Petruchio Petruchio Bookmark this page Manage My Reading List Although Kate is one of Shakespeare's most enigmatic heroines, she is not the only complicated character in The Taming of the Shrew. Her groom, Petruchio, has nearly as much mystery surrounding him as does Kate herself. Yet exploring Petruchio forces us to ask questions that can become difficult largely because, frankly, we want to like him. In a sense, it's initially hard to explore a side of him which may, in fact, make him less likable. Is he a man of honor or a mercenary seeking only to marry into money? Is he domineering and truly worthy of the title "tamer," or does the role he takes with Katherine constitute something less aggressive and ultimately more democratic? To be sure, in the end, it's clear Petruchio is not nearly as mercenary as we might initially think. In fact, when all is said and done, Petruchio is a successful match for the strong-willed and ebullient Kate.

The first difficult issue we must deal with if we are to look at Petruchio fairly is his early claim that he has "come to wive it wealthily in Padua; / If wealthily then happily in Padua" (I.2, 74-75). Certainly this doesn't sound like a declaration from a man destined to marry for love. Rather, it sounds like a man who is following the common, traditional pattern for the time: making the best alliance he can for himself, elevating his status as much as possible through marriage. If we accept that Petruchio does indeed want to marry solely for financial gain, then another line of questioning arises: If all he wants is money, once he has Katherine's hand (and dowry), why then does he try to help her (and himself) to a better life? It would have been far simpler to treat her poorly, as most shrews in the literature of the time were treated. It seems as if Petruchio surprises even himself when he realizes that although he outwardly wishes to marry for money, when it comes to it, he is motivated by something else: the desire to love and be loved.

Petruchio, rather than being domineering and selfish, is an observant man who quickly senses in Katherine something more than her outward shrewishness. He sees beyond the superficial (unlike Lucentio who falls in love with Bianca based on what he has observed) and aptly recognizes that her behavior is a masquerade, a tough exterior intended to cover her inner desire to be loved and valued. On top of that, Petruchio becomes so attracted to her spirit and her non-conventional nature that when he accomplishes his initial desire to "wive it wealthily," he takes his involvement a step further, making a great effort to help Kate develop, sensing that the true Kate, when she can be brought out, will compliment him well. Part of what makes Petruchio so likeable is his apparent disregard for social decorum, particularly when he works to get Kate to abandon her shrewish exterior. For instance, he doesn't buy into the notion of "birthright," as we see by his refusal to treat Katherine as a woman of her status traditionally expects to be treated. Rather, Petruchio's treatment of Kate is based on how she behaves. She has to earn her privileges.

We see another good example of Petruchio's willingness to go against convention in an ends-justifying-the-means fashion when he arrives late for the wedding. To be sure, though, it is this exact willingness to go against convention that keeps Petruchio from being a paragon for the Elizabethan man (remember, class and social stratifications were encouraged by those in power during Shakespeare's time). Many of the ordinary people who initially viewed the plays (they made up the bulk of the audience) would likely have seen Petruchio as a hero, but to those in power, aspects of Petruchio's behavior would have been cause for concern. Another aspect of Petruchio's nature that adds to his appeal is the way in which he grows to trust his wife — something none of the other characters do. The play's final scene provides the best example when, in the midst of the banquet, Petruchio eagerly puts his reputation in Kate's hands. For him, the initial twenty crown wager is an insult, causing him to exclaim "I'll venture so much of my hawk or hound, / But twenty times so much upon my wife" (V.2, 73-74).

Kate comes when she is called, as Petruchio was sure she would, but in giving Kate the task of telling "these headstrong women / What duty they do owe their lords and husbands" (V.2, 144-145), he releases complete control of his reputation. At this point, whatever she says will reflect not only on her, but on him as well. At this point Petruchio is also giving Kate an unparalleled opportunity: to address and instruct the party. Clearly he trusts her — so much, in fact, that he is willing to share the public forum with her (an extraordinary occurrence for a woman). Kate's formidable speech leaves her own husband speechless, able to exclaim only "Why, there's a wench!" (184). Although in many ways Petruchio is like his wife, admittedly he doesn't undergo the same sort of maturation and development as she does (after all, his tyranny is clearly a fiction, a parody created to help Kate see the senselessness of her behavior). It would be unfair, though, to claim he remains static.

When we look back to the Petruchio of the early acts, he is determined to live solely for himself, intending to exist largely on the dowry of the wife he hopes to find. If this were his sole motivation, though, what point would there be in his taking the time to help his wife into a partnership? If money were his only goal, surely he wouldn't bother trying to help Kate to a different perspective. When it comes to it, it seems Petruchio does not, in fact, want merely to wive it wealthily. He wants someone who can spar wits with him, challenge him, and excite him intellectually, emotionally, and physically. By the wedding scene, Petruchio has come to this realization; hence, he willingly assumes the all-important role as the catalyst for Kate's change. For instance, purposely arriving late, wearing conspicuously inappropriate attire, and behaving in a completely improper manner at the wedding mark Petruchio's initial steps in getting a wife worth more than merely her money. By play's end his gamble to try and bring Kate to a higher level of understanding pays off. Petruchio gets the mate he desires — but he, too, is changed.

He is no longer the mercenary man from the early acts; rather he is a man deserving of the extraordinary partner he has gained. How does Shakespeare present the characters of Katherina and Petruchio so that we understand the title of the play 'Taming of the shrew'? - GCSE English - Marked by Teachers.com How does Shakespeare present the characters of Katherina and Petruchio so that we understand the title of the play 'Taming of the shrew'? Extracts from this document... Introduction How does Shakespeare present the characters of Katherina and Petruchio so that we understand the title of the play 'Taming of the shrew'? In my essay, I am going to try and show my understanding and knowledge of how Shakespeare presents Katherina and Petruchio throughout the novel, and how this makes us understand the title of 'Taming of the shrew'. I will show how their relationship changes throughout the novel as the 'taming' process of Katherina progresses, and the ways in which we see how she is tamed. The novel 'The taming of the shrew' is set in 16th century Elizabethan England.

This was a time when marriages were very important, and most upper class marriages often arranged for money or power rather than love or meaning. Women were expected to wait on their husbands every need and desire. They were expected to be kind and gentle and do whatever their husband wanted. 'The taming of the shrew' is one of Shakespeare's comedies and so throughout the novel we see a lot of slapstick humour, witty remarks and comments between characters. In my essay I will show how as the taming of Katherina progresses, the humour also changes along with her. ...read more. Middle In this event, Shakespeare presents the characters in a very humorous way, with the witty arguments and fighting. I think this shows how much of a joke the idea of Petruchio wanting to marry Katherina seems. However, he is determined to tame her, and takes on the challenge. In act 3 scene 2, it is the wedding of Petruchio and Katherina. Everyone is ready and waiting, but Petruchio is late. Katherina isn't used to being treated like this and is obviously very embarrassed by being stood up. This however, is all part of Petruchio's plan to tame her.

