c Scene Summaries swaggering, fast-talking characters were well-liked by
Elizabethan playgoers.
The lord's practical joke eases the audience into the themes of
Induction, Scene 1 disguise, deception, and transformation in the main play.
Christopher Sly is easily duped into forgetting himself when he
is taken out of his usual surroundings and treated differently. In
Summary his case some clean clothes, a nice meal, and a beautiful wife
are all it takes. But what the lord does as a joke, Petruchio later
The play begins with two sections labeled Induction, Scene 1 does in earnest, taking Katherine away from her family so he
and Induction, Scene 2. These scenes introduce and set the can break her will and reshape her personality. However, for
stage for the play that will follow. her, the situation is neither a joke nor a temporary mishap; a
fact that has caused the play to be reevaluated over time and
At an alehouse Christopher Sly, a tinker, is having a heated
performed in many different ways.
argument with the hostess. He has broken some glassware
and is unwilling (perhaps unable) to pay for the damaged This is also the first time, though not the last, that music is
goods. The hostess threatens to throw him in the stocks, then employed as a tool for changing someone's perception of
leaves the stage to call for the "headborough," a local reality. The lord instructs his servants to have musicians ready
policeman. Sly tells her off and falls asleep. to "make a dulcet and a heavenly sound" when Sly wakes. This,
along with the costly furnishings and pleasant perfumes, will lull
While the hostess is offstage, a lord passes by the alehouse
Sly into believing he really is a nobleman—one who just
after a long day of hunting. Noticing the sleeping Christopher
happened to dream about being a tinker.
Sly, he decides to play a trick and orders his huntsmen to carry
Sly back to the manor. There, they are to get him cleaned up
and put him to bed in the finest chamber in the house. When he
wakes up, they are to treat him as their master.
Induction, Scene 2
Just then a group of traveling players arrives, and the lord
invites them to stay with him for the night. He tells them an Summary
eccentric nobleman friend of his (actually Sly) will be attending
their show and warns them not to be put off by his "odd Sly wakes up, baffled by his clean clothes and comfortable
behavior." Finally, he issues orders for his page, Bartholomew, bed. When the servants address him as their master, he insists
to dress as a lady and pretend to be Sly's wife. As he leaves there has been a mistake: he is the humble Christopher Sly, not
the stage, the lord congratulates himself on the brilliance of his an "Honor" or a "Lordship." The lord from Scene 1 is present
joke. too, disguised as one of the servants. He tells Sly his memories
of being poor are "abject lowly dreams" and repeats the other
servants' claims about Sly's wealth and noble birth.
Analysis
The lord invites Sly to choose from the pastimes normally
Although he is a minor character, Christopher Sly makes a reserved for the wealthy: listening to music, admiring fine art,
strong impression with his colorful language and devil-may- horseback riding, hawking, and hunting. When the "Lady" (the
care attitude. Like other comic characters in Shakespeare, Sly disguised page) shows up, Sly is completely taken in by the
uses a mixture of slang and high-sounding Latin phrases disguise. Before the practical joke can go any further, a
(paucas pallabris means few words), often stating simple ideas messenger arrives to announce that the players are ready to
in unnecessarily complicated ways. (Falstaff in the Henry IV perform their comedy.
plays is the prime example of this kind of mixed-up rhetoric.)
Christopher Sly's counterpart in A Shrew (see Context) has a

Analysis Summary
This scene continues the preview of the main plot of The As the scene begins Lucentio has just arrived in Padua with his
Taming of the Shrew. When he first awakens, Sly is correctly servant Tranio. In his opening monologue he tells the audience
convinced that something is amiss. Soon, however, the about his noble birth and upbringing, as well as his travels
temptations of wealth and pleasure cause him to literally forget throughout northern Italy. Born in Pisa and raised in Florence,
his former life and accept that maybe he is a nobleman after Lucentio has come to Padua to further his education. He plans
all. By the time he is told about his lovely wife, Sly has begun to to focus on philosophy, but Tranio advises him to pursue a
crack: "Am I a lord, and have I such a lady?/Or do I dream? Or well-rounded course of study including mathematics, music,
have I dreamed till now?" Katherine is stronger-willed and poetry, and science.
sharper-minded than Sly, but she too will be worn down by
Petruchio's psychological warfare. It is a matter of While Lucentio and Tranio are discussing lodgings, Baptista
interpretation whether this is because she is a woman and Minola enters with his daughters, Katherine and Bianca. Also
therefore a member of the weaker sex or whether it is because present are Gremio and Hortensio, Bianca's suitors. Tranio
she chooses to submit and in choosing to obey discovers a assumes this is the welcoming committee; actually, Baptista is
greater power. wrapped up in an argument with the suitors and doesn't even
notice the newcomers. He reminds Gremio and Hortensio of
Sly's language shows how awkwardly he is adjusting to his new his decision "not to bestow my youngest daughter/Before I
life as a nobleman. His first request upon waking up is for "a have a husband for the elder." They must steer clear of Bianca,
pot of small ale"—weak beer, the drink of the Elizabethan he says, but they are free to court Katherine if they wish.
working poor. When his servants offer him sack (imported Gremio, Hortensio, and Katherine are all horrified by this
wine) and conserves (a sweet food similar to jam or suggestion.
marmalade), he protests that he is not used to such fare. His
coarse joke about having "more feet than shoes" shows that Before leaving the stage with his daughters, Baptista drops a
although he has been dressed as an aristocrat, he has no idea hint to Gremio and Hortensio: if they really want to get on his
how to act like one. good side, they should help him find schoolmasters for Bianca.
The two suitors decide to put aside their rivalry until they can
The boy as lady joke reflects an important fact about theater in find a husband for Katherine. The only problem, they agree, is
Shakespeare's time: Elizabethan acting companies were finding someone stupid or greedy enough to want to marry her.
exclusively male. Shakespeare often uses this practice as a Having formed a temporary alliance, the two men exit.
source of humor by having his characters, as well as the actors
themselves, switch gender roles. In this case, a boy actor plays This leaves Lucentio and Tranio onstage. Lucentio is so
the role of a boy (the page) who pretends to be a woman. This smitten with Bianca that he has barely heard the conversation,
creates opportunities for dramatic irony, since the audience is but Tranio catches him up on what has happened. The two
fully aware of all the gender-bending, but the characters are men concoct a scheme of their own: Lucentio will pose as a
only partially clued in. Sly is so thoroughly fooled by the traveling tutor, and Tranio will pretend to be Lucentio.
"Lady's" disguise that he cannot wait to get her into bed. "She" Lucentio's other servant, Biondello, arrives just in time to hear
puts him off for reasons that are obvious to the audience, if not their plan.
to him.
Analysis
Act 1, Scene 1 This is the first scene of the main play, and it moves fast: by
the end of the scene, every major character but Petruchio is
present, the dramatic situation is spelled out, and everyone's
motives are made clear. Right away Shakespeare suggests
that Lucentio and Bianca are made for each other. Bianca
"taketh most delight/In music, instruments, and poetry" and is

