The Taming of the Shrew
Study Guide - Teacher Edition
Induction, Scene One
Vocabulary
anon: archaic shortly
an’t: archaic if it
baggage: archaic an immoral woman, especially a prostitute
balm: archaic to bathe
charge: order
counsel: to give advice to someone
induction: an introductory act in a play (in context)
loathsome: causing hatred or disgust
obeisance: respectful behavior
rogue: a dishonest person
stocks: an instrument of punishment in which arms and legs are confined
swine: a person regarded with disgust (in context)
want: lack
1. Describe Sly. What is he like, and how is this shown?
Sly is drunk; surly and full of his own importance, he does not seem to fear consequences. As the play
begins, he is unapologetic about breaking the hostess’s glasses and asserts that “the Slys are no rogues.
Look in the chronicles, we came in with Richard Conqueror.” Not only does he come up with the wrong
name for William the Conqueror, but he gets his Latin wrong with “paucas pallabris” and even invents
a fake Latin imperative for “Cease” (“Sessa”). In trying to act more educated than the hostess, he appears ridiculous.
2. Describe the dynamic between Sly and the hostess.
The hostess is incensed by Sly’s behavior but unable to handle him without the help of (presumably
male) authorities. Sly is disrespectful to the hostess, inferring that she is a prostitute.
3. How does the lord’s speech distinguish him from Sly?
The lord speaks in verse while Sly speaks in prose. Sly’s language is characterized by the use of slang
and insults, while the lord’s language is proper.
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4. What trick does the lord intend to play on Sly? Why might he want to do this?
The lord intends to surround Sly with expensive possessions and servants who refer to him as their
lord. He wants to make Sly believe he is a wealthy, important lord, a member of the upper class. The
lord intends to entertain himself at Sly’s expense.
5. What role does the lord have in mind for his page, Barthol’mew?
The lord wants Barthol’mew to pretend he is the lord’s submissive wife overjoyed by her husband’s
recovery. He sets up rules for how the “farce” will be played, reminding everyone that the deception
should be “husbanded with modesty.”
6. How does this scene introduce the idea of two separate productions?
The lord devises a production to trick Sly into thinking he is someone else, and as a part of that, the
lord’s players stage a play for Sly to watch.
7. What does the first scene suggest about the tone of the play?
The first scene suggests the play will be fun and light. The lord seems fun-loving and mischievous, and
the audience is excited to see whether Sly will fall for the trick or not. The audience is encouraged to
laugh at the ridiculous Sly. They might also be curious as to whether or not he will learn anything from
this trick.
8. What question does the lord set out to answer? What question might Shakespeare be asking?
The lord is curious about whether or not a man can be convinced he is someone other than himself.
Shakespeare might be asking his audience to consider how people determine their identities and if
they can be transformed through experience.
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The Taming of the Shrew
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Induction, Scene Two
Vocabulary
Apollo: Greek mythology god of music
bestraught: archaic out of my mind
Cytherea: Greek mythology alternate name for Venus, goddess of love
hawking: hunting with hawks
tinker: a person who travels from place to place mending pans, kettles, and other metal utensils as a
way of making a living
1. Describe Sly’s evolution from disbelieving his elevated station to accepting it. What finally
convinces him to accept he is a lord?
When Sly first awakens, he is completely convinced he is himself; he references his livelihood, his
heritage, and even people in his life who could vouch that he is who he says he is. However, the lord
and the serving men explain that he has been ill and offer him anything his heart desires; the lord also
speaks of Sly’s wife, who is “inferior to none.” It is this last information about a wife that wins Sly over,
and he embraces his noble identity. He even begins to speak in iambic pentameter, although there are
breaks in his meter and he calls for his “ale,” a common person’s drink.
2. What excuse does the page, as Sly’s “wife,” offer for why he cannot sleep with Sly right away?
The page explains that Sly’s doctors would not approve, given his weakened condition: “For your physicians have expressly charged, / In peril to incur your former malady, / That I should yet absent me
from your bed…”
3. What might be Shakespeare’s motivations for introducing The Taming of the Shrew with the story
of Sly?
The initial argument between Sly and the hostess and Sly’s ridiculous attempts to appear educated set
the tone for a farce, reminding the audience not to take anything they are about to see too seriously.
Also, Shakespeare may have wanted to introduce into the play the themes of deceit, transformation,
and social class, as well as the motifs of disguise and clothing, masters vs. servants, and hunting and
feasting.
Note to teachers: The Induction is unusual in that it acts as a frame; it is not an integral part of the
play’s main plot. Shakespeare often presented a play-within-a-play as a dramatic technique. The
tradesmen’s production of Pyramus and Thisbe in A Midsummer Night’s Dream and Gonzago’s
murder in Hamlet are two examples.
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The Taming of the Shrew
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Act One, Scene One
Vocabulary
Aristotle: ancient Greek philosopher who established strict rules to keep tragedy and
comedy separate
bestow: to give in marriage
dowry: a bride’s family’s gift to her bridegroom
grave: archaic learned
importune: to urge
Minerva: goddess of wisdom
mi perdonato: Italian pardon me
Ovid: a Latin poet whose writing was both comedic and sophisticated
pantaloon: a character in Italian comedy (a very thin man of advanced years who is easily tricked)
plash: archaic pool
stoic: noun someone who is unemotional, especially during adversity
strange: archaic distant, unfriendly
1. Where is Lucentio from, and what is he doing in Padua?
Lucentio is from Florence, and he is in Padua to study philosophy.
2. What is Lucentio’s family situation?
Lucentio enjoys his father’s love and good wishes in his pursuits in Padua. Lucentio’s family is prosperous, well-known, and well-meaning.
3. Tranio, Lucentio’s servant, reminds him that “no profit grows where is no pleasure ta’en: / In brief,
sir, study what you most affect...” What does he mean?
Tranio means that Lucentio should not take himself or his studies too seriously. He suggests that if
Lucentio pursues what he loves, he is more likely to be successful.
4. Describe Katherine (Kate). How is she different from her sister? How is the audience meant to
interpret her behavior?
Kate is fiery, outspoken, and intelligent. She does not back down from Hortensio’s attempts to demean
her and instead insults him. She also challenges her father’s decision to subject her to others’ ridicule.
Kate’s sister Bianca, in contrast, is meek and obedient, telling her father, “Sir, to your pleasure humbly
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I subscribe: . . .” The other characters criticize Kate, and Gremio even compares her to hell. Though by
modern standards Kate’s repartee seems witty and her willfulness admirable, Shakespeare’s audience
was more likely to view her outspokenness as a character flaw.