When he finally does arrive, he isn't civil to her, and embarrasses her more at the alter. He acts like Katherina usually acts, to give her a taste of her own medicine. Again all part of his plan to tame her, by showing her what she usually acts like and how unacceptable it is. During this time she is slowly becoming tamed, the humour is also slowly becoming more subtle and less frequent. This can relate to her personality, which is slowly becoming more calmed and acceptable. Act 4, the 'taming' act. During this act is where we really see Petruchio taming Katherina. It is after the wedding at Petruchio's country house. There was a fine feast ready for Petruchio and Katherina. ...read more. Conclusion The widow being there is also to show the contrast of how Katherina used to be and how she is now, and to show what a difference there is. Katherina is proved to be tamed when the men joke about who's wife is the most obedient. They have a contest to see which one will come down when they are sent for by their husbands. Katherina is the first one down.

In a speech she then tells the other two wives of how they should obey their husband's requests and how although she has been strong and powerful, there was no need for she is now beautiful on the inside and she realises she doesn't have to be aggressive and nasty to be noticed and respected. She speaks of how women should fulfil their roles that they are assigned. Katherina has been tamed. Throughout the novel we saw a huge contrast of what Katherina used to be like and what she has become, thanks to Petruchio's clever planning and methods. Shakespeare shows Katherina being tamed throughout the humour change in the novel. At the start it was full of humour and sarcasm whereas at the end, it is far more subtle and calm. These ways really help us to understand the taming of Katherina, and 'The taming of the shrew'. ...read more. The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Taming of the Shrew section. Found what you're looking for?

Start learning 29% faster today 150,000+ documents available Shakespeare’s Kate: A Character in Camouflage | I'm All Booked Shakespeare’s Kate: A Character in Camouflage The Shrew Katherina (1898) by Edward Robert Hughes. (Photo credit: Wikipedia ) The Taming of the Shrew by William Shakespeare Well, come, my Kate; we will unto your father’s Even in these honest mean habiliments: Our purses shall be proud, our garments poor; For ’tis the mind that makes the body rich; And as the sun breaks through the darkest clouds, So honour peereth in the meanest habit. When I was working on my English degree, I was required to take two Shakespeare classes, and I’ve read almost all of his plays (well, only a few of the history plays!). I really came to love Shakespeare ; with practice, he does get easier as you get more familiar with the language, but you definitely want to use an edition that has footnotes. It would be tough for me to say which is my favorite play – I have several, and The Taming of the Shrew is definitely one of them.

I enjoy the slapstick elements, the bantering dialogue between the characters, the disguises and confused identities. But mostly I love the story itself, the story of a couple who unintentionally falls in love, and how love and respect can bring out the best in anyone. In The Taming of the Shrew, Shakespeare illustrates the Christian idea that internal character is more important than external character. Shakespeare was undoubtedly very familiar with the Bible; his plays often reference biblical ideas, and many of the themes can be interpreted from a Christian perspective. For example, the theme of transformation as seen in The Taming of the Shrew also appears in the Bible. In the Christian faith, an individual’s conversion occurs when Christ brings about a change within him. The inner conversion results in a change in the person’s choices, actions, and speech. The means by which this change takes place is through the hearing or reading of God’s Word. Similarly, in The Taming of the Shrew, language and words are the primary instruments Petruchio uses to teach Katherine to change her view of herself, and this internal change in turn affects her actions and her speech.

Shakespeare uses clothing and names throughout the play to reinforce the idea that external change, which is typically of a physical nature, is false and temporary. In his book Brightest Heaven of Invention , Peter Leithart points out that while names and clothing are used for identification, both can be easily counterfeited. In The Taming of the Shrew, many of the characters pretend to be someone else to advance their own purposes. The Induction introduces this idea, with Christopher Sly being deceived into believing he is someone different than he is. The Lord plays a trick on Sly, suggesting that if he is, “Wrapped in sweet clothes, rings put upon his fingers, /…Would not the beggar then forget himself?” In the play, other characters disguise themselves by changing their clothes. Both Lucentio and Hortensio disguise themselves as instructors for Baptista’s daughters so they can gain access to Bianca in order to court her. Tranio pretends to be Lucentio, and he later tricks an old scholar into playing the part of Vincentio. Likewise, as part of his disguise, each of these characters takes on a false name to hide his true identity.

These changes are easy to make because they are superficial, and eventually all of these false identities are revealed. Everyone knows that appearances can often be deceiving. External labels and physical appearance may inaccurately reflect of a person’s internal character. In the Induction, Christopher Sly is called a “lord,” but that does not change the fact that he is actually a drunken bum. In several ways, The Taming of the Shrew demonstrates the truth, “You can’t judge a book by its cover,” or label. For example, Bianca’s true nature is revealed to be different than what she first appears to be. When Lucentio first sees Bianca, he says, “…in the other’s silence do I see / Maid’s mild behavior and sobriety.” In fact, Bianca’s name, which means “white,” is significant. At first glance she looks sweet, lovely, and agreeable, but Bianca turns out to be strong-willed and defiant.

When she is first introduced to her new tutors, she declares, “I’ll not be tied to hours nor ‘pointed times, / But learn my lessons as I please myself.” She goes behind her father’s back and marries Lucentio without his permission, and in Act V, when called by her husband, she answers that “she is busy and she cannot come.” People who pretend to be something they’re not are called hypocrites by Christ in the gospels. For example, He compares the Pharisees with white-washed tombs: “Ye are like unto whited sepulchres, which indeed appear beautiful outward, but are within full of dead men’s bones, and of all uncleanness” (Matt. 23:27). Clearly not everything that is pretty on the outside is also pretty on the inside, and such is the case with Bianca. To a certain extent, the nicknames or labels a person is given are linked with his or her reputation.

For much of her life, Katherine has had a reputation for being a shrew, “renowned in Padua for her scolding tongue.” In the second scene of Act I, she is called other unflattering names, such as Katherine the Curst and wildcat, as well as a “fiend of hell.” The Bible says, “For as [a person] thinketh in his heart, so is he” (Proverbs 23:7). It appears that Katherine has become what everyone accuses her of and does not know how to be otherwise. However, when Petruchio first meets Katherine, he compliments her and is the first person to see her as something other than a shrew. He gives her his own nickname, Kate, and in doing this, suggests to her that she has the ability to change her reputation and gives her permission to do so (Leithart). Of course it will take more than simply changing her name to make the transformation a reality, but it is Petruchio’s first step in his plan to do so. Petruchio never disguises himself, but he does use dress several times to make a point about outward appearance.

When he leaves Kate after setting a wedding date, he claims, “I will unto Venice / To buy apparel ’gainst the wedding day.” When he arrives, he is dressed so bizarrely that Baptista tells him to “doff this habit, shame to your estate,” and Tranio urges him, “See not your bride in these unreverent robes.” In response to them, Petruchio makes a very significant statement: To me she’s married, not unto my clothes. Could I repair what she will wear in me As I can change these poor accoutrements, ’Twere well for Kate and better for myself. In this comment, he makes several points. First, he is saying that regardless of the clothes he is wearing, he is still the same person he was. Again, we find this idea in the Bible. When Samuel is looking for the new king of Israel, he is reminded that, “Man looketh on the outward appearance, but the Lord looketh on the heart” (I Samuel 16:7). Actually, my daughter likes to remind me of this often.