happier with a good book than in the company of most people. He intends to marry for wealth and asks Hortensio, point-blank,
Lucentio has moved to Padua for the sole purpose of studying if he can recommend any rich, eligible women to woo.
philosophy; Tranio has to cajole him into adding some Hortensio says he knows such a woman, but she is "shrewd"
extracurricular activities to his schedule. Quiet and scholarly, and "ill-favored." Petruchio says he doesn't care how old, cold,
Lucentio stands apart from the other suitors, who show little ugly, or ill-tempered his bride is, so long as she's rich.
interest in Bianca's personality or intelligence.
Hortensio, realizing that Petruchio is serious, admits that the
The standout character in this scene, however, is Katherine, woman he has in mind is Katherine, who is not only wealthy, but
who is described as too ill-tempered for any sane man to young, educated, and good-looking. "Her only fault," Hortensio
marry: Hortensio goes so far as to call her a "devil." Katherine, says, is her extraordinarily bad temper. Petruchio insists that
for her part, promises that if she were married to Hortensio, this is no big deal and asks Hortensio to come along to
she would "comb [his] noddle with a three-legged stool"—in Baptista Minola's house. Hortensio, who is in love with Bianca,
other words, hit him over the head with a chair. (In Act 3 she gladly agrees.
does end up hitting Hortensio over the "noddle," but with a lute,
not a chair.) Tranio finds this exchange hilarious, but Gremio's
and Hortensio's gibes at Katherine reveal a nastier side to their Analysis
personalities. Hortensio likens her to a "rotten apple," and
Gremio says he'd rather be whipped publicly every morning This scene mostly serves to develop Petruchio's character.
than marry Katherine. If this is her reputation among the After hearing from Gremio, Hortensio, and Katherine herself in
bachelors in town, it is no wonder Baptista has had trouble the last scene, the audience has a fair idea of what to expect
finding her a husband. from Katherine. Now her counterpart is introduced, and the
makings of a serious personality clash are set in motion. As her
In discussing his travels Lucentio likens himself to a person threats to Hortensio suggest, Katherine does not take kindly to
who "leaves/A shallow plash to plunge him in the deep/And suitors in general, and she values her independence. Moreover,
with satiety seeks to quench his thirst." It may seem odd to her defiance in Scene 1 shows that she is well aware of her
liken Pisa to a tiny pond of learning, since it is home to one of father's intention to marry her off as soon as a willing husband
the world's oldest universities. In Shakespeare's day, however, can be found. Petruchio is an especially bad fit for her,
Padua was internationally famous as a center of scholarship, because he is arrogant, overbearing, and impatient—traits that
ranking alongside Oxford and Paris. The city's academic will mix with Katherine's own short temper like toothpaste and
resources are the "deep" waters from which Lucentio is so orange juice. Even Petruchio's treatment of his servant reflects
eager to drink. poorly on his character, though the "knock me here soundly"
lines are usually played for laughs.
Act 1, Scene 2 In explaining to Hortensio just how much of a gold-digger he is,

Petruchio uses a sweeping array of allusions to classical
mythology and medieval romance. Probably the most obscure
reference is his claim to welcome a wife "as foul as was
Summary Florentius' love." This refers to the medieval "Tale of Florent," in
which a knight is forced to marry a hideous hag in order to
Petruchio, who hails from Verona, is freshly arrived at the home
fulfill an oath; a similar story can be found in Chaucer's
of his friend Hortensio in Padua. With him is his servant Grumio
Canterbury Tales. Age is not a dealbreaker for Petruchio either:
(not to be confused with Gremio, the elderly suitor from the
she can be "as old as Sibyl," the oracle who, according to
last scene). Petruchio orders Grumio to "knock." He means
Greek myth lived to be a thousand years old. He's even willing
knock on the door, but Grumio takes it to mean "punch me,"
to consider a woman as "curst and shrewd" as Xanthippe, the
with predictable results. After a few moments of mild comic
wife of Socrates, who was infamous in classical literature for
violence, Hortensio opens the door and breaks up the fight.
her constant scolding of her husband. Petruchio may be a
When asked what brings him to Padua, Petruchio announces fortune-hunter and a cad, but he's evidently very well-read. He
that he has come to seek his fortune after his father's death. also has very little regard for women as a sex and is not likely

to fall madly in love with a woman at first sight, like the younger
and less experienced Lucentio just did.
Analysis
Of all the scenes featuring Petruchio and Katherine, this is the
closest to a conventional courtship scene. In later acts
Act 2, Scene 1 Petruchio will resort to deception and abuse to get his way, but
here he and Katherine are on a more or less equal footing,
engaged in a battle of wits that Katherine seems to win. Her
Summary jokes and insults are, for the most part, just a little bit cleverer
than Petruchio's.
In this scene, which takes place at Baptista Minola's house,
Katherine's violent temper is on full display. She has bound her About halfway through their dialogue, Katherine strikes
younger sister Bianca's hands and insists Bianca tell her which Petruchio, bringing an awkward but momentary halt to their
of her suitors she likes best. Bianca refuses, Katherine strikes sharp-tongued exchange. This action confirms the impression
her, and Baptista intervenes. of Katherine as a violent person: she has already hit her sister
and cudgeled Hortensio with a musical instrument. (It's worth
Into this family scene arrive Gremio, Lucentio, Petruchio, pointing out, however, that she strikes Petruchio only after he
Hortensio, Tranio, and Biondello. True to the plan, Hortensio is makes an extremely rude joke.) But the blow backfires in at
disguised as a music teacher ("Litio"), and Lucentio is disguised least two ways: in the short term, it piques Petruchio's interest
as a classics tutor ("Cambio"). Tranio continues to pose as and makes him even more determined to "tame" Katherine. It
Lucentio. The tutors are introduced and sent offstage with the also provides him with a pretext, albeit a flimsy one, for treating
daughters. Petruchio announces his intention to marry Katherine poorly after their marriage. At the beginning of the
Katherine and asks Baptista what kind of dowry he can expect. play, Petruchio was only after Baptista's money. From this
As the two men discuss the terms of the marriage, Hortensio point on, however, Petruchio sees Katherine as an adversary to
runs back onstage, pale with fright. Katherine has flown into a be overpowered by whatever means necessary. Additionally,
rage and hit him over the head with his lute. though he does not admit this directly, he may want revenge
for Katherine's scornful behavior.
Now it's Petruchio's turn. He strikes up a conversation with
Katherine, whom he insists on calling "Kate," and proceeds to This scene also offers some insight into Katherine's violent
contradict everything she says. Katherine at one point grows temper and distrust of men. Rightly or wrongly, she seems to
so offended by Petruchio's uncouth jokes that she hits him. believe that Bianca is her father's favorite, his "treasure" who
Despite this seemingly obvious rejection, Petruchio tells "must have a husband." Katherine, meanwhile, sees herself as
Baptista he and "Kate" have hit it off so well that they have doomed to "lead apes in hell," which was the proverbial
decided to marry next Sunday. Baptista is amazed by the good punishment for women who died without ever marrying.
news. Katherine's protests are ignored. Baptista Minola may be trying his best to find a husband for
Katherine, but he does a poor job of communicating with his
With Katherine taken care of, Baptista turns his attention to
daughters and is frequently at a loss to understand them. Thus,
Bianca's suitors. Whoever can provide the largest dower for
Katherine lives under a perceived double standard—enough to
Bianca—the largest share of his estate—will be her husband.
make anyone a little bit shrewish. The lack of a mother-figure in
Gremio and Tranio (still in disguise) engage in a bidding war
the Minola household has also caused some speculation
over who can supply Bianca with greater wealth. Tranio wins
among critics about Katherine's behavior. What, if any,
the contest by promising huge amounts of land and money,
guidance about being a woman has she received living in an
along with an entire fleet of merchant ships. Baptista accepts
apparently all-male household?
the offer but insists on meeting with Lucentio's father
(Vincentio) to get his approval for the match. To keep up the
deception, Tranio realizes he will have to find somebody to
pose as Vincentio.