5. Lucentio observes of Bianca, “But in the other’s silence do I see / Maid’s mild behaviour and
sobriety.” What does this suggest about the view of a woman’s ideal role in Shakespeare’s era?
In addition to her physical attractions, Bianca is appealing to Lucentio because she is silent. In Shakespeare’s era, a woman’s mild manner helped make her desirable.
6. Why does Gremio feel Baptista is treating Bianca unfairly?
Baptista will not allow Bianca to marry until Kate is married. Since Kate is outspoken and unlikely to
attract a husband, Gremio feels that Baptista’s plan is grossly unfair to Bianca, who must suffer for
her sister’s sins.
7. Hortensio believes that it is possible to find a husband for Kate, despite her outspoken nature.
What type of man does he think would accept Kate?
Hortensio thinks that men who are attracted to Kate’s fortune could be compelled to marry her.
8. What comes over Lucentio as he watches Bianca?
Lucentio falls into a trance as he watches Bianca; he is in love at first sight.
9. Lucentio and Tranio come up with an elaborate scheme that will enable Lucentio to woo Bianca.
What is that scheme? How is it further embellished with the arrival of Biondello?
Lucentio will pretend to be a schoolmaster and present himself as an instructor to Bianca. Tranio will
step into Lucentio’s place and study philosophy; he will present himself as Lucentio to Bianca’s father.
They switch their clothes to signal their new identities. When Biondello arrives, Lucentio claims that he
has killed someone and can be identified by a witness; Tranio is pretending to be him so that Lucentio
can escape. Biondello does not believe this story, but he goes along with it anyway.
10. Using supporting evidence from the text, characterize Lucentio’s relationship with his servants,
Tranio and Biondello.
Lucentio has an easy, friendly relationship with his servants. Tranio does not hesitate to advise his
employer, such as when he counsels him not to take his studies too seriously or determines to break
Lucentio out of his love struck trance. He is also clearly fond of Lucentio, agreeing to impersonate him
because “I am content to be Lucentio, / Because so well I love Lucentio.” The fact that Tranio could so
easily step into Lucentio’s shoes suggests that the class difference between them is not unbridgeable.
Though Biondello appears only briefly, he is straightforward with Lucentio. When Lucentio asks if he
be- lieves his story, Biondello says, “I, sir? Ne’er a whit,” but he agrees to go along with the ruse
regardless.
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11. Throughout the scene, Lucentio makes a plethora of classical allusions, among them references to
Minerva, the Queen of Carthage, and Agenor. For what purpose might Shakespeare have included
these allusions in Lucentio’s dialogue?
During the Renaissance, knowledge of classical Greek and Roman history and literature was generally
confined to those of the upper classes in the social hierarchy. Lucentio’s use of classical allusions shows
that he is well educated, suggesting that he is a member of an upper class in society.
12. What is achieved by Sly’s reappearance at the end of the scene? What themes do Sly’s story and
the story that is beginning in Padua have in common?
Sly reappears to remind members of the audience they are watching a play-within-a-play; the reappearance of his foolish character and the fact that he would be quite happy for the show he is watching to end both emphasize the elements of comic farce. Both stories develop themes of disguise and
dishonesty; also, in both stories various characters assume different identities.
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The Taming of the Shrew
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Act One, Scene Two
Vocabulary
brawl: to fight noisily
chide: scold or rebuke
come roundly: to speak plainly
compound: archaic to settle
ere: before
fray: noun a situation of intense activity
Hercules: Greek mythology hero who carried out twelve impossible tasks
in jest: archaic as a joke
irksome: annoying
knock: to hit repeatedly; to strike with a hard blow
Leda’s daughter: Helen of Troy, thought to be the most beautiful woman in the world
liberality: generosity
scold: noun a person who rebukes others
trow: archaic to know, to believe
vent: to release strong feelings
1. A pun is a joke that uses a word or phrase humorously to emphasize its different meanings. How
does a pun play into Petruchio’s exchange with his servant Grumio in the opening lines? Petruchio
and Grumio banter with one another; when Petruchio asks Grumio to “knock”—meaning to knock
on Hortensio’s door—Grumio misunderstands; he thinks Petruchio wants him to “knock” (strike )
Petruchio, which Grumio won’t do.
2. What does the exchange reveal about Petruchio’s personality?
Petruchio becomes angry and physical with Grumio. The exchange shows that Petruchio is a sharptongued, commanding person, much stricter with his servant than Lucentio was with his in the previous scene. Petruchio expects to be obeyed.
3. What does Petruchio mean when he says he is in Padua to “wive and thrive”?
Petruchio means that he is in Padua to marry a wealthy woman. His wife will enable him to thrive,
living a rich lifestyle.
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4. Why is Petruchio willing to take on a difficult wife, while Hortensio is not?
Of the two, Petruchio is much more motivated by money; he indicates that Hortensio is foolish not to
be. Hortensio feels that Katherine’s faults are too heavy a load to bear and says he wouldn’t marry her
even if he were more desperate for money: “That, were my state far worser than it is, / I would not wed
her for a mine of gold.” Petruchio replies, “Hortensio, peace! Thou know’st not gold’s effect.” It may
also be that Petruchio is not as well off as he lets on and needs a wealthy wife more than Hortensio
does.
5. Hortensio claims that he raised the subject of the wealthy but difficult potential wife for Petruchio
“in jest,” but he says that he will offer more details if Petruchio is really interested. Why is it likely that
Hortensio was not joking when he raised the subject, and what does this claim reveal about him?
Hortensio is being disingenuous when he says he raised the subject as a joke, which further emphasizes the shadiness of his character. He said in the previous scene that he believed certain men would
be enticed by Katherine’s money, and Petruchio made his monetary goals clear from the start of their
conversation. Logically, then, and in order to advance his own goals, Hortensio wanted to present
Katherine as a suitable wife for Petruchio.
6. How does Lucentio deceive Gremio?
Lucentio pretends to be a schoolmaster who will court Bianca on Gremio’s behalf. In actuality, he is
pretending to be a schoolmaster so that he might court Bianca on his own behalf.
7. Describe Grumio. What might his purpose be in this scene?
Grumio offers comic relief in this scene. He is silly in his literal interpretation of Petruchio’s request to
knock on Hortensio’s door, yet his refusal to hit Petruchio also shows his loyalty, as does the way he
boasts to the others about Petruchio’s cleverness. Grumio is also outspoken about the events unfolding
around him.