After changing her hair color (again), she’ll say, “It’s only hair; I’m still the same person!” Secondly, Petruchio is implying that while it is quite easy for him to change his clothes, changing Kate’s character will not be nearly as simple. He intends to teach Kate to correct her temper; he knows he has his work cut out for him and that it will not be easy on either of one them. Petruchio uses the visual aid of clothing again in Act IV to instruct Kate. He teases her with clothes that he does not intend to let her wear, and when she expresses her desire for a cap, saying that it is the type gentlewomen are wearing, Petruchio responds with, “When you are gentle you shall have one too, / And not till then.” He is trying to make her understand that her first priority is to develop the inner beauty that she lacks.

In the New Testament, Peter addresses this same issue: …let it not be that outward adorning of plaiting the hair, and of wearing of gold, or of putting on of apparel; But let it be the hidden man of the heart, in that which is not corruptible, even the ornament of a meek and quiet spirit, which is in the sight of God of great price (I Peter 3:3-4). Just as Hortensio suspects, Kate never does get a new gown or cap, and Petruchio suggests they go to see her father just as they are. [W]e will unto your father’s, Even in these honest mean habiliments. Our purses shall be proud, our garments poor, For ’tis the mind that makes the body rich[.] He then goes explains to her that it is not the outer covering of an animal that necessarily makes it beautiful. He uses two animals as examples — the raucous blue jay and the poisonous adder — which, although attractive to the eye, are still offensive. The degree of Kate’s understanding at this point is uncertain, but by the end of the play she certainly seems to have learned this lesson.

By the time the couple returns to Padua, Petruchio seems to have accomplished his goal. Some people believe that in the final scene Kate is just playing along with Petruchio; she has not really changed her attitude and is still a shrew. However, her last speech expresses the traditional Christian view of marriage found in the Bible (Ephesians 5:21), as Shakespeare must have intended. Here, Kate publicly scolds her fellow wives for their lack of respect and obedience to their husbands: Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks and true obedience; Too little payment for so great a debt. The idea that Kate’s speech was insincere and merely an act I believe would defeat the whole point of the play, which is that a person can change.

Kate’s father is so impressed with her reformed behavior that he offers Petruchio a second dowry sum for his new daughter, remarking, “For she is changed as she had never been.” If Katherine were just putting on an act but had not genuinely transformed, this statement would seem to be irrelevant, and in fact, so would Shakespeare’s title for the play. In contrast to external change, internal change is genuine and long lasting. The Bible teaches that an individual can be inwardly transformed. Paul wrote in Romans 12:2, “…be ye transformed by the renewing of your mind.” Some may say that Petruchio was playing with Kate’s mind, but through his words and disciplinary methods he taught her to think differently about herself. At the end of the play, it seems that Kate has become a “new creature”; “old things are passed away; behold, all things are become new” (II Corinthians 5:17). Kate’s new inner beauty shines forth, bringing honor both to herself and her husband. After reading The Taming of the Shrew (or even if you don’t read the play) consider watching Frank Zeffirelli’s 1967 movie starring Elizabeth Taylor and Richard Burton.

(By the way, the old musical Kiss Me, Kate (1953) is based on this play.) Source: Leithart, Peter J. Brightest Heaven of Invention: A Christian Guide To Six Shakespeare Plays. Moscow, ID: Canon, 1996. Which is your favorite Shakespeare play or character? Rate this: SparkNotes: The Taming of the Shrew: Act II, scene i (page 2) The Taming of the Shrew William Shakespeare Act II, scene i (page 2) → Act II, scene i, page 1 Act III, scene i page 2 of 2 Analysis: Act II, scene i Although the turning point of the action in a Shakespearean play usually occurs in the third act, here, in Act II, we already witness an emotional turning point for Kate when she fails to refute Petruchio’s assertion that they are engaged. Her silence at the end of this scene is remarkable. She has always used her tongue liberally to get her way, and here, when Petruchio seems to force marriage upon her, a decision that will affect the rest of her life, she lapses into silence.

As before, when Baptista is present, the men ignore Kate, talking about her, not to her. In the same way, Petruchio treats her like she doesn’t exist when telling the others of their wedding plans. In fact, Petruchio thinks so little of what Kate replies that Gremio, fearing that Petruchio’s presumptuous confidence will impede his own chances of marrying Bianca, reiterates what Kate initially says to him: “Hark, Petruchio, she says she’ll see thee hanged first” (II.i.292). Inexplicably, when Petruchio persists, she actually complies. Kate’s compliance with Petruchio’s decree may surprise us, but if we consider her as essentially misunderstood by the other characters, her behavior may appear more understandable. The men view her as a shrew, but they care very little about the origins of her shrewish nature. Nor do they wonder why Kate chooses to maintain her behavior. If her temper results from her frustration with the dim-witted qualities of the men around her, one easy explanation for her acceptance of Petruchio would be that he is her equal in wit and willpower.

Indeed, compared to the other suitors who simply run from Kate’s temper, Petruchio fires a countering shot at each and every one of her arrows. Petruchio displays an admirable wit, and, in this verbal duel of puns and double entendres, we see quintessential Shakespeare inventiveness and linguistic skill. On the other hand, Petruchio does not respect Kate, or at least he pretends to disrespect her for the sake of the game. It seems strange that Kate’s independent personality would be willing to accept someone who gives her just as little credit as did the other suitors merely because he can match her wit. At the beginning of the scene, though, Kate shows that she may have another motive for complying with Petruchio. When fighting with Bianca, she admits that she is jealous because of the fact that her sister is being courted and will probably soon marry. She says to Baptista: “She [Bianca] is your treasure, she must have a husband. / I must dance barefoot on her wedding day, / And for your love to her lead apes in hell” (II.i.32–34).

(Leading apes in hell refers to the lot of women who die old maids, unmarried.) Here, Kate appears to be frustrated by the fact that her biological clock is ticking, but she finds herself caught in a vicious circle: she hates the suitors because they do not want to marry her, and men will not marry her because she makes it so obvious that she hates them. Perhaps Petruchio’s indefatigable nature has broken the cycle, or it may be that he is the first man to speak kind words to her, even if he did not truly mean them. Whereas Hortensio and Gremio make it very clear when they are put off by Kate’s sharpness, Petruchio amiably covers it up with praise: “For she’s not froward, but modest as the dove. / She is not hot, but temperate as the morn” (II.i.285–286). After Petruchio invokes this simile, Kate’s resistance falters. It will return, but Petruchio clearly did not miss the mark with his strategy, which capitalizes on her need for acceptance.

In this scene, Kate shows that she is doubly miserable in her existence as an unmarried girl, having alienated herself from the society she despised. It may be that marriage represents a new beginning for Kate, a chance to take on a new social role and possibly find a more satisfying way to integrate herself into her surroundings. How is the character of Petruchio presented by Shakespeare in The Taming of the Shrew? - GCSE English - Marked by Teachers.com How is the character of Petruchio presented by Shakespeare in The Taming of the Shrew? Extracts from this document... Introduction How is the character of Petruchio presented by Shakespeare in The Taming of the Shrew? In addition to being the title of one of Shakespeare's earliest comedies, The Taming of the Shrew was also the self appointed role and paramount purpose of one of it's main characters, Petruchio. Shakespeare presents this central character in a variety of ways and care must be taken so that early unfavourable impressions of Petruchio may not be misleading. What did Shakespeare want his audience to think about this 'apparent' fortune hunter?

