The Taming of the Shrew (16 page)

The induction scenes function as a “frame” for the wider play, although this is not sustained beyond the end of Act 1. Themes of the wider play, such as social status and identity, are established, and there are repeated images of clothing and other external indicators of these factors. Wealth, “value,” artifice, illusion, and deception are also introduced and there is a clear sense of theatrical self-awareness.

Lines 1–69:
A drunken Christopher Sly and the Hostess of an ale-house argue and, when she goes to fetch the constable, he falls asleep. He is discovered by a lord out hunting, raising another set of images from the wider play relating to hunting and hawking. As a joke, he arranges to have Sly conveyed to his own house, where he will be “Wrapped in sweet clothes,” and, when he wakes, treated as if he is a “mighty lord” who has been “lunatic” and consequently believed himself to be Christopher Sly. The references to “pictures,” “dreams,” and “fancy” reinforce the theme of illusion, and the hunters’ promise to “play our part” raises awareness of acting and theater. Sly is carried off.

Lines 70–135:
A trumpet announces the arrival of a troupe of players, whose presence makes the theatrical self-awareness explicit. The lord discusses past performances and tells them that they are going to perform before a lord who has “never heard a play” and, no matter how odd his behavior, they must not laugh or they will offend him. The lord instructs that his page, Bartholomew, be dressed “like a lady” and play the part of Sly’s noble wife. He directs how the page is to speak and act, “With soft low tongue and lowly courtesy,” raising issues of “appropriate” female behavior that are explored throughout the play, and emphasizing the link between appearance and perceived identity.

Lines 1–96:
Sly wakes and is greeted by servants bearing wine and fine clothes. When he claims that he is not a lord but Christopher Sly, “by … profession a tinker,” they insist that has been insane for fifteen years. They describe his wife, “a lady far more beautiful / Than any woman,” and Sly becomes convinced that he is “a lord indeed” who has “dreamed till now.”

Lines 97–139:
Bartholomew enters, dressed as Sly’s “wife.” Sly dismisses the servants and tells “her” to come to bed, but Bartholomew makes the excuse that the physicians have said that “she” must not, in case it sends Sly mad again. News is brought of the players and Sly calls his wife to sit with him to watch. The presence of this additional “audience” reinforces our awareness of the theater and associated themes.

Lines 1–47:
Lucentio arrives in Padua from Pisa, accompanied by his servant, Tranio. He outlines his plans for studying but Tranio reminds him that he must also enjoy himself. As they wait for Lucentio’s other servant, Biondello, a crowd arrives and they stand aside to watch, creating yet another “audience” on the stage.

Lines 48–142:
Baptista is being “importuned” by Gremio and Hortensio for his younger daughter, Bianca, but he will not allow her to marry before he has “a husband for the elder,” Katherina. He permits them to court Katherina, but Gremio says, “She’s too rough,” and Hortensio says she will never marry unless she is “of gentler, milder mould.” Katherina retorts that she is not interested in marriage and threatens them with violence. Aside, Tranio observes that Katherina is either “stark mad” or willful, but Lucentio is more interested in Bianca, attracted by her “silence” and “mild behaviour.” The differences between the sisters are established as Bianca agrees to “humbly … subscribe” to her father’s wishes, but Katherina questions why she must be “appointed hours” as though she did not have her own mind and will. It is also clear which pattern of female
behavior the men prefer. Baptista asks Gremio and Hortensio if they know of any schoolmasters to instruct Bianca “In music, instruments and poetry.”

Gremio and Hortensio declare their intentions to find a teacher for Bianca. Hortensio suggests they unite, temporarily, to find a husband for Katherina so that Bianca becomes “free for a husband.” Gremio agrees, but protests that Katherina needs “a devil” and argues that even though her dowry will be high (a reminder of the financial aspects of marriage) a man would be “a fool to be married to hell.”

Lines 143–247:
Lucentio declares his love for Bianca, saying that he will “burn,” “pine,” and “perish” if he cannot “achieve” her. Tranio suggests that Lucentio is so blinded by Bianca that he has not seen “the pith of all,” that is, that until Katherina is married, Bianca must “live a maid at home.” Lucentio intends to disguise himself as a schoolmaster, gaining access to Bianca, while Tranio masquerades as Lucentio. They exchange clothes, reinforcing the themes of identity and theater, as they don “costumes” to denote their roles. Biondello arrives and is confused by the switch, but agrees to behave as if Tranio were his master.

