Analysis

  • Analyse Katherina

    Katherina appears to go through a huge transformation over the course of the play. In Act 1 she is described as ‘rough’ and ‘forward’, yet by the end of the play her husband Petruchio is so sure of her obedience to him that he places a bet on it. However, the extent to which Katherina is truly wild at the start of the play, or truly 'tamed' by the end of it, is subject to debate.

    As the events of the play unfold it is important for any actor playing Katherina, and anyone writing about the character, to ask:

    Is Katherina really 'tamed'?

    We’ve started to think below about some of the the arguments around Katherina’s transformation. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help you to collect evidence:

    • Act 2 Scene 1: There is violence between Katherina and Bianca - and Baptista sees Katherina as uncontrollable. To what extent do you think she displays uncontrollable behaviour? Is Katherina the 'curst' 'shrew' she is described as?
    • Act 3 Scene 2: Katherina is humiliated by Petruchio’s public display of mad behaviour at the wedding, when he appears late and dressed inappropriately. How do you think this might affect her behaviour?
    • Act 4 Scene 4: Katherina seems to display complete obedience to Petruchio in this scene. Why do you think she does this?
    • Act 5 Scene 2: Look at Katherina's final speech to the other women about obedience and duty between wives and husbands. You can explore this further by looking at Analysing Katherina’s Language. Is there any ambiguity in her display of duty? Do these words feel like the words of a woman who is completely controlled?

    There is also a framing narrative in The Taming of the Shrew, in which the character Sly introduces the story. Does this have an impact on how we see the events of the play and the treatment of Katherina? Does the introduction suggest that the story is not to be taken too seriously?

    Point

    Katherina is not easily controlled by the men in her life and is an equal match for Petruchio, meeting each of his attempts to outwit her with clever wordplay.

    Evidence

    'If I be waspish, best beware my sting.' (Katherina, 2:1)

    Explanation

    Katherina takes each of the criticisms landed against her and manipulates the words into a witty retort, cautioning him here after Petruchio calls her 'waspish'. She is very confident in her ability to challenge and defeat men, admitting that she has a ‘sting’ which often hurts others. In this exchange in Act 2 she seems equally as intelligent and sharp as Petruchio, taking his words and using them against him. By the end of the scene Petruchio even says 'I am as peremptory as she proud minded', likening the pair of them to 'two raging fires'.

    Point

    Katherina is shocked by Petruchio’s strange and unsociable actions at the wedding and in his household, yet still she fights for her independence.

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    Point

    Katherina is worn down by hunger, lack of sleep and constant contradictions so agrees to her husband’s wishes.

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    You can explore Katherina's language further in the Language Analysis section.

  • Analyse Petruchio

    The Taming of the Shrew is classed as one of Shakespeare's 'comedies'. While, to a contemporary audience, Petruchio’s plan to ‘tame’ Katherina could be viewed as more cruel than funny, it can be interesting to examine how Shakespeare may have used humour to portray Petruchio and his relationship with Katherina.

    As the events of the play unfold it is important for any actor playing Petruchio, and anyone writing about the character, to ask:

    Is Petruchio comic or menacing?

    We’ve started to think below about some of the reasons Petruchio might be considered a comic character, or as someone more cruel. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help you to collect evidence:

    • Act 3 Scene 2: Petruchio’s outfit and behaviour at the wedding are intended to be ridiculous and unconventional. How might this be done for comic effect? At the same time, Katherina is dressed for her wedding day so how might Petruchio's behaviour also come across as cruel?
    • Act 4 Scene 1: Petruchio speaks to the audience and lets them in on his plan. Is he including them in on the joke in the same way that he includes his friend Hortensio? Does this make his character more comic, or have the opposite effect?
    • Act 5 Scene 2: Petruchio makes the 'taming' into a competitive game between the three newly-married men. How is his relationship presented in comparison to Lucentio’s and Hortensio’s? Who has the highest status? This is presented as a joke at the other men's expense, as their wives are not as obedient. How does this make Petruchio appear?

    Staging of Petruchio and his pursuit of Katherina has changed dramatically over the years. While some productions show Katherina slowly falling in love with Petruchio and genuinely being ‘tamed’ this is something that modern audiences, with an awareness of gender equality, find much more challenging. There are, however, lots of references to love in the text and it can be interpreted that, although their relationship and feelings are unconventional, Petruchio and Katherina are two outcasts who find each other. What do you think? Is Petruchio truly menacing?

    Point

    Petruchio turns the wedding day into a farce, wearing odd clothes, defying social norms and amusing the congregation with his absurd behaviour.

    Evidence

    ‘Went they not quickly, I should die with laughing. / Of all mad matches never was the like.’ (Petruchio, 3:2)

    Explanation

    Katherina’s friends and family seem to find the ridiculousness of the wedding, and Petruchio's appearance, funny rather than alarming. Petruchio’s antisocial behaviour is seen to match Katherina’s non-conformity in this scene and they are seen to be as ‘mad’ as each other. While this is open to interpretation, it is clear that the other guests see no issue with Petruchio taking Katherina away before the feast and that they do not see him as a threat even though he has humiliated her in front of everyone and made a mockery of her wedding day.

    Point

    Petruchio is contrary in what he says and does, contradicting himself and making impulsive demands, which comically confuse and bewilder Katherina.