Is this man from Verona a heartless tyrant or just a strongly masculine figure, confident but perceptive, who has met his equal in the feisty Katherina? The plot has been revealed in Scene 1 for Bianca's would-be suitors to find a husband for Katherina. Petruchio is introduced in Act 1 Scene 2, in a humorous way. Upon arriving at the house of his friend Hortensio, he orders his servant Grumio to knock the door. His servant makes great jest using a pun on the word 'knock' (which also means to hit someone), deliberately misinterpreting his master. This angers Petruchio who becomes impatient and wrings his ears causing Hortensio to intervene to calm the situation. Shakespeare gives an immediate impression of Petruchio as someone who is impatient and doesn't suffer fools gladly. He will not hold back but strikes out when riled. Petruchio furthers this impression of himself as a ruthless character when he reveals his purpose for being in Padua is: "Happily to wive and thrive as best I may".

(Act 1, Scene 2, line 53) On hearing about 'a shrewd ill-favoured' heiress called Katherina from Hortensio, he determines to marry her. He hasn't seen her, in fact all he knows about her is that she is horribly ill tempered, yet all he is appears to be interested in is her money. He is quite specific in his affirmation of his purpose to get married to a wealthy woman. ...read more. Middle Though little fire grows great with little wind, Yet extreme gusts will blow out fire and all. So I to her, and so she yields to me For I am rough and woo not like a babe." (Act 2, Scene 1, lines 127-133) In the first of his two main soliloquies, Petruchio enlightens the audience as to the strategy he will use to begin the wooing of Katherina. He hopes to keep her off balance and disconcerted by continuing his policy of saying the opposite of what is true. "Say that she rail, why then I'll tell her plain She sings as sweetly as a nightingale.

Say that she frown, I'll say she looks as clear As morning roses newly washed with dew. Say she be mute and will not speak a word, Then I'll commend her volubility" (Act 2, Scene 1, lines 166-171) Shakespeare is developing the character of Petruchio, showing his audience yet another facet of his personality, a humorous charm. This would have served the purpose of getting the spectators 'on his side', and built a sense of anticipation for the eventual meeting between him and Katherina. When she enters the scene, Petruchio begins his offensive immediately by being deliberately provocative, using the diminutive version of her name, Kate. In six short lines, (lines 181-186), he uses this shortened form of her name no less than eleven times, praising her all the while as he informs her he is going to marry her. No doubt the audience found the situation on stage highly amusing and entertaining, particularly the outrage which was sure to be on Katherina's face, however, there was a purposeful and authoritative stand being taken by Petruchio too.

The witty repartee, which flies between the two, would have involved the audience completely. Shakespeare uses a staccato style of language similar to that used in ancient Greek drama for this meeting, where the two combatants speak a series of one line answers to each other, each using sexual pun and innuendo and trying to outdo the other in terms of their wit and sarcasm. ...read more. Conclusion This shows how much the 'taming' has been successful. The old Katherina did not appear to care what people thought of her and her shrewish behaviour (she broke an instrument over the head of Hortensio), but now she is a married woman and wants to be seen as someone who behaves in a manner that society expects of her. Petruchio, however, is not one to comply with society for its own sake and does not want his wife to either, he doesn't want to break her spirit completely. As long as she complies with him, he is satisfied. By the last scene in Act 5, Petruchio is so confident of his wife's behaviour he makes a wager on the strength of it and indeed wins, to the amazement of the other characters.

Katherina's closing words appear to express her total capitulation to her husband, (and if they are exaggerated to allow him to win the wager, then only the two of them know this). The following closing lines show Petruchio's delight in his wife and the affectionate relationship they have established: "Why, there's a wench! Come on and kiss me. Kate. Come, Kate, we'll to bed." (Act 5, Scene 2, lines 180, 184) How does Shakespeare present Petruchio in this play? He portrays him as a larger than life character, an intelligent man with exceptional language skills, using metaphors, pun and poetry, but more importantly, he presents him as the only possible person who could have taken on the role of taming Katherina, using masculine strength and aggression on occasion - yes, but showing perceptiveness and above all outrageous humour. The watching audience would have been thoroughly entertained. BIBLIOGRAPY The Taming of the Shrew Stevie Davies, Penguin Books Ltd, 1995. The Taming of the Shrew, Monarch Notes and Study Guides, Margaret L.

Ranald, Monarch Press, 1965. The Taming of the Shrew, York Notes Advanced, Rebecca Warren, York Press, 2000. The Taming of the Shrew, Notes, Salibelle Royster, Coles Publishing Company Limited, 1964. The Taming of the Shrew, Brodie's Notes, T.W. Smith, Pan Books Ltd, 1986. Sandra Browne A'Level Coursework 1 ...read more. The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Taming of the Shrew section. Found what you're looking for? Start learning 29% faster today 150,000+ documents available The Taming of the Shrew Literature Guide - TeacherVision Enter promo code TEACH for 15% off. INTRODUCTION While The Taming of the Shrew is not one of the Shakespearean plays traditionally taught in English courses, the lively comic plot and appealing characters make it an excellent introduction to the Bard.

Because the play deals with relationships between several different "courting" couples, it can capture the attention of adolescents and spark lively debate on the age-old "battle of the sexes." Less able readers can enjoy the action and intrigue of the story. They will also be able to appreciate the theme of the play: the problems that arise when people are expected to conform to the roles society expects them to play. More able readers will understand the contradictions between plot and subplot and the role of deception. All students will be able to compare the play to modern versions of the story, while more able students can look for parallels in literature. Study of The Taming of the Shrew offers students the opportunity to compare social customs surrounding courtship and marriage from Elizabethan England to those of other countries and to modern America. The play can promote important discussions about the role of respect, deception, romance, caring, and violence in the relationships between men and women.

This teacher's guide is divided into several parts: (1) a brief literary overview, including a synopsis and commentary on the play; (2) suggestions for teaching the play, including activities, discussion questions, and writing topics to be used before, during, and after reading the play; (3) ideas to extend students' learning beyond the play, including ways to address its themes, ideas for teaching literary analysis, techniques for using the play as a bridge to other works, and ways to use the play in interdisciplinary study; (4) bibliographies, including additional pedagogical sources, other works of literature addressing similar themes, and interdisciplinary sources. Throughout this study guide, attention will be given to the ability level of the students, and specific activities, discussion questions, and topics will be labeled as to difficulty. +Most appropriate for nonacademic students. #Most appropriate for above average students. ~Most appropriate for academic students. OVERVIEW The scene opens in an English country alehouse in the late 1500s. A nobleman discovers Christopher Sly, a drunken beggar, and decides to play a trick on him.