8. Why does Petruchio feel so confident he can withstand Kate’s sharp tongue?
Petruchio boasts of all of the difficult predicaments he has survived, which were much more daunting
than the mere words of a woman. He declares, “Think you a little din can daunt mine ears? / Have I
not in my time heard lions roar? / . . . . Have I not in a pitchèd battle heard / Loud ’larums, neighing
steeds, and trumpets’ clang?” A woman’s shrill voice would seem to be no match for the obstacles he
has overcome, and Petruchio is confident in his ability to tolerate Kate’s.
9. What reason does Tranio (as Lucentio) offer for why the other men should not care about his
desire to court Bianca?
Tranio explains that Bianca’s father is a noble gentleman who will choose fairly and that the right husband for Bianca will have her. He puts their rivalry in historical context, arguing that Leda’s daughter—a reference to Helen of Troy, reputedly the most beautiful woman in the world—had a “thousand
wooers”; thus it can’t hurt if Bianca has just one more.
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10. What compels the rivals for Bianca to join forces?
The rivals all realize that they have a shared objective: facilitating the marriage between Katherine
and Petruchio. They also are enticed by Tranio’s suggestion that they relax together as friends over
food and drinks.
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Act Two, Scene One
Vocabulary
affability: state of being good-natured
chafe: to annoy
conformable: compliant, obedient
crave: to demand (in context)
cuff: to hit
dainties: delicacies (in context)
dissemble: to put on a false appearance; to conceal one’s true motives, feelings, or beliefs
extempore: without rehearsing
flout: to show contempt for a law or convention by openly disobeying it
fret: noun a ridge on a fingerboard such as that of a guitar or sitar haste:
great speed
hilding: archaic good-for-nothing
lusty: archaic lively
lute: a plucked string instrument
pate: archaic head
peremptory: insisting on immediate attention or obedience
petitioners: suitors
petticoat: a woman’s light, loose undergarment worn under a dress or skirt
ply thy needle: to sew or embroider
preferment: precedence
Rheims: a northern French town with a well-known university
saving: with respect for (in context)
sounded: archaic proclaimed
sportful: lively
swain: a country youth
turn: purpose (in context)
vile: extremely unpleasant
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volubility: the ability to speak incessantly
whence: archaic from where
1. Describe the exchange between Kate and Bianca. What is Bianca’s predicament, and how does Kate
respond? How does Kate appear to the audience?
Bianca’s hands are tied, and Kate will not untie her. She is bound because of Kate, both literally and
metaphorically, because she is not free to marry until Kate has a husband. Kate wants Bianca to tell
her which suitor she prefers, and Bianca says she’d gladly let Kate have the man of her choosing. Kate
becomes angry and strikes Bianca, which seems unfair and mean. She appears to fit well the role of
the untamed shrew.
2. Characterize Kate’s relationship with her father. How do they feel about each other, and why? Kate’s
father is not subtle about his preference for Bianca, the younger of the two sisters. He is critical of Kate
and protective of Bianca: “For shame, thou hilding of a devilish spirit, / Why dost thou wrong her that
did ne’er wrong thee?” He also does not stand up for Kate when others demean her, and Kate
perceives that he holds her up for others to ridicule. Kate displays a fiery anger toward her father, but
the extent that she is hurt by his favoritism is clear, too. Her fury may well be fueled by her hurt. She
tells him, “Nay, now I see / [Bianca] is your treasure, she must have a husband / . . . . Talk not to me. I
will go sit and weep / Till I can find occasion of revenge.”
3. In this scene, the institution of marriage is characterized mainly as a financial transaction. Describe
how this idea is enforced in the dialogue between Bianca and Kate, as well as in the dialogue between
Petruchio and Baptista and among Baptista, Gremio, and Tranio.
Bianca and Kate discuss Bianca’s suitors and Gremio’s wealth. Kate assumes Bianca is enticed by Gremio’s money: “You will have Gremio to keep you fair.” He is also older, so presumably his money would
soon be Bianca’s without his company. Petruchio and Baptista discuss Kate’s dowry before Petruchio
has ever set eyes on her; finding the terms of her dowry acceptable, Petruchio moves forward with his
plan to woo her. Baptista is quite open about how he is playing the part of “merchant” in the match.
Baptista also discusses money with Gremio and Tranio, explaining that the one who “can assure my
daughter greatest dower / Shall have my Bianca’s love.” He speaks as though he is entertaining offers
for a sale of goods.
4. While marriage is considered a financial transaction, how does Baptista suggest he also cares for
Kate’s well-being?
Baptista reminds Petruchio that “love” is key in winning Kate over. This suggests that Baptista feels
Kate has some choice in the matter of her husband and that he understands what she might need to
make her happy.
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5. When Baptista asks Petruchio how he plans to get along with Kate, Petruchio says, “where two raging fires meet together / They do consume the thing that feeds their fury.” What does he mean?
Petruchio is strong-willed, and as Kate is, too, he feels that they are equally matched. Neither will
drown the other out, but rather their meeting of passion will temper them both.
6. What is Petruchio’s response to Kate’s abuse of Hortensio (disguised as a music teacher)? Why is
it unusual? What might be motivating Petruchio to respond this way?
Rather than appear intimidated by Kate’s harsh behavior towards Hortensio, Petruchio is enticed by
it: “I love her ten times more than e’er I did.” He may be attracted to the challenge Kate represents;
taming her will be difficult and thus satisfying. He may genuinely be impressed by a woman who is
feisty, finding that feistiness attractive.
7. As revealed in his soliloquy, how does Petruchio plan to win Kate over?
Petruchio plans to win Kate over through flattery, no matter how horribly she treats him: “Say that
she rail, why then I’ll tell her plain / She sings as sweetly as a nightingale.”
8. Describe the first meeting between Petruchio and Kate. In what ways is the dialogue different from
the other dialogue in the play?
The dialogue between Petruchio and Kate follows a very quick pace. For most of their exchange, each
speaks just one witty line before the other responds. Though other scenes also incorporate wordplay,
nowhere is it more evidenced than in the exchange between Petruchio and Kate, who seem to deftly
pile pun upon pun. Clearly, each is a gifted and quick-witted linguist. In addition, the dialogue offers
a great deal of alliteration with the letters “c” and “k”; the sounds add a cacophony or roughness that
enforces the verbal sparring. “Kate” is the central word and sound that does this, which makes the
sound extra fitting for their battle of words.