who is besieged by suitors of her own and not allowed to

Act 3, Scene 1 choose freely for herself. By selecting this poem as the text for
their lesson, Lucentio signals that he is at least somewhat
sympathetic to Bianca's plight.
Summary
For its comic effect the scene depends on the audience's
Lucentio and Hortensio (disguised as her tutors) continue to knowing that the Latin lines do not match the English
vie for Bianca's affections. Bianca expresses her frustration at translations. Thus, Lucentio and Bianca offer a startling
being seen as a prize to be fought over. Under the guise of example of people boldly insisting that one thing actually
giving a Latin vocabulary lesson, Lucentio reveals he has stands for another, in front of Hortensio, no less. Therefore,
"disguised [himself] thus to get [Bianca's] love." Bianca tells the scene foreshadows later conversations between another
Lucentio she neither knows nor trusts him, so he should not couple, in which Petruchio will tell a tailor that a dress has been
presume she will return his affections. At the same time, she poorly made, despite his own handwritten instructions to make
advises him not to despair. it so, or when he tells Kate that the shining sun in the midday
blaze is the moon, both of which are acted out in front of a
Now it is Hortensio's turn to teach. His music lesson, much like disbelieving Hortensio.
Lucentio's Latin, consists of a poem designed to teach her the
notes of the scale, while also delivering a not-so-subtle
message about "Hortensio's passion." Bianca rebuffs Act 3, Scene 2
Hortensio civilly, but a little more decisively than she chided
Lucentio. A servant enters and calls for Bianca's help in getting
Katherine's bridal chamber ready.
Summary
Katherine and Petruchio's wedding day has arrived, but the
Analysis groom is nowhere to be found. Baptista is dismayed, and
Katherine runs offstage in tears. At last Biondello reports that
Both of Bianca's tutors see their lessons as an opportunity not
Petruchio has been spotted, and a few minutes later he comes
just to flirt, but to dazzle her with their wit and cultivation. For
onstage in cheap, mismatched clothes. The other men plead
his attempt Hortensio offers a rather cutesy love poem, not
with Petruchio to change into something more appropriate, but
much better than the doggerel that Hamlet writes to Ophelia.
he declines and wanders offstage to seek out Katherine.
Bianca responds matter-of-factly: "Tut, I like it not." Hortensio's
Baptista and most of the other gentlemen follow Petruchio to
churlish behavior—for example, calling Lucentio a "base
the church, leaving Tranio and Lucentio onstage. The two now
knave"—may also help to explain why Bianca finds him a less
rehearse the details of their plan to win Bianca for Lucentio, by
appealing suitor than Lucentio.
having a stranger pose as Lucentio's father. Lucentio says he
The text Lucentio picks is more sophisticated than Hortensio's would rather simply elope with Bianca, but Tranio urges him to
love poem, and it gives him a much better chance to show off bide his time.
his intellect and good taste. The two Latin lines are taken from
Gremio returns from the church and announces that the
the Heroides by Ovid, a collection of imagined verse letters
wedding has concluded. The old man is horrified by Petruchio's
from famous mythic heroines to their husbands and lovers.
behavior, which, according to Gremio's report, has been even
They come from the first letter, written in the persona of
more boorish than usual. Petruchio, he says, not only swore
Penelope to her husband Ulysses. The lines themselves are
and drank excessively, but struck the priest who performed the
simply a brief description of the ruins of Troy, but the poem in
ceremony and threw a glass of wine in the sexton's face.
its entirety is a long, anguished love lyric from a woman who
doubts she will ever see her husband again. To add insult to At this point the rest of the wedding party returns, and
injury, Penelope is beset by greedy suitors living off her wealth Petruchio declares that he and Katherine will be skipping the
and waiting impatiently for her to choose a new husband. In reception to tend to some urgent business. Kate begs him to
this regard she is a bit like a more mature version of Bianca, change his mind, but he insists on leaving immediately and

threatens to fight anyone who interferes. Baptista, baffled, immediately starts berating his staff for the smallest of faults.
invites the guests to enjoy the wedding feast even though the He strikes one servant for pulling off his boots too roughly and
bride and groom are gone. another for spilling a pitcher of water. When dinner is served,
he becomes enraged because it is overcooked. The servants
flee.
Analysis
Now that she and Petruchio are alone, Katherine tries to
In this scene Katherine continues to hold her own against her reason with her husband. But he insists that it is better to go
father and her groom. She is well aware that Petruchio is out to without dinner than to eat "such over-roasted flesh." He leads
humiliate her: "I see a woman may be made a fool/If she had her to her bedchamber and, after a few harsh words overheard
not a spirit to resist." Nor has she run out of insults for by the servants, returns to the stage. Here, in a brief soliloquy,
Petruchio himself, whom she calls a "mad-brain rudesby." he describes his plan to deprive Katherine of food and sleep
When Baptista complains that his son-in-law is running late, until she is totally submissive to his will.
Katherine reminds him that she is the one who has been forced
to marry Petruchio. "You think you're humiliated, Dad?" she
says in effect. "Well, imagine how I must feel!" Baptista, Analysis
however, misses the point and thinks she is upset because she
has been stood up at her own wedding. In this scene Petruchio kicks his "taming" program into high
gear, morbidly suggesting that he will "kill a wife with kindness."
When Petruchio does show up, it becomes clear he has With Katherine on his own turf, he can control what she eats,
reached a new low in his attempts to break Katherine's will. His when she sleeps (if she sleeps at all), where she goes, and
clothes, his behavior, and even the broken-down horse he rides what she wears. Worse yet, he can pretend "that all is done in
into town are all intended to humiliate his bride. Even the reverend care of her," even though Katherine is not likely to
usually diplomatic Baptista calls him an "eyesore." Petruchio's believe him. He can even enlist his servants in the taming act,
outlandish actions at the church show his total disregard for relying on their fear of him to render them cooperative. This
anyone else's feelings—least of all Katherine's. night's disastrous dinner is just a preview of the cruel
hospitality Katherine can expect at her new husband's house.
Baptista, whose top priority is simply to marry off Katherine, is
happy in spite of the ruined celebration. He is so thrilled, in fact, Petruchio's soliloquy at the end of the scene shows that he is
that he starts to think about Bianca's upcoming wedding as taking the "taming" analogy literally, employing the same
well. When Petruchio and Katherine skip out on their own tactics one would use to domesticate an animal. Specifically,
wedding reception, he invites Lucentio (Tranio in disguise) and Petruchio imagines Katherine as a "falcon" who "must not be
Bianca to take the place of the bride and groom at the high full-gorged" until she has "stoop[ed]" to obedience. This isn't
table. Tranio, perplexed by the day's events, asks "Shall sweet just a fanciful metaphor: traditionally, uncooperative falcons
Bianca practice how to bride it?" (i.e., how to be a bride). were "deprived of food" by their handlers, "and not suffered to
Baptista replies that "she shall." sleep," as 18th-century author Oliver Goldsmith reports in his
Natural History (1774). These are the two main methods which
Petruchio uses to force Katherine—his "haggard" or wild-
Act 4, Scene 1 caught hawk—to "come and know her keeper's call."
Summary Act 4, Scene 2