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    Point

    Petruchio subjects Katherina to systematic abuse, using humour as a weapon.

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    As you explore Petruchio’s language, you’ll find even more evidence to back up your case and find more arguments for why he does what he does. We have pulled together some advice to help you explore this character in the Language Analysis section.

  • Analyse Bianca

    Bianca is often considered to be the epitome of femininity, the opposite of her sister Katherina. She has multiple suitors, where her sister has none, and she is described as ‘mild’ and sweet, which were both seen as female virtues. Whereas Katherina disrupts the patriarchal norms, Bianca is often seen to uphold them.

    As the events of the play unfold it is important for any actor playing Bianca, and anyone writing about the character, to ask:

    How obedient is Bianca?

    We’ve started to think below about some of the reasons that Bianca may or may not be be obedient. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help to collect evidence:

    • Act 1 Scene 1: The opening scene centres around Bianca and the offers of marriage that have been made for her, however she has very few lines. How do you think she feels about her possible suitors?
    • Act 2 Scene 1: Katherina is seen as being violent towards her sister. What do Bianca’s responses tell you about her character and her relationship with her sister? Is she implicated in these arguments or not?
    • Act 3 Scene 4: Note how Bianca speaks to her two teachers and suitors. Can you find any similarities between her and Katherina? Does her language suggest she is always obedient and willing to be commanded?
    • Act 5 Scene 2: When Lucentio summons Bianca to try to win the bet with Petruchio and Hortensio, she does not obey him. Did you expect this of her? How do you think she feels about Katherina’s words about obedience at the end of the play?

    Point

    Bianca obeys her father’s wishes without question.

    Evidence

    'Sister, content you in my discontent. / Sir, to your pleasure humbly I subscribe: / My books and instruments shall be my company, / On them to look and practise by myself.’ (Bianca, 1:1)

    Explanation

    Bianca displays what were considered to be virtuous behaviours: passive acceptance, respect towards paternal authority and chaste studiousness. She prioritises her father’s ‘pleasure’ and sister’s ‘content’, or happiness, above her own wants and resigns herself to being alone. However, in stating that her father’s actions bring her ‘discontent’, she subtly acknowledges her own unhappiness with the situation and perhaps finds an independence in her private academic studies.

    Point

    When dealing with her suitors, Bianca sets out her boundaries and independence.

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    Point

    Despite her father taking great care to secure a suitable, wealthy husband, Bianca elopes with Lucentio and marries in secret.

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  • Analyse Lucentio

    Lucentio is the first character we meet in Padua, along with his servant Tranio. The relationship the two characters have goes beyond the usual servant-master relationship, and they appear to be good friends who have a long history together. Tranio becomes crucial in Lucentio’s efforts to marry Bianca, as they switch places to enable Lucentio to woo Bianca. As a result, it is important for any actor playing Lucentio, and anyone writing about the character, to ask:

    How important is Lucentio’s friendship with Tranio?

    We’ve started to think below about some of the ways that Tranio helps Lucentio and supports him. See if you can complete the grid to make four points that could answer this question. It doesn’t matter if you agree or not, as long as you can back it up! Looking at the following scenes might also help you to collect evidence:

    • Act 1 Scene 1: Consider this servant-master relationship in comparison with others in the play. How does this differ from Petruchio and Grumio? How do the two men interact?
    • Act 4 Scene 2: Look at how Tranio manipulates Hortensio into giving up on his pursuit of Bianca. Do you think Tranio enjoys playing this role as his master?
    • Act 4 Scene 4: Note how Tranio tricks both of the older men. How does this affect his status? Who is in control of the plan for Lucentio to marry Bianca?
    • Act 5 Scene 1: Examine how Tranio acts when Vincentio arrives in Padua. Why do you think he is so mischievous and disobedient to his master while in disguise?

    Point

    Lucentio and Tranio already have a strong and trusting bond at the start of the play.

    Evidence

    ‘I am tied to be obedient - / For so your father charged me at our parting: / ‘Be serviceable to my son,’ quoth he, / Although I think ’twas in another sense - / I am content to be Lucentio, / Because so well I love Lucentio.’ (Tranio, 1:1)

    Explanation

    Lucentio and Tranio have a deeper relationship than solely the ‘tie’ of servant and master. They join together to mischievously plan a way for Lucentio to court Bianca. Tranio teases Lucentio about how they are subtly reinterpreting his father’s wishes, which suggests the two share a sense of humour. Lucentio relies on Tranio to sneakily get what he wants.

    Point

    Tranio is integral to ensuring Lucentio has a clear path to marry Bianca by getting rid of Gremio and Hortensio.

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    Point

    Tranio manipulates Baptista to allow Lucentio and Bianca to marry.

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Teacher Notes

For each of the characters on this page we’ve asked some central questions. These are great questions to explore with students in mind maps, or as class debates.

The following activities will also help you explore the characters of Katherina and Bianca even further with students.

Two Brothers (2019)

This activity can be found on page 4 and takes approximately 30 minutes. In the 2019 production both Kate and Bianco were male characters, but the activity can be adapted to consider them as sisters.

The Minola Girls: Chalk and Cheese (2014)

This activity can be found on page 10 and takes approximately 20 minutes, offering an introduction to the sisters’ differences.