9. Who gains the upper hand in Petruchio and Kate’s banter? Why?
Petruchio gains the upper hand. Kate has not exchanged insults with someone as quick-witted as
Petruchio, and she seems frustrated by the challenge he presents. Petruchio, though he aims to flatter
and indulge her through most of their dialogue, also deals with her firmly. When Kate strikes him, he
says, “I swear I’ll cuff you, if you strike again.” He also makes clear what is going to happen, with or
without her consent: “Setting all this chat aside, / Thus in plain terms: your father hath consented /
That you shall be my wife; your dowry ’greed on, / And, will you, nill you, I will marry you.”
10. How does Petruchio explain Kate’s hostile manner toward him to the other men? Why does he do
this?
Petruchio tells the other men that Kate is affectionate and loving in private, but they have agreed that
in public she need not be: “’Tis bargained ’twixt us twain, being alone, / That she shall still be curst in
company.” He does this so that he might maintain his credibility with the men, for he had spoken so
confidently of his ability to win Kate over.
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11. Why does Kate acquiesce to the marriage? What other motivations might account for her silence?
Kate is quiet after Petruchio tells his lie to the others. No matter what Kate says, the others are likely
to believe Petruchio’s claim that she’s agreed in private to marry him, even though she is still argumentative publicly. It is possible she feels defeated and does not want to fight anymore. Finally, it is
also possible that she really is attracted to Petruchio and does want to marry him.
12. With Kate’s marriage settled, Baptista turns his attention to Bianca. Which man wins the right to
court Bianca, and why?
Tranio (as Lucentio) wins the right to court Bianca because he has more inheritance to offer her should
he die.
13. What is the one obstacle to Tranio’s (as Lucentio) proposal to Bianca? What does it imply?
Since Lucentio’s father is still living, Tranio must show Baptista that Lucentio’s father approves of the
match and that Bianca would inherit the fortune even if Lucentio should die before his father. This
complication suggests that the play will involve even more lies and deceit.
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Act Three, Scene One
Vocabulary
chamber: archaic a private room
conster: to translate
forbear: to hold back from something
gamut: the musical scale
jars: quarrels
knave: archaic a dishonest or unscrupulous man
ordained: created
pedant: a schoolmaster
pedascule: a little pedant (see definition for pedant, above)
pithy: brief and to the point
prays: archaic requests
stale: a decoy, a false lover (in context)
withal: archaic with
1. What is the relationship between Lucentio and Hortensio? How do they interact with each other?
Lucentio and Hortensio are rivals for Bianca’s attention, and their attempts to get each other out of
the way are comical. When Hortensio tries to get a guarantee of Bianca’s time, he asks her, “You’ll
leave his lecture when I am in tune?” Lucentio quickly replies, “That will be never. Tune your instrument.” Lucentio then continually tells Hortensio his instrument is out of tune.
2. Through what means do Bianca and Lucentio flirt? What is Bianca’s response to Lucentio’s interest
in her?
Bianca and Lucentio pretend they are interpreting the lines of a famous work (Ovid’s Heroides) as
Lucentio indicates his interest in Bianca. Bianca, in turn, neither rejects Lucentio nor accepts him. In
between the lines they are supposedly studying, she says, “presume not . . . despair not.” She is being
coy and flirtatious.
3. Contrast Bianca’s behavior in this scene with that of previous scenes. How does she seem different?
In previous scenes, Bianca’s behavior is subdued and compliant; instead of acting, she is acted upon by
others. She is obedient to her father and distressed by her sister’s treatment of her. In this scene, how-
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ever, Bianca asserts herself and expresses her own opinions. As the two “tutors” try to override each
other in proclaiming what Bianca should study, she reminds them that the decision is hers, not theirs:
“Why, gentlemen, you do me double wrong / To strive for that which resteth in my choice.” She clearly
sees through the men’s disguises, and she is direct in her response to Hortensio’s proclamation of love:
“Tut, I like it not,” Bianca says. In this scene, Bianca is independent, strong, and clever; she assumes
control, something she has not done previously.
4. Hortensio claims he will no longer seek to court Bianca if she would stoop to flirt with her tutor.
“If once I find thee ranging, / Hortensio will be quit with thee by changing.” Other than his snobbery,
what other reason might Hortensio have for rejecting Bianca?
Bianca has rejected Hortensio’s proclamation of love, albeit indirectly since it was given to her by a
disguised Hortensio. Hortensio may be trying to save his ego and his credibility by rejecting Bianca
before she can reject him in a more straightforward manner.
5. What is the overall mood of this scene?
The mood is light and amusing. The scene moves quickly, full of funny banter between Bianca’s suitors
and flirtation between Bianca and Lucentio.
6. Describe the role of disguise and pretense in this scene.
Disguise and pretense play a large role, as nothing actually is what it appears to be. Lucentio, disguised
as Cambio, communicates with Bianca through pretending to study Ovid. Hortensio is disguised as
Litio; he communicates with Bianca through a written accounting of the scales. Bianca, too, engages in
pretense, as she knows both men’s true identities yet plays along with their assumed identities.
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Act Three, Scene Two
Vocabulary
accoutrements: clothes
armoury: a place where arms (weapons) are kept
caparisoned: to be decked out in ornamental coverings
carouse: to drink plentiful amounts of alcohol
clamorous: noisily insistent
digress: to leave the main subject temporarily
forsooth: archaic in truth
jerkin: a close-fitting jacket
lackey: a servant
prodigy: a person endowed with exceptional abilities at a young age
quoth: archaic said
staggers: noun a disease of farm animals characterized by loss of balance
tedious: tiresome because of dullness or length
turned: turned inside out to be made usable for a longer period (in context)
vex: to irritate or annoy
1. Why is Kate distraught over the thought that Petruchio may not show up for their wedding, given
that she was opposed to the wedding from the beginning?
Though Kate does not want to marry Petruchio, it is now public knowledge that she will marry him,
and she fears being humiliated: “Now must the world point at poor Katherine, / And say, ‘Lo, there is
mad Petruchio’s wife, / If it would please him come and marry her.’”
2. Describe Petruchio’s appearance for his wedding day. Why does his attire upset Baptista?
How does Baptista express his anger?
Petruchio is dressed in old, worn clothes; he rides a lame horse and wears jewels bearing another
woman’s initials. His attire expresses a lack of respect for the importance of the wedding and a lack
of respect for Baptista, the father of the bride who has planned and undoubtedly funded the wedding.
Baptista tells Petruchio, “Fie, doff this habit, shame to your estate, / An eyesore to our solemn
festival!”
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3. How does Petruchio respond in regard to his lateness and his clothing? What might his intent be?
Petruchio is evasive about his attire and his tardiness, changing the focus of the conversation to Kate
and proclaiming that he would like to kiss her. He brushes off any suggestion that his clothes convey
disrespect: “To me she’s married not unto my clothes.” Petruchio’s rudeness may be contrived in order
to insult Kate, and thus bring her self-esteem down so that he might better control her.