Grumio arrives at Petruchio's house in Verona and rouses the
other servants, who prepare for their master's arrival. Summary
Petruchio, he warns, is in a violent temper, so all of the
servants must take care to be neatly dressed and ready to Back in Padua, Tranio and Hortensio eavesdrop on Lucentio
attend on their master. Petruchio arrives with Katherine and who, still disguised as Cambio, is flirting with Bianca. She

reciprocates his advances, and the two kiss. Hortensio, does. Hortensio, as Tranio has somehow discovered, is
disgusted, swears "never to woo her more," since she has planning to be Petruchio's first student. From a broader
chosen the lowly tutor Cambio as her suitor. Tranio, who never dramatic viewpoint, his presence in Verona will allow him to
intended to marry Bianca in the first place, takes a similar oath. serve as a voice of reason and to counterbalance Petruchio's
Before leaving the stage, Hortensio announces that he has an fuming and shouting in subsequent scenes. Hortensio's
even better marriage prospect: a rich widow who has long personal reason for going, however, is just to learn some wife-
admired him. Tranio tells Bianca he will no longer be courting taming tricks from a supposed master of the art.
her, but he wishes her and "Cambio" all the best.
Next, Biondello enters and informs Tranio that he has spied an

old merchant who may be willing to play the role of Lucentio's
Act 4, Scene 3
father. Lucentio and Bianca exit just as the merchant arrives.
Tranio learns that the merchant is from Mantua and proceeds
to trick him into thinking that Mantuans have been banned from
Summary
Padua on pain of death. He offers to help the merchant
This scene opens in a bedchamber at Petruchio's Verona
impersonate Vincentio (who is from Pisa) so he can evade the
residence, with Grumio waiting on his new mistress Katherine.
ban and conduct his business in town.
At first Grumio seems sympathetic, but he quickly reveals that
he is part of Petruchio's "taming" plot. He tempts Katherine
Analysis with suggestions of food, but then finds excuses for not
bringing her any. Petruchio enters with a meal but threatens to
In this scene the Lucentio/Bianca plot reaches its climax. The take it away unless Katherine thanks him for it. She complies
two young lovers are now flirting and kissing despite the risk of and sits down to eat, but Petruchio instructs Hortensio to eat
being found out; the textbook they are pretending to study is as much of it as he can while he distracts her.
Ovid's racy poem The Art of Love. Lucentio still has obstacles
At that moment a tailor and a haberdasher (a seller of hats and
to face—namely, getting his father's approval and Baptista
ribbons) enter, bearing clothes Petruchio has ordered for
Minola's permission—and doubts persist about whether Bianca
Katherine. The haberdasher presents a cap, the tailor a fine
will marry him. Still, once Hortensio gives up his courtship,
gown. Petruchio quarrels with both, insisting that the pieces
Lucentio is left with no real rivals. The man Baptista favors for
were not made according to his instructions. The tailor tries to
a son-in-law is Lucentio's own servant, Tranio, who is acting as
read his instructions to him, but Grumio interrupts him with
a decoy on Lucentio's behalf. Gremio, the only other suitor, has
nonsense, frustrating his efforts. Despite Katherine's protests,
not posed a significant threat since Act 2.
Petruchio drives both artisans away without purchasing their
While eavesdropping on Lucentio and Bianca, Tranio and wares, while Hortensio offers to the pay the tailor for his
Hortensio remind the audience that Petruchio does not have a trouble. Petruchio then mockingly consoles Katherine by
monopoly on misogyny. Tranio makes a barbed comment suggesting that "'tis the mind that makes the body rich."
about "unconstant womankind," opening the way for

Hortensio's much angrier remarks about how "unworthy"
Bianca is of his "favors" and how "fond" (i.e., foolish) he was to
Analysis
take an interest in her. Tranio eggs him on by calling Bianca
At this point Katherine's willpower is clearly flagging. Her
"beastly," and Hortensio picks up the hint, describing Bianca as
speech at the beginning of the scene reveals that she is
a "proud disdainful haggard." This is the same word Petruchio
longing for the security of home. The short monologue also
used to describe Katherine in the previous scene, and it
echoes the parable of the Prodigal Son in the Bible (Luke
suggests the same demeaning view of women as pets.
15:11-32), who misspends his inheritance and nearly starves. In
This scene also introduces the idea of Petruchio's "taming his misery he complains that even his father's hired servants
school"—not a literal academy, but a place where other men have plenty to eat; Katherine, likewise, ruefully reflects on the
can learn to bully their wives into good behavior, as Petruchio beggars who come to her own father's door and "have a

present alms" to buy food for themselves. The parallel,

however, only goes so far: the Prodigal Son took his share of
Analysis
his father's wealth and thoughtlessly squandered it. Katherine,
At this point the Lucentio/Bianca love plot seems to be nearly
in contrast, has essentially been abducted by her husband and
resolved. The young couple finally have a moment alone, away
is now his virtual prisoner.
from the watchful eye of Baptista Minola and the jealous gaze
Understandably, Katherine is openly resentful of Petruchio's of Gremio. Tranio, who frequently goads Lucentio into action,
"taming" techniques, which she sees as spiteful and cruel. urges him to be quick and decisive when the moment arrives.
Other characters are growing uneasy as well—including Everything seems to be in place, and Lucentio even breathes a
Grumio, Petruchio's loyal servant, who seems to waver at the small sigh of relief, asking, "Wherefore should I/doubt?" (Why
very beginning of the scene. Katherine has just asked him for should I worry?) But as the next Padua scene (Act 5, Scene 1)
food or some other small favor, but he insists he is afraid to shows, Lucentio and his servants still have a few things to be
help her: "No, no, forsooth, I dare not for my life." Even worried about. With Lucentio and Tranio both still in disguise
Hortensio, who has expressed amusement and even and an impostor standing in for Lucentio's father, their scheme
admiration at Petruchio's taming act in previous scenes, now rests on a shaky foundation.
finds that Petruchio is "to blame" for his mistreatment of
Katherine. Hortensio initially accompanied Petruchio to Verona
in hopes of learning some wife-taming tricks of his own. He Act 4, Scene 5
now seems embarrassed by his friend, which may explain why
he offers to pay the tailor after Petruchio rejects the gown.
Notably, he does not offer the same assistance to Katherine. In Summary
Elizabethan England, what a man does with his own wife is his
own business. Petruchio and Katherine are returning to Baptista's house,
along with Hortensio and some servants. Although it is midday,
Petruchio comments on how bright the moon is. Katherine
Act 4, Scene 4 corrects him: the sun, not the moon, is shining. Immediately
Petruchio throws a tantrum and threatens to cancel the trip,
ordering the servants to turn around. Seeing that she cannot
Summary win, Katherine promises to agree with Petruchio no matter how