He orders his men to take the passed out Sly to his own bedroom, dress the beggar in fine clothes, and tell him he is a nobleman who has been very ill for many years (Ind, i.) [pp. 45-50]. When Sly awakes, he proudly protests that he is no lord. Gradually, however, Sly comes to believe in his nobility and begins taking on lordly airs. He agrees to watch the performance of a wandering band of actors who have also been enlisted in the lord's plot (Ind, ii.) [pp. 50-56]. The action of The Taming of the Shrew, the play-within-a-play, begins in the Italian city of Padua. Lucentio, a young gentleman of Verona, arrives accompanied by his servant Tranio. Lucentio's discussion of his studies is interrupted by the appearance of Baptista Minola, his two daughters Katherina (Kate) and Bianca, and two would-be suitors for Bianca's hand-Gremio, an old man, and Hortensio, a gentleman of fashion. Baptista states that no one will be permitted to court Bianca until her older sister, Kate, has a husband.

Gremio and Hortensio protest that no one wants to marry the bad-tempered Kate. Baptista intends to keep Bianca in seclusion and asks for tutors while she waits. While listening to this conversation, Lucentio has become totally smitten with Bianca. He plans to get to know Bianca by posing as a tutor while Tranio pretends to be Lucentio and joins the ranks of Bianca's "official" suitors (I, i.) [pp. 57-66]. Another young gentleman of Verona, the bold Petruchio, arrives at the home of his friend Hortensio proclaiming he has come to Padua to find a wealthy wife. Hortensio replies he knows a lady, Katherina Minola, who is both rich and beautiful, but unfortunately she is a terrible shrew. Petruchio does not care just as long as she is rich. Hortensio agrees to introduce Petruchio to Kate's father if Petruchio will help him gain access to the younger sister. The old suitor Gremio has found Cambio, a Latin tutor for Bianca. Cambio is really Lucentio.

The ranks of the suitors for Bianca increase when Tranio makes his grand entrance posing as Lucentio. All three-Hortensio, Gremio, Tranio/Lucentio-agree to finance Petruchio's courtship of Kate since his success will open the way for them (I, ii.) [pp. 66-77]. Baptista must intervene in a fight between Kate and Bianca. When he chides Kate for her actions, she claims her father likes her younger sister best. Petruchio arrives, accompanied by various suitors and tutors. He immediately inquires about the hand of Baptista's daughter Kate, assuring Baptista he is from a good family. Petruchio presents Hortensio, now posing as the music tutor Litio. Not to be outdone, Gremio introduces the Latin tutor, Lucentio/Cambio. Baptista welcomes the tutors and sends them to meet their pupils while Tranio/Lucentio officially becomes a candidate for Bianca's hand. Baptista decides Petruchio's offer of marriage is a good one, but he must win Kate's love first. Petruchio is confident he can do so.

Petruchio's first encounter with Kate generates sparks as the two engage in rough-and-tumble verbal sparring. Petruchio announces that he is the perfect husband for Kate and tells Baptista and the others not to take note of her behavior; they have agreed she will still pretend to be shrewish in public even though she really loves him madly. Sunday is set for the wedding day. Since Kate now seems to be spoken for, Gremio and Tranio/Lucentio face off to negotiate for Bianca's hand. Baptista is impressed by Tranio/Lucentio's promises of enormous riches, but, to be on the safe side, he wants Tranio/Lucentio's father, Vincentio, to make good his son's offer. Tranio realizes the "supposed Lucentio" must now get busy and find a "supposed Vincentio" to pose as his father (II, i) [pp. 78-93]. In the garden of Baptista's home, the disguised suitors begin their covert courtship of Bianca. Lucentio/Cambio, between the lines of a Latin lesson, tells Bianca who he really is.

Bianca is cautious, but does not discourage Lucentio's attentions. Their actions raise the suspicions of Hortensio/Litio (III, i.) [pp. 94-97]. Everyone but the groom gathers for the much anticipated wedding of Petruchio and Kate. Kate is humiliated to think she has been left standing at the altar. When Petruchio arrives both his dress and his behavior are outrageous. Baptista protests, and Petruchio replies that Kate is marrying him, not his clothes, and he drags her off to the church. Tranio meanwhile brings Lucentio up to date on his plan to find someone to pretend to be Vincentio. When the wedding party returns, Petruchio announces they have to leave right away and will not be staying for the wedding feast. Although everyone objects to his plan, Petruchio says he will be master of what is his, especially of his wife. He sweeps her up and carries her away from her father's house (III, i i.) [pp. 98-107]. The journey to Petruchio's home is not a pleasant one. Petruchio and Kate arrive cold, dirty, tired, and hungry.

Petruchio, furthermore, is in a rage and declares the supper to be unfit. He decides he and Kate will fast, and he packs her off to bed. Petruchio announces his plan to tame Kate as he would a falcon, starving her into submission. But every time he denies her sleep or sends back her food, he will claim it to be done in loving care of her. Thus will he "kill a wife with kindness" (IV, i.) [pp. 108-116]. Hortensio/Litio and Tranio/Lucentio give up their quest for Bianca's hand when they discover her kissing Lucentio/Cambio, a common tutor. Hortensio decides instead to marry a wealthy widow. With one suitor now out of the way, Tranio finds an old man to pretend to be Vincentio and thus secure his "suit" (IV, ii.) [Pp. 116-120]. Kate, meanwhile, is showing signs of wear from Petruchio's "kindnesses." Petruchio surprises her by announcing they will go back to Padua for her sister's wedding.

Kate's hopes for new clothes for the occasion are dashed because she has not mastered her temper. Petruchio decides they will go back to her father's dressed as they are. After all, clothes will not change who they are inside (IV, iii.) [Pp. 121-128]. The seesaw action returns to Padua where Lucentio and Bianca have run away to get married (IV, iv) [pp. 129-133]. Meanwhile on the road back to Padua, Petruchio is about to win the battle he has been waging with Kate. He declares the moon is shining brightly. When Kate disagrees with him, he announces they will return home. At last Kate sees the point and says it is the moon or the sun, or whatever he wants it to be. They are joined by an elderly man, the real Vincentio, on his way to Padua to check up on his son Lucentio (IV, v) [pp. 133-136]. While Lucentio and Bianca go to the church, the real Vincentio arrives at his lodgings.

The poor man does not know what is going on because Lucentio's servants swear they have never seen him before. Vincentio is rescued by the real Lucentio who shocks everyone with the news he and Bianca are married. Everyone, but Petruchio and Kate, heads to Baptista's house to sort matters out. Petruchio demands a kiss from Kate. Kate balks at first, but at last grants his request. The battles appear to be over (V, i) [pp. 137-143]. The mood is festive at the wedding feast for the three newly married couples, but everyone agrees Petruchio has the worst of the wives. Petruchio suggests the three men wager to see whose wife is the most obedient. Bianca and the Widow refuse to come when summoned by their husbands. Kate, on the other hand, not only comes when summoned, but also lectures the other wives on the kind of duty each owes her husband-to make him a happy home while he works to take care of them both. The assembled crowd is amazed at Kate's transformation. Petruchio and Kate have won both the bet and the battle the other two couples are just now beginning. Or have they?