4. What recounting does Gremio offer of the wedding ceremony? Why might Shakespeare have
decided to relay the events through Gremio rather than stage the scene for the audience?
Gremio explains to Tranio and Lucentio that Petruchio behaved horribly during the wedding ceremony, making Kate seem like a lamb in comparison. Petruchio cursed, causing the priest to drop the
Bible he was using in the ceremony. When the priest bent down to pick up the Bible, Petruchio struck
him. Finally, when the time came for Petruchio to kiss his bride, he was vulgar in how loudly he kissed
her, “with such a clamorous smack / That at the parting all the church did echo.” Explaining the scene
through a witness saves time and keeps the action moving, as the witness can summarize the events.
It also makes Petruchio’s actions seem all the more terrible, for even Gremio, who has been so critical
of Katherine, feels she is tame compared to Petruchio.
5. Describe the first confrontation between Kate and Petruchio as husband and wife. Who prevails,
and how?
The first confrontation between Kate and Petruchio occurs when Petruchio announces he is leaving,
despite Kate’s protestations, and Kate says she will not go with him. She asserts her will, and she fails.
Petruchio insults Kate in front of everyone: “I will be master of what is mine own: / She is my goods,
my chattels, she is my house, / My household stuff, my field, my barn, / My horse, my ox, my ass, my
anything.” He then draws his sword and forcibly takes Kate with him when he leaves.
6. How do the rest of the characters respond once Kate and Petruchio have left?
The rest of the characters don’t seem upset that Kate essentially has been kidnapped from their presence. They seem content to let her go, but they marvel at Petruchio’s brazenness. They had not previously realized how volatile and abusive he can be. Tranio says, “Of all mad matches never was the
like,” and Bianca reflects that Kate “being mad herself, she’s madly mated.”
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Act Four, Scene One
Vocabulary
bemoiled: covered with mud
beseech: to implore, to entreat
bolster: a long, thick pillow placed under other pillows for support
choler: anger
cock’s passion: by God’s passion (in context)
continency: self-restraint, especially in sexual matters
cony-catching: archaic trickery
coverlet: a bedspread
crupper: a strap used on horses to keep a saddle from sliding forward
dresser: a kitchen table on which food is prepared (in context)
inprimis: Latin first
lure: noun something that tempts or is used to tempt a person or animal to do something
miry: boggy
rushes: marsh or waterside plants with slender leaves
spruce: adjective neat or smart in appearance
strewed: scattered
trimmed: decked out, prepared (in context)
unpinked: lacking ornamentation (in context)
1. What does Grumio tell Curtis happened on the journey home?
Grumio tells Curtis that at one point in their journey, Kate fell off her horse and Petruchio used that as
a reason to blame—and beat—Grumio. Kate picked herself up and came to Grumio’s defense.
2. When Grumio finishes telling Curtis his story about Kate and Petruchio, Curtis says, “By this reckoning he is more shrew than she.” Grumio replies, “Ay, and that thou and the proudest of you all shall
find when he comes home.” What does their exchange imply about Petruchio’s behavior? Why might
Petruchio and Kate’s entrance be prefaced by this exchange?
Grumio is likely implying that because Petruchio has been behaving so badly, the scene will be a volatile one when he gets home with Kate. This implication raises suspense, as the audience anticipates
what else will happen between them.
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3. What are the four causes of Petruchio’s anger with his servants?
He is angry that his servants didn’t meet him outside and that a servant tweaks his foot while pulling
off his boots; he also is angry that a servant spills water on Kate and that the meat is not well cooked.
4. What does Petruchio’s servant Peter mean when he says of his master and his new bride, “He kills
her in her own humour”?
Kate has a reputation for being shrill and unkind, and Petruchio is using these very characteristics in
order to quiet Kate. He is, in effect, out-shrewing the shrew.
5. Curtis says that because of Petruchio’s strange behavior, Kate “knows not which way to stand, to
look, to speak, / And sits as one new-risen from a dream.” How does this comment relate to the
Induction in the beginning of the play?
Kate finds herself in a situation in which she is confused and baffled by the new world unfolding
around her. Christopher Sly, in the Induction, feels the same way when he awakes from his sleep to
find the lord and a bevy of servants treating him as a noble.
6. How does Petruchio intend to “kill a wife with kindness”? What is his plan for “taming” Kate?
Is it working?
Petruchio is not outwardly brutal with Kate; instead he plans to “tame” her by starving her and depriving her of sleep. He denies her food on the pretext that the food is not suitable for her to eat. He
deprives her of sleep by thrashing about and complaining that the bed has not been made properly
enough for her. His plan does seem to be working, in that Kate has not seemed shrill or harsh, but
rather confused and kind to the servants.
7. In a famous metaphor, Petruchio compares “taming” Kate to training a falcon, a hunting hawk:
“My falcon now is [hungry] and [extremely] empty, / And till she [fly to the lure] she must not be fullgorged, / For then she never looks upon her lure.” How is Kate like the falcon? What does it suggest
about Petruchio that he compares her to one?
Like the falcon, Kate is being kept hungry and won’t be fed until she has been trained to do what is expected of her; falcons are expected to hunt for their masters, and Kate is expected to obey Petruchio. A
falcon won’t hunt unless it is hungry, implying that Kate won’t learn to obey Petruchio unless he withholds her food. Through the metaphor, Petruchio attempts to employ logic to justify starving her. In
comparing Kate to a falcon, Petruchio indicates that he sees her as if she were an animal with the sole
purpose of obeying and serving him. The falcon, however, is a noble animal of prestige that attracted
a great deal of attention in Shakespeare’s age and was respected for its power and fierce nature. Thus
Petruchio’s comparison honors Kate in a subtle way, implying that he recognizes those same qualities
in her.
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Act Four, Scene Two
Vocabulary
credulous: showing too great a readiness to believe things
cullion: archaic a contemptible person
durst: archaic dared
fancy: verb to feel a desire for
forswear: archaic to reject
lusty: full of energy
marry: archaic an expression of surprise or indignation
mercatante: archaic an Italian merchant
quarrel: an angry argument or disagreement
repute: verb to consider
wonderful: extraordinary (in context)
1. How does Tranio trick Hortensio into giving up his pursuit of Bianca?
Tranio, in the guise of Lucentio, pretends to be shocked and dismayed that Bianca would show affection towards Cambio, a mere schoolmaster. He makes a deal with Hortensio, who comes forward with
his true identity, that neither of them will marry Bianca. Of course, Tranio can easily make and keep
this promise because he is not actually Lucentio.