bizarre his claims: "[B]e it moon or sun, or what you
In this scene the action briefly returns to Padua. Tranio has please./And if you please to call it a rush candle,/Henceforth I
coached the Mantuan merchant and has told Baptista Minola vow it shall be so for me."
to expect a visit from Vincentio soon. He and the merchant
Petruchio is satisfied with this response, and the journey
arrive at Baptista's home, and the merchant, posing as
continues. On the road, they happen upon Vincentio
Vincentio, gives his consent to the wedding between his son
(Lucentio's father). To amuse himself, Petruchio pretends that
and Bianca. Baptista agrees and Tranio invites him back to his
Vincentio is a young gentlewoman and forces Katherine to play
lodgings to finalize the agreement.
along. Vincentio, who is puzzled but not offended by
Tranio and company depart, with Biondello staying behind. The Katherine's "mad mistaking," reveals that he is paying a visit to
real Lucentio arrives, and Biondello explains to him that all the his son in Padua. He is startled to learn that Lucentio has found
arrangements are in place: Lucentio (still disguised as Cambio) a wife—and a wealthy, well-born wife to boot. The three agree
is expected to bring Bianca to dinner at Tranio's house. This to continue their journey together.
will be Lucentio's only opportunity to elope with Bianca. If he
fails, Biondello says that he can "bid Bianca farewell forever
and a day." Lucentio agrees to bring Bianca to Saint Luke's Analysis
Church rather than to dinner.
Starved and exhausted, Katherine is ready to return home to
her father and sister. This scene shows her losing the last bit

of her fighting spirit: steering clear of Petruchio's abuse now Vincentio to jail, but Lucentio and Bianca arrive and prevent the
takes precedence over everything else. This is a far cry from arrest. Realizing their scheme has been foiled, Tranio,
the proud Kate of just a few scenes ago, who delighted in Biondello, and the merchant "exit as fast as may be." Vincentio
matching wits with her suitors. Hortensio is worried: though he and Baptista are shocked, but Lucentio promises to explain
does not openly criticize Petruchio, he cautions him against everything.
going too far in his attempts to "tame" Katherine.
Petruchio, meanwhile, continues to announce his desire for Analysis

absolute mastery over his wife. At this point in the play, he has
already compared Katherine to livestock, pets, luggage, and In Acts 3 and 4, Shakespeare weaves an increasingly
furniture. This scene adds another degrading analogy to the complicated web of disguise, deceit, and assumed identities. In
list, although it is subtler than those in Act 3. When Katherine this scene the web finally (and suddenly) unravels. In the
finally agrees to endorse Petruchio's lies, he declares, "Thus course of defending his father, Lucentio is forced to admit he
the bowl should run,/And not unluckily against the bias." The is not actually "Cambio," the tutor, but the son of a wealthy
image comes from the game of lawn bowls, an outdoor merchant. Tranio's real identity is revealed by Vincentio, who
precursor of modern bowling. Katherine is likened to a bowl has known him since he was three years old. Hortensio has
(i.e., a weighted ball) tossed onto a lawn, with the bias being already given up his "Litio the musician" act, so this scene
the curved path the ball follows. The player is Petruchio, who spells an end to the impersonation subplot.
all along has seen Katherine as a tool for getting what he
wants. As the play nears its conclusion, the action becomes hectic,
even frantic. Tranio and Biondello's disrespectful treatment of
Vincentio's appearance in this scene is a warning signal, a Vincentio is strange, since he is their longtime employer and
flashing "Caution! Play Ends Shortly" sign. By showing clearly recognizes them. (Petruchio, who is now rich and at
Lucentio's real father on the way to Padua, Shakespeare alerts least claims to be a gentleman, can get away with this kind of
the audience to a potential flaw in the young man's scheme. behavior.) The rudeness of the two servants functions mainly
Once the real Vincentio and the fake Vincentio are in the same as a way of setting up a moment of slapstick humor: once they
city, a confrontation between the two is all but inevitable. realize they are "undone," they flee as quickly as possible. This
Depending on the nature of that meeting, Lucentio's marriage is a more innocent brand of humor than the obedience contest
to Bianca may be in jeopardy. in the following scene. In fact, despite all the confusion, the
overall tone of this scene is amusing. Even Gremio, who now
realizes he has no chance of marrying Bianca, seems content
Act 5, Scene 1 to go to the wedding reception, enjoy Baptista Minola's
hospitality, and watch what happens next.
Summary
Act 5, Scene 2
Lucentio and Bianca hurry to Saint Luke's to marry. Petruchio
and Katherine arrive at Lucentio's house, along with the real
Vincentio, who insists Petruchio stay for a drink. He knocks at Summary
the door, thinking he will be welcomed by his son. Instead, he is
rudely greeted by the Mantuan merchant (the fake Vincentio). This is a banquet scene, in celebration of Lucentio and
Each man accuses the other of usurping his identity, and the Bianca's marriage. At the table the other men make fun of
merchant threatens to call for the police. Petruchio for marrying a "shrew," but he tells them Katherine is
utterly transformed. He proposes a wager: he, Hortensio, and
Biondello returns and tells the audience that Lucentio and
Lucentio will all send servants to call for their wives, and the
Bianca are safely married. Tranio, still posing as Lucentio,
man whose wife comes without complaint or delay is the
comes out of the house with Baptista Minola and berates the
winner. Bianca is busy, and Hortensio's rich widow suspects
real Vincentio as a "mad knave." An officer comes to drag

The Taming of the Shrew Study Guide Quotes 22
some kind of prank. Katherine comes in immediately, and On its surface this little quip reveals the lord's plan to trick
Baptista, astonished by her obedience, gives Petruchio 20,000 Christopher Sly, but it also makes a broader point about
crowns. When the other ladies arrive, Katherine lectures them theater. Just as the pleasant smells and fine clothing are
on being properly submissive to their husbands. She and intended to make Sly "forget himself," the sights and sounds of
Petruchio kiss and leave the banquet, followed by the rest of the stage help the audience to forget itself and enter the world
the guests. of the play.
Analysis "Am I a lord, and have I such a