Lines 248–253:
Sly claims to enjoy the play, but is clearly bored and anxious for it to finish.

Lines 1–131:
Petruchio arrives from Verona to visit Hortensio. He orders his servant, Grumio, to knock, and Grumio’s misunderstanding of his instructions generates comedy, although the physical nature of the exchange foreshadows the violence within the play. Petruchio explains to Hortensio that his father has died and he is now looking for a wife. Hortensio suggests “a shrewd ill-favoured wife” who is “very rich,” thinking of his plan to find a husband for Katherina, but says that Petruchio is too much of a friend to wish her upon him. Petruchio is caught by the reference to Katherina’s fortune, and reveals his mercenary nature, claiming that “wealth is burden of [his] wooing dance.” He claims that it would not matter if a woman were
“foul” or “old” as long as she had money. Grumio agrees that if Petruchio were given “gold enough” he would marry a “puppet.” Hortensio describes Katherina: wealthy, “young and beauteous,” but also “curst” and “shrewd.” Petruchio claims that he will woo Katherina nonetheless. Hortensio explains about Bianca, and suggests disguising himself as a schoolmaster for Petruchio to offer to Baptista.

Lines 132–213:
Gremio boasts of finding a tutor for Bianca, unaware that it is Lucentio in disguise. Hortensio replies that he has also found a tutor. Both talk of their “duty” and “deeds” to their “beloved,” although Grumio’s prosaic aside about money “bags” strikes a more realistic note. Hortensio announces that he has found someone who “Will undertake to woo curst Katherine.” Gremio skeptically asks if he will really woo “this wild-cat.” Petruchio boasts that he has heard “lions roar” and the “Loud ’larums” of “pitchèd battle,” against which a “woman’s tongue” can be nothing. Hortensio and Gremio agree to pay Petruchio if he succeeds.

Lines 214–279:
Tranio, dressed as Lucentio, inquires after the house of Baptista and announces his intention of wooing Bianca. Hortensio and Gremio assert their prior claims, but Tranio argues that they can all be Bianca’s suitors. Initially, the exchange is in careful, deliberate rhyme, which is comic, but also suggests artifice. Tranio has changed his speech as well as his costume, suggesting that language is as much part of identity as physical appearance. Tranio “learns” of the need to find a husband for Katherina and agrees to join in paying Petruchio.

Lines 1–34:
Katherina has tied Bianca’s hands and bullies her to say which of her suitors she prefers, striking Bianca when she cannot. Baptista separates them and Katherina claims that he loves Bianca more: “She is your treasure.”

Lines 35–110:
Gremio arrives with Lucentio (now calling himself “Cambio”). Petruchio arrives bringing Hortensio (now called “Litio”). Tranio (as Lucentio) brings a lute and books. Petruchio asks immediately
for Katherina and Gremio accuses him of being “too blunt,” but he demonstrates his command of language as he explains to Baptista that he has come from Verona to see Katherina and offers him Hortensio/Litio. Baptista says that Katherina is not for Petruchio, but welcomes him for his father’s sake. Gremio interrupts, presenting Baptista with Lucentio/Cambio. Baptista notices “a stranger,” and asks why he is there. Tranio introduces himself as Lucentio, a suitor to Bianca, and presents the lute and books. He reveals his parentage and Baptista is duly impressed: Vincentio of Pisa is “a mighty man.”

Lines 111–168:
Baptista suggests they “walk a little” before dinner, but Petruchio insists on discussing “What dowry” he shall have with Katherina. Baptista offers “twenty thousand crowns” and half of his lands after his death, in return for which Petruchio agrees to settle on Katherina all of his “lands and leases” in widowhood. Baptista says that Petruchio must, however, obtain Katherina’s love and warns him to be “armed for some unhappy words,” but Petruchio confidently boasts that Katherina’s words will have little effect on him. Hortensio appears, injured, having been beaten by Katherina with the lute, a visual representation of the play’s intrinsic links between comedy and violence. Petruchio claims that Katherina is “a lusty wench” and Baptista agrees to send her to meet him.