2. According to Tranio, who is the master of the taming school? Why?
Petruchio is the master of the taming school. Given Petruchio’s odd yet commanding behavior at the
wedding, Petruchio is likely finding success at taming Kate.
3. How does Tranio trick the pedant into assuming the identity of Vincentio?
Tranio finds out the pedant is from Mantua and then concocts a story about those from Mantua not
being permitted in Padua, the result of political bickering. Once the pedant becomes fearful for his life,
Tranio tells him not to worry; because the pedant bears a resemblance to Vincentio from Pisa, Tranio
explains, he can assume Vincentio’s identity for the duration of his stay in Padua.
4. How is Tranio’s character further developed in this scene? What does the audience learn about him?
Tranio is incredibly clever. He makes quick work of getting Hortensio out of the competition for Bianca, and he also convinces a stranger to assume the identity of another man. Tranio does all of this for
Lucentio, demonstrating his loyalty to him.
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Act Four, Scene Three
Vocabulary
adder: a small, venomous snake
alms: money or food given to poor people
amort: dispirited (in context)
apace: quickly
belike: archaic perhaps
braved: archaic defied
deluding: deceiving
entreat: to ask someone earnestly or anxiously to do something
ere: archaic before
ergo: Latin therefore
famish: archaic to cause to starve to death
farthingale: a hooped petticoat
frolic: verb to be joyous
gallant: archaic a man who pays special attention to women
habiliments: archaic mean, humble clothes
lewd: vile, cheap
loose-bodied: loose-fitting
mar: to ruin
paltry: small or meager
porringer: archaic a porridge bowl
repast: a meal
spite: the desire to hurt or annoy someone
1. How is food used in this scene?
Food is used to torture—and thus tame—Kate. Knowing how hungry she must be, Grumio speaks of a
variety of meats he might procure for Kate, but he then tells her they are not good for her temperament.
Petruchio actually does produce meat for Kate, but he insists she thank him before he will give it to her.
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Finally, Petruchio contrives to have Hortensio eat all of the meat so that Kate cannot have any.
2. Kate says, “But I, who never knew how to entreat, / Nor never needed that I should entreat, / Am
starved for meat.” What does this suggest about Kate’s upbringing?
Kate’s comment reflects that she has never had to ask for anything in her life. She has not known deprivation, which undoubtedly makes her predicament more challenging for her.
3. Toward what purpose is clothing used in this scene?
Like food, clothing is used as a means to tame Kate. Just as Petruchio presented food to Kate only to
prevent her from eating it, he presents a hat and dress only to keep it from her. When Kate compliments the clothing, her meaning is deliberately misconstrued. Though she says the hat Petruchio presents to her is nice and fashionable, he responds, “Why, thou say’st true. It is a paltry cap.” In this way,
Petruchio renders Kate silent.
4. How does Petruchio continue to kill Kate with kindness?
His words to Kate are sweet, as he calls her names like “my honey love,” yet he willfully ignores what
she says or tries to communicate, acting as if she agrees with him. His actions and his words are completely at odds; though Kate speaks, she is essentially voiceless.
5. Describe Kate’s spirit. Is she “tamed,” or is she the same as she was when the audience first meets
her?
Kate still exhibits some of the fire she showed before she married Petruchio. She tells him, “Speak I
will. I am no child, no babe. / Your betters have endured me say my mind, / And if you cannot, best
you stop your ears.” She still contradicts her husband, but she is weakened. She says, “I pray you let
it stand,” so that Petruchio will not take away the meat he has brought; at his command she says, “I
thank you sir,” so that she might eat.
6. Why does Kate accuse Petruchio of making her a puppet? How does Petruchio respond to this
accusation?
Kate understands that Petruchio is trying to bend her to his will so that she will say only what he
wants her to say and will do only what he commands her to do. Clearly speaking to Petruchio, she
says, “Belike you mean to make a puppet of me.” Petruchio responds by pretending to misunderstand
her, suggesting that she is accusing the tailor of trying to make a puppet of her.
7. Describe the conversation about the time of day between Kate and Petruchio. What point is Petruchio making?
Petruchio claims it is seven o’clock even though it is only two. When Kate tells him the correct time,
he responds, “Look, what I speak, or do, or think to do, / You are still crossing it.” Petruchio is making
the point to Kate that no matter how wrong he is, nor how solid the proof that he is wrong, she must
agree with him anyway.
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8. How might this scene be played in different ways?
This scene could be played seriously, its tone disturbing. Kate is starving and suffering, and Petruchio’s,
Hortensio’s, and Grumio’s behavior toward her seems sadistic. They are physically stronger than she
is, and they outnumber her. In Shakespeare’s day, however, this scene might have been played successfully as comedy, with Petruchio’s deliberate misunderstandings of Kate’s wishes generating laughter.
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Act Four, Scene Four
Vocabulary
affied: archaic formally engaged
appendix: an appendage; a book (both definitions apply in context)
austerity: sternness
countenance: the face or an expression
curious: archaic particular, awkward
dally: to waste time
dissemble: to conceal
expound: to present and explain
haply: archaic perhaps
hie: archaic hurry
‘longeth (belongeth): archaic belongs
pittance: a very small amount (in context, a very small amount of food)
schooled: trained in a particular skill
scriv’ner (scrivener): archaic a scribe authorized to draw up legal documents
tall: archaic fine
tokens: signals
warrant: verb to guarantee
1. What does the pedant fear about Baptista?
The pedant met Baptista years before; he fears Baptista will recognize him and know he is not
Vincentio.
2. Does the pedant do a convincing job acting as Vincentio? Why or why not?
The pedant does do a convincing job acting as Vincentio. He gives an eloquent speech about the love
between Lucentio and Bianca and graciously offers his support of the union. Baptista fully believes the
pedant is Vincentio.
3. What does Biondello think Lucentio—who is still disguised as Cambio—should do immediately,
and why?
Biondello thinks Lucentio should find a priest and marry Bianca that afternoon. Biondello’s urgency is
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due to the fact that plans for Tranio (who is still pretending to be Lucentio) and Bianca’s wedding are
moving forward quickly, and Bianca may find herself married to Tranio if she hasn’t married the real
Lucentio first.
4. Biondello refers to Bianca as an “appendix” in this chapter. What does he mean, and what
connotation does it have?
Biondello is casting Bianca as merely an appendage to Lucentio, which discredits her worth. Another
interpretation could be that he sees Bianca as an empty book that Lucentio will fill with pages as he
sees fit.