The tone of the conversation shows that the play is winding lady?/Or do I dream? Or have I
down, with all its major conflicts resolved. Petruchio knows he
dreamed till now?"
has won, and he shows a more relaxed and cheerful—even
dignified—side of himself than in previous acts. He jokes with
the other men but does not insult or belittle them; instead, he — Christopher Sly, Induction, Scene 2
makes a series of puns likening marriage to the gentlemanly

sports of hunting and archery. Although Baptista Minola is the This is the turning point in the Induction plot. At the beginning
host and Lucentio is the guest of honor, Petruchio dominates of this scene, Sly does a surprisingly good job of keeping his
the conversation and makes himself the center of attention, wits about him. As he wakes up surrounded by fine and
making it clear that he has won. expensive furnishings, he can't shake the feeling that
something is wrong: this is not the life he remembers. When he
The most straightforward reason for Petruchio's good mood is
hears about his beautiful wife, however, Sly finally loses his grip
his "taming" program, which has succeeded beyond anyone's
on his lowly past and embraces his new life as a nobleman.
wildest expectations, including his own. Katherine ("Kate") is
now so subservient to her husband that she is willing to
chastise other women for their own small acts of disobedience.
Petruchio's wager—the obedience contest—is designed to
"No profit grows where is no
show this extreme shift in her personality. Even two acts pleasure ta'en."
earlier, Katherine would have scoffed at any man—husband,
father, or otherwise—who dared to tell her where to go and
— Tranio, Act 1, Scene 1
what to do. Now, she comes running at Petruchio's merest
whim. The presence of Bianca and the widow further
underscores the change, since neither of these women could Initially, this little piece of proverbial wisdom seems like a poor
ever be called shrewish, but both see themselves as at least fit for The Taming of the Shrew, since most of the men in the
somewhat independent of their husbands. Katherine's play are interested in profit, but not pleasure. But it ends up
newfound zeal is remarkable and, in the eyes of many critics, applying, in a perverse way, to Petruchio, who takes a cruel
more than a little disturbing. pleasure in bewildering Katherine with his odd whims and
mood swings.
g Quotes
"Faith, as you say, there's small
choice in/rotten apples."
"Would not the beggar then forget
himself?" — Hortensio, Act 1, Scene 1
— Lord, Induction, Scene 1 Hortensio and Gremio are complaining about the difficulty of

The Taming of the Shrew Study Guide Quotes 23
finding a husband for Katherine so they can proceed to woo well-spoken competitor a chance to get close to the woman
Bianca. Katherine, Hortensio says, is a "rotten apple": in other they both love.
words, it would be better not to marry at all than to marry her,
no matter how rich her father is.
"I never yet beheld that special
"Wealth is [the] burden of my face/Which I could fancy more
wooing dance." than any other."
— Bianca, Act 2, Scene 1

— Petruchio, Act 1, Scene 2
This may sound like Bianca is just waiting for Prince Charming,
Petruchio plans to marry for money, and he's not afraid to
but it also reveals a very practical side to her character. If and
admit it. In music, a burden is a low note sustained throughout
when she is allowed to have suitors, Bianca is going to take her
an entire piece, like the drone of a bagpipe. Likewise, the idea
time in choosing a mate. This cool-headed approach sets
of wealth never leaves Petruchio's mind when he is courting a
Bianca apart from her eventual husband Lucentio, who is head
lady.
over heels in love from the moment he sets eyes on her.
"Here's no knavery! See, to beguile

"If I be waspish, best beware my
the old/folks, how the young folks
sting."
lay their heads together!"
— Katherine, Act 2, Scene 1
— Grumio, Act 1, Scene 2
This arch one-liner comes in the middle of Katherine's first

This is Shakespearean comedy in a nutshell. From As You Like meeting with Petruchio. The two trade insults, and Petruchio
It to The Tempest, many of Shakespeare's comic plots rely on calls Katherine a "wasp." Katherine knows this is meant as a
a conflict between young and old. The young wish to marry for slur, but she immediately takes ownership of her waspishness
love and pursue their own dreams, but their parents demand as a weapon for dealing with Petruchio. Unlike the other
obedience and respect. characters, Katherine does not see her sharp temper as a
problem but as an asset.
"O this learning, what a thing it is!"

"I see a woman may be made a
— Gremio, Act 1, Scene 2 fool/If she had not a spirit to
resist."
Gremio, hoping to gain an advantage over his rivals, has hired
Lucentio (in disguise) as a tutor to Bianca. Lucentio promises
to use the opportunity to plead on Gremio's behalf. — Katherine, Act 3, Scene 2
The old man is excited at the idea that Lucentio, with all his
By the end of Act 3, Katherine has survived the first major
learning and sophistication, will be helping him to woo Bianca.
"taming" attempt. Petruchio has ruined their wedding and
Moreover, he is completely taken in by Lucentio's ploy.
startled or offended the guests. Katherine isn't confused by
Although he does not realize it, Gremio is giving a young and
this behavior: she knows Petruchio is out to make a fool of her.

The Taming of the Shrew Study Guide Symbols 24
From this point onward, Katherine's "spirit to resist" is gradually he decides to attend the wedding feast and at least try to have
worn down by Petruchio's antics. a good time.
"She is my goods, my chattels; she "Thy husband is thy lord, thy life,
is my house,/My household stuff, thy keeper,/Thy head, thy
my field, my barn,/My horse, my sovereign, one that cares for
ox, my ass, my anything." thee."
— Petruchio, Act 3, Scene 2 — Katherine, Act 5, Scene 2
Marriage in this play is less a declaration of love and more an Katherine's monologue at the end of the play shows the extent
economic machination. Petruchio is simply an extreme of her transformation. She has been so thoroughly abused by
example, a man who shows his true colors early and often. In Petruchio that she now instructs other women on how to obey
this quote he claims to own Katherine in the same way he their husbands. In performance, this monologue is sometimes
owns all of his property, and by Elizabethan law, what he says delivered sarcastically, to indicate that Katherine has not
is true. Anything else that may come between them is icing on actually been "tamed."
the cake.
"Why, there's a wench! Come on,

"What you will have it named, even
and kiss me, Kate!"
that it is,/And so it shall be so for
Katherine." — Petruchio, Act 5, Scene 2
— Katherine, Act 4, Scene 5 With this exclamation, Petruchio applauds Katherine's speech
about wifely submissiveness. He has thoroughly bested his
wife and is ready to celebrate.
Throughout Acts 3 and 4, Katherine has continued to fight
Petruchio's efforts to tame her. At this point she finally gives Wench is a condescending term for a girl or young woman,
up. She is willing to agree with whatever Petruchio says, since especially a servant. Applied to the well-bred Katherine, it is an
angering him will only provoke more tantrums and abuse. insult, or at best an irreverent joke. Petruchio's use of the word
reflects his triumphant mood in this scene.
"My cake is dough, but I'll in among

the rest,/Out of hope of all but my l Symbols
share of the feast."
— Gremio, Act 5, Scene 1

Petruchio's Horse
This is a bittersweet comic moment before the play's grand

As part of his plan to humiliate Katherine, Petruchio makes
finale. Gremio admits he no longer has a chance of marrying
sure to arrive late to his own wedding. When he is finally
Bianca. ("My cake is dough" means "my plans are ruined.") Still,