(V, ii) [pp. 143-151]. Commentary The play contains three stories of deception. In the Induction, the drunkard Sly is tricked into believing he is a nobleman because he is dressed and treated as one. Later, in the play-within-a-play, Petruchio pretends to be a male counterpart to the shrew, beating and berating his servants and yet treating Kate with exaggerated kindness. His object is to give her a taste of her own medicine, while at the same time allowing her to take on the role of a gentlewoman. Deception and disguise are integral parts of the Lucentio-Bianca plot where four characters assume someone else's identity in order to gain access to Bianca. Bianca also pretends to be sweet and submissive, but in reality she shows signs of being self-centered and willful. While students may find the Lucentio-Bianca plot difficult to follow, they should see how the outcomes of the stories differ. Which man, Lucentio or Petruchio, will have the more suitable wife?

Modern audiences can laugh at the actions of Kate, especially when she is getting the better of the foppish suitors; however, her behavior toward her sister, Petruchio's treatment of her, and her last speech, pose problems. Students should understand that the play mirrors societal attitudes of Shakespeare's time. The shrew was a standard character in comedy. Noah's wife, for example, was often portrayed as shrewish in the cycle plays popular just before Shakespeare's time. A later example of the shrew is the character of Joe's wife in Dickens' novel Great Expectations. The shrew was a woman who was out of control, unreasonably angry, and sometimes cruel. In the comic convention, she usually got what she deserved. Shakespeare treats his shrew with a little more dignity. Kate is, after all, the title character of his play. Petruchio sets out to tame her much as the sportsman of his day tamed his falcon or the cowboy of this time breaks in a horse. Kate learns not only to play Petruchio's game but also to enjoy it.

In the final analysis, it is left to the audience to interpret Kate's last speech: Has she truly been tamed or is she just playing the game? Prev SparkNotes: The Taming of the Shrew: Study Questions & Essay Topics Study Questions & Essay Topics The Taming of the Shrew William Shakespeare Quiz Study Questions 1. Disguise plays a crucial role in The Taming of the Shrew, throughout both the Induction and the main story. While most of the disguises are removed in the end, those who use them to achieve a specified goal generally succeed—particularly Lucentio and Tranio. What can we infer about Shakespeare’s take on the effects of disguise? Can clothes really make the man? Disguise in The Taming of the Shrew enables characters to temporarily change their social positions. By donning a disguise, Lucentio transforms himself in the eyes of everyone around him from a young gentleman into a scholar, and Tranio transforms himself from a servant into an aristocrat. Clothing facilitates this effect because outward appearance controls the perceptions of others: because Tranio appears to be a gentleman, people treat him as a gentleman.

However, as Petruchio says, no matter what a person wears, his inner self will eventually shine through—Lucentio, for instance, may appear to be a tutor, but as soon as the courtship with Bianca develops, he must revert to himself again. Additionally, one cannot escape one’s past simply by changing one’s clothes. People are bound together in intricate webs and, interwoven as such, cannot escape their identity. The webs tend to reveal true selves regardless of attire or intent—a point that Shakespeare illustrates when Vincentio encounters Tranio in disguise. 2. The Induction plays a mysterious role in the play. In fact, we never see the conclusion of the trick played on Christopher Sly. What is the purpose of the Induction, structurally, narratively, or thematically? In the end, does the Induction serve merely a cursory role in introducing the play proper, or does it provide commentary on the themes throughout?

Many of Shakespeare’s dramas utilize the concept of “plays within plays,” in which characters in the play attend the performance of another play; prominent examples include the “Mousetrap” scene in Hamlet and the “Pyramus and Thisbe” scene at the end of A Midsummer Night’s Dream. But The Taming of the Shrew is unique in that the “play within a play” is the main play: the story of Petruchio and Kate is presented as a play viewed by the otherwise insignificant character of Christopher Sly. The Induction, the section at the beginning of the play that introduces Sly, may be narratively unsatisfying, especially as we are not privy to the conclusion of Sly’s story. However, the Induction incorporates many of the major motifs of the main play, such as that of disguise. Sly’s identity changes when his clothes are changed, just as Lucentio’s does. Sly must act according to the role in which he finds himself, just as Kate must. Finally, Sly is interested in having a wife over whom he can hold sway, just as most of the male characters in the main story are. 3. What techniques does Petruchio employ to “tame” Katherine?

Why do they work? Is Petruchio’s manipulation of Kate plausible? Petruchio uses a number of different techniques to “tame” Kate: he proves to her that he can match her verbal acuity and quick wit, then he wields his extreme confidence, and his status as a man, when he boldly tells her father that she has already agreed to marry him when, in fact, she has not. At the wedding, he humiliates her by wearing absurd clothing, arriving late, and riding a broken-down horse, and then he exerts his authority over her by forcing her to leave immediately. When they reach his house, he decides to “kill [her] with kindness,” pretending he cannot allow her to eat his inferior food or sleep on his inferior bed because he cares for her greatly. As a result, she grows tired and hungry and must depend on Petruchio’s goodwill to fulfill her needs, reinforcing in her mind the idea that he controls her. Because Petruchio couches his attempt to tame Kate in the rhetoric of love and affection, it is impossible for her to confront him with outright anger, and the possibility remains that the two will develop a genuinely loving relationship in the future.

Of course, The Taming of the Shrew is a comedy, and Petruchio’s techniques are somewhat fantastical. But both Kate’s apparent willingness to comply with Petruchio’s demands and Petruchio’s desire to court Kate’s love make considerably more logical sense if we accept the explanation that, beneath their conflicts, they legitimately love one another. Suggested Essay Topics 1. How do gender roles affect the attitudes of the characters, and how do these roles surface in the play? Most of the men seem to have a particular idea about how a wife should behave, but do their preconceptions extend to all women? How do the women react to these expectations? Are the women systematically oppressed, or do they subtly balance the men’s power? 2. The play is essentially a comedy, and yet more serious questions about social issues often overshadow its comic features. How does humor function in The Taming of the Shrew? Note especially the two wooing scenes, by Petruchio (Act II, scene i) and Lucentio (Act III, scene i). Why does Shakespeare include so many of the play’s best comic devices in these scenes? 3. Examine the characters of Hortensio and Gremio.

Why do they fail where Petruchio and Lucentio succeed? Does their failure stem from their reasons for wanting to get married or from other facets of their personalities? 4. In general, the plots of Shakespeare’s plays follow a certain pattern, in which Act III contains a major turning point in the action and events that “inevitably” lead to the climax of action and the wrap-up of plot lines in the fifth and final act. How does The Taming of The Shrew conform to, or deviate from, this pattern? How substantially do the events of the third act—the marriage scene between Petruchio and Kate, and the wooing scene between Lucentio and Bianca—affect the action of the rest of the play? More Help Role Playing Role Playing Bookmark this page Manage My Reading List "You are come to me in happy time, / . . . for I have some sport in hand / Wherein your cunning can assist me much" says the Lord to the players in the Induction of The Taming of the Shrew. These seemingly simple words of welcome resonate, setting the context for the story about to unfold before us.