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Act Four, Scene Five
Vocabulary
beseem: archaic befit
bias: the weight in a ball that enables it to be bowled in a curve (in context)
entitle: to give a legal right
evermore: always
goodly: archaic attractive
grandsire: archaic grandfather
have to: archaic now for
rush-candle: archaic a candle dipped in wax
spangle: to sprinkle with shiny particles
untoward: inappropriate
1. What game with regard to the sun and the moon does Petruchio play with Kate? What is his purpose?
Although it is daytime, Petruchio admires the moon while clearly referring to the sun. When Kate corrects him, he orders the servants to direct the horses homeward; he will not progress on their journey
unless Kate agrees with him. Once she does as he wishes and agrees the sun is the moon, he tells her it
is the sun, to which she also agrees. He is trying to train Kate to obey him and humor him, even if he is
being ridiculous.
2. Kate is compared both to a “field” (“the field is won”) and to a participant in a game of bowling
(“Thus the bowl should run”). How does each of these comparisons objectify her?
Kate is a passive object in both of these metaphors. The “field” refers to a field of battle, the ground
which Petruchio has overrun and captured. When Petruchio invokes the game of bowling, he also
makes Kate a passive object; she is either the ball being directed towards the pins or the pins standing
still, waiting to be knocked down.
3. How does Petruchio make Vincentio a prop in his taming of Kate?
Petruchio refers to Vincentio as a young maiden, even though clearly he is not. Kate agrees with him
despite all the facts indicating that Vincentio is not a young maiden; when Petruchio ridicules her for
her mistake, she again agrees with his narrative and says she was just mistaken.
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4. While Kate is agreeing with Petruchio that Vincentio is a young maiden, she addresses Vincentio
with the following speech:
Young budding virgin, fair and fresh and sweet,
Whither away, or where is thy abode?
Happy the parents of so fair a child;
Happier the man, whom favourable stars
Allot thee for his lovely bedfellow!
Why might Kate make such an embellished speech, instead of merely acknowledging Vincentio is a
maiden as Petruchio has said? What might the speech suggest about her?
The content and tone of Kate’s speech suggests that a change has occurred in her; her “Young budding
virgin, fair and fresh and sweet” address to Vincentio is enthusiastic, poetic, and playful. For the first
time, she exceeds one of Petruchio’s demands; she seems to treat his behavior in regard to Vincentio
as a game and to enter into the fun of it. Together they break the social convention of honoring an
older person by teasing Vincentio. At this moment, they are equally ridiculous, and Kate appears to be
enjoying herself.
5. Why is Vincentio angered to hear about Lucentio’s impending marriage? Why doesn’t he believe
Petruchio’s account?
Vincentio is angry because he has not given consent for Lucentio to marry, and he is appalled that his
son would go forward without his blessing. Even so, Vincentio is reluctant to believe Petruchio because
Petruchio has behaved so strangely and falsely in pretending that Vincentio was a young maiden.
6. What effect has Petruchio had on Hortensio?
Hortensio is impressed by the way Petruchio has tamed Kate and vows to do the same with his new
love, a widow.
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Act Five, Scene One
Vocabulary
bleared: archaic made dim
copatain: archaic high-crowned
cozen: to cheat
crack-hemp: a rogue who deserves to be hanged (in context)
dotard: an old fool
doublet: a man’s short-fitting padded jacket
forthcoming: ready when wanted (in context)
haven: a place of safety or refuge
spoiled: ruined
thither: archaic toward that place
withal: archaic in addition
1. How does Biondello greet Vincentio? Why?
Biondello swears that he does not recognize Vincentio. Biondello knows that Vincentio has the power
to unravel their complicated web of lies, so he must render Vincentio powerless by making him seem
like a liar.
2. What is Vincentio’s response to Tranio’s clothing, and why?
Vincentio is appalled by Tranio’s fine clothing, as he is clearly not dressed in an appropriate manner
given his status as a servant: “A silken doublet, a velvet hose, a scarlet cloak and a copatain hat! O,
I am undone, I am undone!” He also assumes that Tranio and Lucentio have spent lavishly: “While I
play the good husband at home, my son and my servant spend all at the university.”
3. What assumption does Vincentio make about why Tranio is pretending to be Lucentio? What does
Tranio do in response?
Vincentio assumes that Tranio must have killed Lucentio in order to assume his identity. Tranio must
get Vincentio out of the way, and so he calls the police to apprehend him.
4. Gremio thinks he recognizes Vincentio to be who he says he is, but he can’t help Vincentio. Why?
What does this say about Gremio?
Though Gremio recognizes Vincentio, he also believes that Tranio is Lucentio; it doesn’t make any
sense to Gremio that a son would lie about his father’s identity. It does not occur to him that just as
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the pedant is lying about being Vincentio, Tranio might be lying about being Lucentio. This gap in
logic suggests that Gremio is not very intelligent.
5. How is the elaborate web of lies finally revealed?
The lies end when Lucentio appears. He explains the lies to his father and Baptista and asks his father
not to blame Biondello or Tranio.
6. What is the history of Vincentio’s relationship with Tranio? What does it suggest about the status
of servants in some Elizabethan households?
Vincentio says of Tranio, “As if I knew not his name: I have brought him up ever since he was three
years old, and his name is Tranio.” Tranio has grown up in Vincentio’s house, and although he is a servant, he is much like a member of the family, albeit one who lacks the status of Lucentio. Vincentio’s
relationship with Tranio suggests that this particular master/servant relationship existed in numerous
households during Shakespeare’s time.
7. How does Tranio and Biondello’s treatment of Vincentio echo Petruchio’s treatment of Kate and
the lord’s treatment of Christopher Sly?
By claiming Vincentio is someone other than who he says he is, Tranio and Biondello make Vincentio
seem—and possibly feel—unhinged. Petruchio uses a similar tactic with Kate when he behaves as
though she has said something other than what she has said, and the lord uses the same approach
with Christopher Sly, treating him as though he is someone other than who he is.
8. How does Petruchio convince Kate to kiss him in the street?
When Kate says she would be ashamed to be seen kissing in “the midst of the street,” Petruchio says,
“Why, then, let’s home again.” Because she wants to stay, she agrees to kiss him.
9. How might Petruchio’s kiss suggest something other than a game of obedience that he must win?
Petruchio and Kate’s marriage was arranged by her father as a financial transaction. Petruchio’s
insistence on a public display of affection suggests that he sees his marriage to Kate as more than a
financial contract. He may be expressing his genuine desire and affection for Kate and wanting her
to reciprocate these emotions. Also, the context of their exchange suggests that Petruchio is engaging
with his wife, not wielding power over her. They are both intrigued by the complications of Lucentio
and Bianca’s wedding, focusing together on that unfolding drama instead of their past differences.