The Taming of the Shrew Study Guide Themes 25
spotted on the road to Baptista Minola's house, his outrageous small detail, he has managed to turn an ordinary meeting into
clothes are the first topic of discussion. Even more remarkable, an upsetting spectacle, all while denying Katherine something
however, is the horse Petruchio has ridden into town. she clearly desires. Katherine is already hungry and sleep-
Petruchio's steed is never seen onstage, but Biondello deprived when the scene begins, but after Petruchio's
describes it in grotesque detail as a weak, disfigured creature argument with the tailor, she understands there is no hope of
barely able to walk, let alone carry a rider. He reports that the reasoning with him.
horse is afflicted by an improbably long list of diseases,
including the "bots" (maggots that infest the skin) and the
"spavins" (swollen leg joints). This horse is the equivalent of a
car with two flat tires, no muffler, and mismatched doors taken m Themes
from the junkyard.
Clearly, Petruchio does not just happen to have a diseased,

broken-down horse waiting in his stable. Instead, he goes out Disguise and Deception
of his way to find the worst horse possible. This gesture
reflects Petruchio's cavalier attitude toward his bride, his
friends, and his future father-in-law. In his quest to "tame" Tricks and disguises abound in The Taming of the Shrew.
Katherine, Petruchio is willing to make himself look ridiculous, Three out of Bianca's four suitors employ some kind of
even clownish. disguise, either to get close to her or to fool her father.
Lucentio and Hortensio both masquerade as tutors, and their
ruse fools not only Baptista Minola but also their rival Gremio.
Tranio not only impersonates Lucentio, but tricks a merchant
The Dress into posing as Lucentio's father, leading to a confusing and
emotional recognition scene in Act 5. Gremio, Bianca's
remaining suitor, does not wear a disguise, but has tricks of his
Petruchio begins his campaign against Katherine the moment own. He hires Lucentio to teach Bianca literature, but wants
he meets her. His plan, as he tells the audience in Act 3, Scene him to teach her only love poetry and to speak favorably of
1, is to contradict Katherine at every turn, praising her for him.
virtues she does not have. In Act 4, he steps up his game by
pretending nothing is good enough for his precious Katherine. Petruchio's "taming" of Katherine makes use of a different,
He brings in food and then takes it away, claiming it is not crueler sort of trickery: false promises he has no intention of
dainty enough for her refined palate. Later, he refuses to let keeping. From their first meeting onward, Petruchio dangles
Katherine sleep because the pillows and bedsheets are not before Katherine the promise of a lavish lifestyle, full of "rings,
arranged correctly. and things, and fine array." These luxuries seldom materialize,
and when they do, Petruchio snatches them away before
This absurd behavior reaches its climax in Act 4, Scene 3 when Katherine can enjoy them. Even though she sees through
Petruchio has a tailor bring in a costly gown, cut in the latest Petruchio's behavior, Katherine is gradually worn down by her
style. Just as Petruchio expects, Katherine absolutely adores inability to trust her "madcap" husband.
the dress: "I never saw a better-fashioned gown," she declares,
"more quaint, more pleasing, nor more commendable." He then
proceeds to find fault with the way the sleeves are cut. In fact,
he throws an absolute fit, berating the tailor as a "flea" and a Gender Roles
"nit" and threatening him with physical violence. When the tailor
realizes he will not be able to collect payment for the gown, he
packs it up and quickly leaves the house. There's no getting around it: The Taming of the Shrew
reflects—and maybe even celebrates—the widespread sexism
The dress, which Katherine loves but cannot have, is a visible
of its time. The central premise of the play is that a woman who
symbol of how cruel Petruchio has become. By fixating on a

The Taming of the Shrew Study Guide Themes 26
is too assertive, argumentative, or uncooperative needs and she gives a lecture on wifely obedience to the other women at
deserves to be "tamed." Some scholars have argued that this the wedding. Although these women are not as shrewish as
theme is presented in jest, and Katherine's closing monologue Katherine once was, they show some definite sparks of
should be read sarcastically. Still, neither Petruchio's friends resistance to the idea of being "tamed." In Act 3, Scene 1, when
nor his father-in-law speak out too strongly against his actions. Hortensio and Lucentio are fighting over who gets to tutor
To them, apparently, the "taming" experiment is acceptable in Bianca first, she speaks up for herself: "I am no breeching
principle, even if Petruchio carries it too far. scholar in the schools./I'll not be tied to hours, nor 'pointed
times,/But learn my lessons as I please myself." Later, she calls
Shakespeare, it might be argued, is not endorsing this her husband a "fool" for assuming she will drop everything and
viewpoint, but merely presenting the way things were, or come when called. The Widow, Hortensio's wife, likewise
commenting on an unfortunate social reality. In Shakespeare's refuses to participate in the obedience contest in the final
later plays, characters as misogynistic as Petruchio tend to be scene. She suspects—correctly, as it turns out—that her
either villains or tragically misguided heroes. In Cymbeline the husband is engaged in some kind of frivolous game.
Italian merchant Iachimo is so convinced of women's infidelity
that he sets out to ruin the reputation of Imogen, a woman
faithful to her husband. Posthumus Leonatus readily believes
the rumors about his wife and vows to kill her, but he repents Wealth Conquers All
before the end of the play. Iago in Othello is another woman-
hater who manufactures a scandal, this time with fatal
consequences. Othello, too easily turned against his wife,
It's no surprise that a play about a fortune-hunting suitor would
murders her and then kills himself.
be filled with images of gold and jewels. In fact, these images
The Taming of the Shrew, however, is a comedy, and it ends are used to describe all types of desire, from romantic love to
with a celebration, not a funeral. For Petruchio, the play's greed. For Petruchio the only wealth worth pursuing is the
ending is definitely a happy one. He "come[s] to wive it literal, physical kind. When Hortensio points out all of
wealthily in Padua," and he achieves his goal by marrying into Katherine's bad qualities, Grumio tells him not to worry: as long
one of Padua's richest families. In the world of the play, as "gold enough" is involved, Petruchio will be happy to marry
marriage is a property arrangement between husbands and "a puppet or an aglet-baby," i.e., a small carved figurine.
fathers-in-law, a kind of game which Petruchio clearly wins. Petruchio himself scoffs at Hortensio's warnings: "Hortensio,
Katherine, married against her will to a tyrannical husband, is peace. Thou know'st not gold's effect." Later on, Petruchio
almost certainly the loser. Moreover, Petruchio wins precisely taunts his wife with the promise of "golden rings," though it
because of his willingness to treat Katherine like an animal to seems unlikely that he would actually spend money on costly
be domesticated. In one monologue Petruchio even justifies his gifts for her.
behavior by reframing it as a good example for other men to
Baptista Minola is almost as money-minded as Petruchio. He
follow: "He that knows better how to tame a shrew,/Now let
treats his daughters' suitors like contractors bidding to
him speak; 'tis charity to shew."
complete a job, and he offers Petruchio a bonus payment for
Nor is Petruchio the only character who thinks this way. His taming Katherine so well. Gremio is well aware of Baptista's
male companions cheer him on, since they are relying on his materialistic worldview. Instead of donning a disguise and
success for their chance to woo Bianca. Tranio, usually a hoping to win Bianca's heart directly, he plans on impressing
sympathetic character, speaks with admiration of Petruchio's Baptista with a huge dowry. In Act 2, Scene 1, Gremio gives a
"taming school/... That teacheth tricks eleven and twenty lavish description of his home in Padua, which is adorned with
long/To tame a shrew and charm her chattering tongue." Even all kinds of gold and silver furnishings. He even alludes to his
the father-in-law is in on the act: in the final scene, Baptista own advanced age, hinting that Bianca will inherit her dower
Minola is overjoyed that Katherine has been "tamed" and offers much sooner than if she marries a younger man. Tranio, who is
Petruchio an additional 20,000 crowns on top of the dowry. bidding on behalf of his master Lucentio, goes directly to the
heart of the matter. He names the exact sum, in ducats, that
By the end of the play, Katherine is so thoroughly changed that Bianca will receive if she marries him.