We know that theatricality will be paramount to the story as the clever Induction pulls us into the drama through the story of Christopher Sly's duping. The Induction focuses our attention on the idea of appearances being deceiving, as well as on the importance of acting and role playing, but then it stops abruptly once The Taming of the Shrew proper begins. Why then take the time to introduce us to Sly and the merry jest of the Lord and his household? We can see the Induction as functioning in a number of ways (see the Induction commentary for more), but one of its most important purposes is to clue spectators into one of the play's main themes: role playing. In Shrew, Shakespeare provides disguises of all shapes and forms, from obvious physical disguises to more subtle psychological ones, and in the confines of a play within a play allows us to see a world which, not unlike our own, is teeming with role players. The first and most obvious type of disguise employed in Shrew is the physical disguise. The notion of physical role playing is introduced at the very beginning of the play and continues throughout.

When Christopher Sly falls asleep, the Lord decides to play a trick on him by having him carried to his manor and dressed as a nobleman. Lucentio, in Act I, Scene 1, assumes the role of Cambio, Bianca's tutor, while his servant, Tranio, disguises himself as Lucentio. Later, at the end of Act II, Scene 1, Tranio/Lucentio realizes he will need to present Vincentio, Lucentio's father, so he decides "suppos'd Lucentio/ Must get a father, call'd suppos'd Vincentio" (II.1, 407-408), and in Act IV, Scene 2, he finds a Pedant to play the part (72-121). We are introduced to yet another masquerader in Act III when Hortensio disguises himself as Litio, Bianca's music tutor. Aside from proper clothing, the only other thing these role players seem to need in order to ensure their masquerades is someone to corroborate their stories.

Certainly the ease with which these players enact their roles suggests that as spectators (both inside and outside the theater) we need to be aware that nothing is as it seems and that we are continually surrounded by people who may just be acting a part in order to obtain a desired outcome. A bit less obvious than the physical disguises are the psychological disguises in The Taming of the Shrew. Both Kate and Petruchio assume psychological disguises. Kate becomes a shrew to compensate for the hurt she feels because of her father's favoritism toward Bianca. In addition, she refuses to be saddled with an unworthy husband and so assumes the role of a shrew, insulating herself from the hurtful world around her, no matter how much she may secretly wish to join in the fun. Likewise, Petruchio assumes the role of shrew-tamer, exaggerating Kate's bad behavior until she cannot help but see how infantile and childish her actions have been. Bianca, too, assumes a psychological disguise, changing her perspectives drastically once she is safely married. Although she appears initially as a demure and pure soul, by play's end we see that is not the case.

As the play draws to a close, we see more and more of Bianca's true disposition and learn that, ironically, it is Bianca, not Kate, who really is the shrew! In her case, her psychological disguise provided her the opportunity to appear better than she really was, suggesting again that we must be wary of the role playing going on around us. Physical disguises are fairly easy to detect and defuse, but psychological disguises are quite a different and more complicated matter. Psychological and physical disguises, though, aren't the only ways to look at the role playing in The Taming of the Shrew. The play is also, in many respects, self-reflective. It is metadramatic in the sense that it is self-reflexive, calling attention to the fact it is a play and the actors are all taking a part. Use of metadramatic devices is not unique to Shrew, however. Shakespeare often uses these devices in his plays to offer spectators inside jokes about the players, the drama, or the men playing the roles, as well as to draw attention to the artificiality of what we see before us and to urge us to recognize the elements of drama that permeate our daily lives.

For instance, in Shrew, the Induction provides a framework for the obvious performance we are about to witness. There must be no mistake about it: What we are about to see is not a mirror held up to life; rather, it is a fiction created by a troupe of actors (note, too, how calling attention to the play as a fiction rather than a slice-of-life lessens the seriousness of the play's message of male authority). Besides the Induction and the obvious physical disguises (costumes, if you will), we can also see Shakespeare calling attention to his play as just that, a play, through the characters of Kate and Petruchio. Rather than seeing them as the shrew and the tamer, we can also see them as analogous to an actor and a director. In very literal terms, the character of Kate is created by a young man playing a woman who creates a shrewish persona for herself so she can more easily deal with the world around her (largely through avoiding it).

When her disguise is no longer useful to her (or when the director, Petruchio, has finally convinced her to abandon the disguise) she assumes another role — this time the dutiful wife (thinking of Kate as an actress also helps with interpreting her speech in Act V, Scene 2). Petruchio is the director who orchestrates the production we see before us. He theorizes on how to get Kate to do what he wishes and begins planning his performance early. Although the staging of Petruchio's performance starts at the wedding when he assumes the costume of a wild man, he stages his largest production when he vows to kill his wife with kindness. In helping Katherine to a more mature state of being, Petruchio dictates all the particulars, just as a director dictates a production. He runs the show, so to speak, governing when his wife will enter and exit, when she will eat and sleep, when the action will advance and when it will repeat itself, and even attempts to oversee time itself. He very carefully sets up the elaborate production at hand, helping move his shrewish wife into desirable mate. Disguising and role playing of all sorts fill the scenes of The Taming of the Shrew.

In addition to advancing the general plot, the pervasive disguising and metadramatic nature of the play suggest that role players abound and that, as wary spectators, we must be like Petruchio, careful not to take things at face value because we are surrounded by duplicitousness. The character of Katherine in The Taming of the Shrew from LitCharts | The creators of SparkNotes Bianca Katherine is the "shrew" of the play's title. Because she is stubborn, is sometimes ill-mannered, and does not allow herself to be ordered around by men, she is constantly insulted, made fun of, and otherwise denigrated by practically all the other characters in the play. After she marries Petruchio, Petruchio tries to "tame" her, and he forces her into obedience by withholding food from her and not letting her sleep. Toward the end of the play, Katherine seems to change completely and become utterly obedient and subservient to Petruchio. Her long, final speech in which she details a wife's duties to her husband is often particularly troubling to modern readers uncomfortable with her sudden acceptance of sexism.

However, Katherine's sincerity in this transformation is debatable, and one could argue (as some productions of the play present it) that Katherine is merely pretending to submit to Petruchio and that her final speech is so over the top that it becomes sarcastic and a parody of wifely obedience. Katherine Quotes in The Taming of the Shrew The The Taming of the Shrew quotes below are all either spoken by Katherine or refer to Katherine. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one: ). Note: all page and citation info for the quotes below refers to the Simon & Schuster edition of The Taming of the Shrew published in 2004. Act 1, Scene 2 Quotes I can, Petruchio, help thee to a wife With wealth enough, and young and beauteous, Brought up as best becomes a gentlewoman. Her only fault, and that is faults enough, Is that she is intolerable curst, And shrewd and forward, so beyond all measure That, were my state far worser than it is, I would not wed her for a mine of gold.

Related Characters: Hortensio (speaker), Katherine, Petruchio Related Themes: Download it! Katherine Character Timeline in The Taming of the Shrew The timeline below shows where the character Katherine appears in The Taming of the Shrew. The colored dots and icons indicate which themes are associated with that appearance. Act 1, Scene 1 Baptista enters with his two daughters, Katherine and Bianca. Two men, Gremio and Hortensio, enter as well, seeking to woo Bianca. Baptista... (full context) ...Bianca to leave and go inside, and she is polite and deferential, in contrast to Katherine's rudeness. Gremio and Hortensio protest Baptista's condition for the marriage of Bianca, but he says... (full context) ...poetry. He asks Gremio and Hortensio if they know of any teachers, then exits, telling Katherine to stay. Katherine is offended at being told what to do, and leaves. (full context) Gremio insults Katherine, then says that he would gladly find a teacher for Bianca. Hortensio agrees, but also... (full context) ...desperate to win her heart.