Lines 169–287:
Petruchio outlines his plan to contradict Katherina, pleasantly, over everything. She arrives, and he addresses her as “Kate,” raising the issue of identity as he names her according to his wishes, not hers. The exchange that follows is fast-paced and quick-witted, showing them to be well-matched in this respect, but the verbal encounter becomes physical as Katherina loses her temper and hits him. Petruchio does not retaliate, but exasperates her with his constant disregard of her insults. He declares “in plain terms” that it has been agreed with her father, her dowry is agreed on, and, “will you, nill you,” he will marry her. He intends to “tame” her and make her into a “Conformable” wife.

Lines 288–327:
Katherina claims Baptista has shown no “fatherly regard” in marrying her to a “half-lunatic,” but she is ignored. Petruchio
announces that Katherina has agreed to marry him on Sunday, and the characterization of Katherina becomes problematic as she remains silent while Petruchio reveals his plans and leads her out.

Lines 328–415:
The pecuniary aspect of marriage is emphasized as Baptista declares that he must “play a merchant’s part,” also emphasizing the amount of “acting” that is currently under way. Gremio and Tranio/Lucentio both ask for Bianca now that Katherina is to be married. As they quarrel, Baptista announces that the one with the most money to settle on her shall marry Bianca. Tranio offers more and Baptista agrees, provided that his father makes an assurance of his offer. Once alone, Tranio realizes that he must get someone to act as Vincentio, Lucentio’s father.

Lucentio and Hortensio vie for Bianca’s attentions as they tutor her, but Bianca shows a distinct preference for Lucentio. Under the pretense of translating a passage of Latin, Lucentio tells Bianca his true identity and intentions. Ignoring Hortensio’s interruptions, she replies that, while she does not know or trust Lucentio, he must not despair. During Bianca’s music lesson, Hortensio gives her a musical scale that he has devised containing a message to her. Bianca rejects it and a servant arrives, calling her to help prepare for Katherina’s wedding the next day. Hortensio reveals his suspicions of Lucentio and his disgust that Bianca seems to return the affections of a mere tutor. He describes Bianca as a hawk who will stoop to any “stale,” reinforcing the earlier hunting imagery.

Lines 1–120:
The wedding day has arrived but there is no sign of the groom. Katherina claims that Petruchio is “a mad-brain rudesby” who makes a habit of leaving women at the altar, and she leaves, weeping. Biondello brings news that Petruchio has arrived, dressed in shabby, uncoordinated clothing and riding an old, diseased horse,
much to everyone’s confusion: for once, clothes are not a clear indicator of identity. Petruchio refuses to change or explain why, claiming that “To me she’s married, not unto my clothes,” making a distinction between external appearance and true identity. He insists on seeing Katherina.

Lines 121–176:
Tranio informs Lucentio of the need to find someone to play the role of his father, although Lucentio suggests it might be easier to elope. Gremio describes the wedding, particularly Petruchio’s “mad-brained” behavior, which included striking the priest and calling for wine.

Lines 177–248:
Petruchio declares they cannot stay for the wedding feast, but Katherina refuses to leave until it pleases her, insisting that a woman must have “spirit to resist” or “be made a fool.” Petruchio announces that he “will be master” of what he owns: Katherina is as much his “goods” and “chattels” as “household stuff” or an ox. He leads her away, leaving the others to speculate on the “mad” match.

Lines 1–172:
Grumio arrives at Petruchio’s house, cold and tired. He instructs Curtis to make sure that everything is ready and that the servants are smart to receive their master and new mistress. He describes the terrible journey from Padua: Katherina’s horse fell and she landed in the mud, so Petruchio beat Grumio while Katherina tried to stop him. Cold and dirty, Petruchio and Katherina arrive. Petruchio is furious that his servants were not outside to meet him. Supper arrives, and he shifts between apparent pleasantries to his wife, encouraging her to sit and eat and “be merry,” and violent verbal and physical abuse of his servants, which makes it impossible for Katherina to do anything. Petruchio claims that the food is burnt and throws it at the servants, despite Katherina’s efforts to placate him: an action that presents her in a more gentle light. He takes her to bed, still hungry, and Curtis reports later that Petruchio is still railing at Katherina, “poor soul,” so that she “knows not which way to stand, to look, to speak.”