The Taming of the Shrew Study Guide Motifs 27
Hortensio, Bianca's other suitor, seems a little more idealistic name from gamma ut, which was the name for the bottom note
at first. He uses wealth imagery to express his admiration for of the scale (modern low G). This arrangement is the ancestor
Bianca's intelligence, personality, and physical beauty. It's of modern solfège, the do-re-mi system used in choirs and
worth remembering that Bianca is the younger sister, so her classrooms.
dowry is not likely to be as great as Katherine's. Nonetheless,
Hortensio regards Bianca as a "treasure" and "the jewel of my Although it may seem unnecessarily complicated by today's
life," likening Baptista Minola's house to a castle in which such standards, the gamut was common knowledge to educated
a treasure might be guarded. But Hortensio's high-minded Elizabethans. Thus, when Hortensio offers his poem to Bianca
notions of love do not survive the play. When he spies Bianca in Act 3, Scene 1, she protests, "I am past my gamut long ago."
kissing Lucentio, he immediately loses interest in her and The gamut system is also the origin of the expression run the
chases after a rich widow instead. gamut, which means to cover the entire range of something.
Bianca's suitors, for example, run the gamut from servants in
disguise (Tranio) to elderly tycoons (Gremio).
b Motifs
Ships, Sailing, and Trade
Nautical imagery also recurs throughout The Taming of the
Music Shrew. Since many of the play's characters are merchants or
merchants' sons, allusions to maritime trade help to connect
Music plays many roles in The Taming of the Shrew. In the the activities of marriage and commerce. In one of his many
Induction soft music signals Christopher Sly's transition from vivid metaphors for the courtship process, Petruchio describes
his old life as a tinker to his new life as a nobleman. The lord Katherine as a ship to be boarded (Act 1, Scene 2). This hints
specifically orders his servants to "procure me music ready toward the forceful approach he will take in "taming" her after
when [Sly] wakes," to complete the illusion created by the the wedding. Tranio, in his bidding war against Gremio,
fancy clothes and rich food. Music is also a sign of mentions "argosies," "galliasses," and "galleys," three kinds of
sophistication and high culture. In Act 1, Scene 1, Tranio urges merchant vessels that make up Vincentio's fleet. Later in Act 4,
his master Lucentio not to neglect music, which will "quicken" Scene 2, Tranio frightens the (unnamed) merchant with the
him (i.e., enliven and energize him) for the rest of his studies. false claim that his ships have been seized in Venice; if this
Later, Hortensio chooses to pose as a music teacher (and not were true, it would bring his trading activities to a grinding halt.
a language tutor like Lucentio) in order to have the best shot at This disturbing news helps to make the merchant more willing
courting Bianca. Even the oafish Petruchio knows enough to cooperate with Tranio's plan. In the final act, once Lucentio
about music to describe wooing as a "dance" (Act 1, Scene 2). and Bianca have eloped, Biondello wishes them "good
shipping," figuratively turning marriage into a sea voyage.
Bianca and Katherine respond very differently to music,
offering clues to their personalities. Bianca, gentle and mild- In Shakespeare's time cities throughout Europe depended
tempered, loves music so much that her father has arranged greatly on oceangoing trade for their prosperity. Some, such as
for private lessons. She grows bored with Hortensio's lesson, Venice, were major commercial ports. Others, including Padua,
but not because she fails to pay attention. Rather, she wishes lay inland but were still reliant on shipping to get their wares to
he would stop rehearsing the basics and move on to foreign markets. For an individual merchant, a ship was an
something more challenging. Katherine, on the other hand, has important investment, and the loss of a vessel could spell
as little patience for music as she does for courtship. Hortensio disaster. (In The Merchant of Venice, the delayed arrival of a
has barely started teaching when she grabs the lute and ship becomes a matter of life and death.) When Tranio tallies
bashes him over the head. up Vincentio's ships, he is not just showing off or trying to
embarrass his rival Gremio. He is offering Bianca financial
Hortensio's rhyming lesson in Act 3, Scene 2 is an extended
security in the present and the possibility of vast wealth in the
pun on a medieval system known as the gamut, in which every
future.
note in the musical scale had a name. The system itself gets its

The Taming of the Shrew Study Guide Suggested Reading 28
e Suggested Reading
Aspinall, Dana E. The Taming of the Shrew: Critical Essays.
Routledge, 2002.
Bloom's Shakespeare Through the Ages: The Taming of the

Shrew. Bloom's Literary Criticism, 2008.
Shafer, Liz. "A Shrew and The Shrew." British Library Treasures
in Full. The British Library, 09 Sept. 2004.
"Shakespeare in Quarto: Taming of the Shrew." British Library

Treasures in Full. The British Library, 17 Sept. 2004.
"Stage History | The Taming of the Shrew." Royal Shakespeare

Company. Royal Shakespeare Company, n.d.
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by 100000817764887.

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The Taming of

Katherine's shrewish behavior as a challenge to be overcome;

j Book Basics ................................................................................................. 1

e Suggested Reading .............................................................................. 28 Bianca, and Petruchio's "taming" of Katherine.

Sources and Influences

Whichever play Henslowe saw, The Taming of the Shrew

Dates Garrick's romantic comedy largely replaced Shakespeare's

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a Author Biography Retirement and Legacy

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collaborations with John Fletcher (1579–1625), another

h Characters Baptista also arranges Bianca's marriage based on money, not

In terms of personality, Bianca is nearly the opposite of her

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places a winning "bid" on Lucentio's behalf. He then finds a

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Other Major Character

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Full Character List Grumio (not to be confused with

The haberdasher brings a cap for

Hortensio is one of Bianca's admirers

Biondello is another servant of Joseph is another of the servants who

The merchant, who comes from

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The first player is a traveling actor

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7. Katherine finally gives in and agrees to obey Petruchio.

1. Petruchio arrives in Padua seeking a rich wife.

8. Petruchio and Katherine return to Padua.

2. Hortensio tells Petruchio about Katherine.

5. Petruchio and Katherine are married.

6. Petruchio takes Katherine back to Verona to "tame" her.

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Lucentio travels to Padua to study philosophy.

Petruchio arrives in Padua, looking for a wealthy wife.

Within a few days

Lucentio and Hortensio are hired as Bianca's tutors.

That same afternoon

Petruchio gets Baptista's approval to marry Katherine.

Tranio, acting on Lucentio's behalf, gets permission to

A few days later

Lucentio and Hortensio woo Bianca through their

Petruchio and Katherine are married.

Immediately after the wedding

Petruchio and Katherine depart for Padua.

Petruchio "tames" Katherine by denying her food and

Hortensio renounces Bianca and leaves for Padua.

Within a few days

Petruchio, Katherine, and Hortensio return to Padua.

Later that week

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Lucentio and Bianca elope.

Hortensio marries a rich widow.

A few days later

Lucentio and Bianca celebrate their marriage with a

A changed Katherine speaks out against female

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Act 1, Scene 2 In explaining to Hortensio just how much of a gold-digger he is,

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