Tranio asks if Lucentio also heard about the arrangement with Katherine, and saw Bianca's rude, boisterous sister, but Lucentio speaks only of Bianca's beauty. Tranio fills... (full context) Act 1, Scene 2 ...that all he cares about is finding a wealthy wife, and is eager to meet Katherine. He adds that Baptista knew his father and wants to go see Katherine immediately. Grumio... (full context) ...music. He then introduces Gremio to Petruchio, who he says "Will undertake to woo curst Katherine," (i.2.185) for her dowry. Gremio asks if Petruchio is aware of Katherine's faults and wonders... (full context) ...he wants as his wife, is married. Tranio agrees with Hortensio that Petruchio's pursuit of Katherine is in all their best interest. Tranio encourages all the others to eat and drink... (full context) Act 2, Scene 1 In Baptista's house, Katherine is teasing Bianca. She has Bianca's hands tied and asks her which of her suitors... (full context) Baptista enters and is upset to see Katherine abusing Bianca.

He unties Bianca's hands and sends her off to sew. He chastises Katherine,... (full context) ...as Lucentio) enters with Biondello. Petruchio introduces himself and tells Baptista he is interested in Katherine. He introduces "Litio" (really Hortensio) as a teacher of math and music, who can instruct... (full context) Petruchio discusses the dowry for Katherine and assures Baptista that he is strong enough to make Katherine yield to him. He... (full context) ...pale and with an injury on his head. He reveals that he tried to teach Katherine how to play the lute, but she got frustrated and broke the lute over his... (full context) Alone on-stage, waiting for Katherine, Petruchio plans how he will woo her. Regardless of what she says, he plans to... (full context) Katherine strikes Petruchio and he threatens to "cuff" her if she does so again. The two... (full context) Baptista enters with Gremio and Tranio (disguised as Lucentio). Katherine complains to her father that he has wed her to a lunatic. Petruchio says that...

(full context) Baptista says that he will give Bianca to Lucentio on the Sunday after Katherine and Petruchio's wedding, provided that Lucentio's father guarantees Lucentio's inheritance. Otherwise, Bianca will be married... (full context) Act 3, Scene 1 ...[Hortensio] for thy lord," (iii.1.78). A servant interrupts and tells Bianca that she must help Katherine prepare for her wedding. Bianca, the servant, and Lucentio leave. Hortensio notes that Cambio (really... (full context) Act 3, Scene 2 It is Katherine and Petruchio's wedding day, and Baptista, Gremio, Katherine, Bianca, Tranio (disguised as Lucentio), and Lucentio... (full context) ...finally arrive. Petruchio acts as if nothing is strange about his attire, and asks where Katherine is. Baptista is offended by Petruchio's lateness and ridiculous clothing. He and Tranio tell Petruchio... (full context) Gremio enters, having just come from the church where Katherine and Petruchio were wed.

He calls Petruchio "a devil, a devil, a very fiend," (iii.2.157).... (full context) Petruchio enters, along with Katherine. Bianca, Baptista, Hortensio, and Grumio. Petruchio announces that he will leave now, skipping the traditional... (full context) Katherine says she will not go with Petruchio, but rather will enjoy the feast without him.... (full context) Everyone is astonished at Petruchio's behavior. Bianca says that Katherine is mad and has found a fittingly mad mate. Baptista tells everyone that they can... (full context) Act 4, Scene 1 ...a fire. He tells another servant, Curtis, to help start a fire, since Petruchio and Katherine will be arriving soon. He asks if everything is ready for their arrival, the house... (full context) Grumio tells Curtis that, on her way to the house, Katherine fell off her horse into the mud. Instead of helping Katherine up, Petruchio beat Grumio,... (full context) Petruchio and Katherine arrive. Petruchio is angry that the servants did not meet him outside and immediately begins...

(full context) ...announces, "Thus have I politicly begun my reign," (iv.1.188). He says that he will train Katherine as falconers tame falcons: he will not let her eat or sleep until she obeys... (full context) Act 4, Scene 3 At Petruchio's home, Katherine complains to Grumio about Petruchio's behavior, telling him she is starved and has not been... (full context) ...Hortensio enter. Petruchio has brought a large portion of meat with him, and demands that Katherine thank him for bringing her food. Katherine thanks him, and Petruchio allows her to begin... (full context) Katherine protests, telling Petruchio, "I am no child, no babe," (iv.3.79) but he sends the haberdasher... (full context) Petruchio tells Katherine that they will go to her father's in their humble, everyday clothes, minimizing the importance... (full context) Act 4, Scene 5 Petruchio, Katherine, Hortensio, and some of Petruchio's servants are making the journey from Petruchio's house to Padua....

(full context) Katherine relents and agrees that it is the moon shining, not the sun. Petruchio immediately changes... (full context) Pleased that Katherine is obedient, Petruchio prepares to continue the journey, but just as they are setting out... (full context) ...see his son Lucentio. Petruchio happily greets him as his father-in-law, since Lucentio is marrying Katherine's sister. Vincentio is confused by this and thinks that Petruchio is playing a joke on... (full context) Act 5, Scene 1 ...is taking to bring Bianca. After Lucentio leaves with Biondello and Bianca, Petruchio arrives with Katherine, Vincentio, and Grumio. Vincentio knocks on the door and asks for Lucentio. The merchant (who... (full context) Petruchio and Katherine, meanwhile, have been watching all this commotion. Katherine suggests they go see how the matter... (full context) Act 5, Scene 2 ...Baptista, Vincentio, Gremio, the merchant who had pretended to be Vincentio, Lucentio, Bianca, Petruchio, and Katherine are all present.

The servants Tranio, Grumio, and Biondello are there as well, as are... (full context) ...trade jokes and jibes, the widow teases Petruchio for being married to a shrew, offending Katherine. The women leave, and Tranio also teases Petruchio, saying he is ruled by his wife.... (full context) Petruchio tells Grumio to find Katherine and tell her that Petruchio commands her to come to him. Grumio goes to get... (full context) The men are amazed at Katherine's obedience. Baptista says that Petruchio has won the bet, and jokes that he'll give him... (full context) Petruchio asks Kate to tell the other wives what duty they owe to their husbands. The widow protests,... (full context) Cite This Page Choose citation style: Fredericksen, Erik. "The Taming of the Shrew Characters: Katherine." LitCharts. LitCharts LLC, 11 Nov 2013. Web. 17 Jan 2017. Fredericksen, Erik. "The Taming of the Shrew Characters: Katherine." LitCharts. LitCharts LLC, 11 Nov 2013.

Web. 17 Jan 2017. Fredericksen, Erik. "The Taming of the Shrew Characters: Katherine." LitCharts LLC, November 11, 2013. Retrieved January 17, 2017. Fredericksen, Erik. "The Taming of the Shrew Characters: Katherine." LitCharts LLC, November 11, 2013. Retrieved January 17, 2017. Copy to Clipboard

Question: Which Shakespeare's play does the character Petruchio appear?
Answer: TAMING OF THE SHREW