When Kate says, “Husband, let’s follow to see the end of this ado,” it is then that Petruchio suddenly
wants to kiss her; his desire for a kiss seems uncalculated, a genuine response to her calling him “husband” and speaking of them as a couple. Finally, after Kate kisses him, their behavior toward each
other is tender. “Now pray thee, love, stay,” Kate tells Petruchio. He responds, “Is not this well? Come,
my sweet Kate: / Better once than never, for never too late,” suggesting that it is not too late for
them to mend their relationship and perhaps to grow to love each other.
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Act Five, Scene Two
Vocabulary
afeard: archaic frightened
amiable: displaying a friendly manner
awful: archaic worthy of respect
bauble: a trinket that is small and decorative but of little real value
bereft: archaic deprived or lacking something
bodes: foretells
conferring: discussing
currish: dog-like
deign: to do something one believes is beneath one’s dignity
galled: archaic angered
goodly: considerable in size or quantity
jarring: archaic disagreeing
meads: archaic meadows
office: archaic role
peevish: irritable
sway: noun control over someone
swinge: to punish somebody severely
1. Who takes offense when the widow suggests that Petruchio is afraid of Kate, and who does not?
Why is this surprising? What do the characters’ responses imply?
Kate takes offense at the widow’s suggestion that Petruchio is afraid of Kate, and Petruchio does not.
Their respective responses are surprising because Kate has appeared passive in recent scenes, and Petruchio has made his command of Kate a point of pride. Kate’s response may imply that she no longer
wants to be seen as a domineering woman; it also may suggest that she defends Petruchio because she
cares about his pride and won’t stand to see him demeaned. As for Petruchio, his not taking offense
implies strongly that he also has changed in a significant way; his fiery temper and combative nature
are no longer evident. He may not take offense because the widow’s accusation is laughable and because he is sure of himself in his relationship with Kate.
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2. The widow is never referred to by name. What does this omission suggest?
The men do not show the widow respect, and failing to use her name is an indication of their disrespect. She has no identity as a person; she is only identified and defined by her marital status before
marrying Hortensio.
3. Bianca makes fun of Gremio, and then she makes several lewd jokes. How has she changed? What
might explain the change in her behavior?
Whereas in previous scenes Bianca has been proper and sometimes demure, her behavior at the wedding party is far from restrained. The change in her behavior might result from her feelings of security
now that she is married to the man she desires; she does not have to play a role or present a false appearance to win over a man. She also could be reverting to her true nature. Living with Kate in their
father’s house, Bianca might have adopted the personality of the “ideal woman” to set herself apart
from her sharp-tongued, outspoken sister and win her father’s approval; she also could have been quiet
and passive simply because she was overwhelmed and intimidated by Kate.
4. What metaphor does Tranio use to describe himself, and why? What motif does this metaphor illustrate? What idea does it convey?
Tranio compares himself to a greyhound, a dog “which runs himself and catches for his master.” Tranio
enjoys the spirit of the chase, the running, but his metaphor suggests he is happy to return the spoils
of his efforts to his master. This hunting/training motif illustrates the “correct” subordinate role of the
servant that the social hierarchy demands, just as it demands the woman to take a subordinate role to
her husband.
5. Describe the banter between the men at the wedding. At whose expense do they joke?
The men’s banter is witty and filled with sexual innuendo in regard to the widow and to Bianca. Although the men playfully ridicule each other, they make jokes mainly at the expense of the women.
6. Why won’t the widow come when Hortensio entreats her? How does she respond to Hortensio?
What does this imply about her?
After witnessing the way Biondello came for Bianca, the widow doesn’t believe that her husband really
needs her. She correctly suspects that she’s being used as a part of a joke. Biondello reports to Hortensio, “She says you have some goodly jest in hand: / She will not come.” The widow asserts herself further as she sends Biondello with a message to her husband: “She bids you come to her.” The widow’s
actions suggest that she is independent and clever, a woman who will not mindlessly submit to her
husband.
7. Lucentio “bids” his mistress come to him, Hortensio “entreats,” and Petruchio “commands.” What
differences do these words reflect about the balance of power in the three relationships? Lucentio and
Hortensio are polite and solicitous in their requests for their wives’ presence, which their language
shows. Petruchio, in contrast, shows no regard for Kate or her feelings when he “commands” that she
come to him. He does not need to be polite because he has all the power in their relationship, whereas
Lucentio and Hortensio do not have all the power in theirs.
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8. Which of the men wins the wager about the women?
Petruchio wins the wager, as Kate comes to him quickly and seemingly willingly, whereas the other
women do not come when their husbands request their presence.
9. Why does Petruchio ask Kate to bring out the other women? Why does he ask her to take off her
cap?
Petruchio enjoys showing off Kate’s obedience; he wants Kate’s behavior to stand in marked contrast
to the other wives’. He asks her to take off her cap as yet another way to show the others her newfound obedience.
10. Describe Kate’s speech about a wife’s role. What arguments does it offer for why a woman should
obey her husband?
Kate’s speech uses sophisticated language and imagery to make a case for why a wife should adhere to
her husband’s command. She explains that an angry woman is not an attractive woman; that because
a husband does so much for his wife, obedience is the least she can do for him; that men were created
stronger than women and thus deserve to be obeyed; and that men are overall superior and women
should stop fighting that truth.
11. Early in the play, Petruchio predicts what will happen when he and Kate marry: “Where two raging fires meet together / They do consume the thing that feeds their fury.” Explain how Petruchio’s
prediction seems to have come true by the end of the play.
At the play’s conclusion, Kate is no longer a combative woman with a sharp tongue, and Petruchio is
no longer given to a fiery temper and acts of violence; their raging fires have been quenched. Petruchio’s need to dominate has been satisfied, one way or the other; either Kate has been tamed, or she
has grown to understand her husband and cleverly makes him believe through her obedience in all
matters, even those that are ridiculous, that he has gained the upper hand in their marriage. Consequently, as the text suggests toward the end of the play, their relationship changes; moments of unity
and tenderness occur. Petruchio kisses Kate and tells her it’s not too late for them; Kate is incensed
when Petruchio is belittled before others and defends him. An obedient wife or a clever one, Kate is no
longer scorned by others and criticized by her father. All that fed her fury—and Petruchio’s—has been
consumed. Petruchio’s prediction of their relationship proves to be truer than he could have imagined
and in ways he didn’t suspect.
SGT:43