ACT 1 SCENE 1
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.
ACT 1 SCENE 2
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 "pitched 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.
ACT 2 SCENE 1
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.
ACT 3 SCENE 1
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 do
es 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.
ACT 3 SCENE 2
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.
ACT 3 SCENE 3
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."
Lines 172-196: Petruchio outlines his plan to "tame" Katherina by depriving her of food and sleep, while claiming he is doing it out of "reverend care." He uses the metaphor of a wild hunting hawk, a "haggard," who will learn to come to her "keeper's call."
ACT 3 SCENE 4
Lines 1-43: In Padua, Hortensio/Litio convinces Tranio/Lucentio that Bianca favors "Cambio" and reveals his true identity. Tranio feigns shock and announces his intention to "Forswear Bianca and her love forever," encouraging Hortensio to do the same. Hortensio agrees and announces that he will marry "a wealthy widow" instead.
Lines 44-125: Tranio informs Bianca she is free from Hortensio, who has gone to Petruchio's "taming school" to learn how to tame his "lusty widow." Biondello has found someone to play Vincentio, a "Pedant" who has a "gait and countenance surely like a father." Tranio greets the Pedant and asks where he is from and pretends to be shocked, inventing a quarrel between the Dukes of Padua and Mantua, making it "death" for the Pedant to be there. He offers sanctuary in his home, where the Pedant will be safely disguised as Lucentio's father. As part of this disguise, he will need to pass "assurance of a dower" with Baptista.
ACT 4 SCENE 1
There are tensions in the character of Katherina in this scene as she shifts between desperate attempts to assert herself, sometimes through reasoning, sometimes aggression, and an imposed submissiveness to Petruchio. She complains that she is "starved for meat, giddy for lack of sleep" and asks Grumio to bring her food. He taunts her by suggesting various dishes and then inventing excuses why she may not have them, until Katherina strikes him. Hortensio and Petruchio arrive with food, which Katherina may have only when she thanks her husband. He secretly instructs Hortensio to eat it, and Hortensio shows some discomfort at the situation, saying that Petruchio is "to blame." Petruchio tells Katherina that they are to visit her father, lavishly describing the new clothes she will have for the occasion.
The arrival of the tailor provides visual emphasis of the play's clothing imagery and associated themes. He displays a cap and gown for Katherina, but Petruchio rejects both, on the grounds that they are not good enough for his wife to wear. Katherina attempts to express her opinion, claiming that she will "be free ... in words," and claims that Petruchio means to "make a puppet" of her, but she is thwarted every time. The tailor is dismissed and Petruchio announces that they will go in their "honest mean habiliments," asserting that " 'tis the mind that makes the body rich," implying that true identity is more important than external appearance.
ACT 4 SCENE 2
Lines 1-72: Tranio and the Pedant (disguised as Vincentio) arrive at Baptista's. They "rehearse" what he is to say, and when Baptista arrives they agree to make the transactions at Lucentio's lodgings. Baptista sends Cambio to fetch Bianca.
Lines 73-103: Biondello informs Lucentio that while Tranio has Baptista safely at his house, a church and priest have been arranged so that he may elope with Bianca.
ACT 4 SCENE 3
Petruchio asserts his will over Katherina by forcing her to agree with him and refusing to continue the journey to Baptista's unless she does so, despite asserting deliberate and contradictory untruths, such as the brightness of the moon in bright daylight. Katherina is forced to agree that it is the moon, even though she says, "I know it is the sun," and thus contradicts Petruchio's earlier assertions concerning appearance and identity, as he denies Katherina external expression of her internal self and her personal conviction. Hortensio comments that Petruchio has "won," but Katherina is tested once more when they meet the real Vincentio and Petruchio makes her greet him as if he were a young girl. Vincentio tells them that he is going to visit his son, Lucentio, in Padua, and Petruchio congratulates him on the marriage of his son to Bianca. Hortensio leaves to woo his widow, vowing to use the techniques he has learned from Petruchio.
ACT 4 SCENE 4
Lines 1-50: Lucentio and Bianca leave for the church as Petruchio and Katherina arrive with Vincentio. They knock at Lucentio's door and the Pedant looks out the window, demanding to know who is there. Petruchio says that it is Lucentio's father, but the Pedant claims that he is Vincentio. When Biondello arrives he exclaims that they are "undone," but denies recognizing the real Vincentio. Petruchio draws Katherina aside to watch, forming another onstage "audience."
Lines 51-129: Baptista, Tranio, and the Pedant arrive, and Vincentio sees through Tranio's disguise. Enraged when Tranio refuses to recognize him, he concludes that Lucentio has been murdered by his servants. Tranio calls for Vincentio to be taken to prison, but Lucentio and Bianca arrive, and Tranio, Biondello, and the Pedant run away. Lucentio begs his father's pardon, reveals his true identity to Baptista, and announces his marriage to Bianca. Vincentio promises to "content" Baptista, but both fathers vow revenge on Tranio. Before they follow the others, Petruchio demands that Kate kiss him. At first she refuses, but then complies in a romantic exchange contrasting with their previous encounters.
ACT 5 SCENE 1
At the wedding feast, a public ceremony marking a return to order, Hortensio's "lusty widow" suggests that Petruchio is "troubled with a shrew" as a wife. Katherina retaliates, but they are encouraged to withdraw by Bianca. Once the women are gone, the men discuss their wives, employing hunting imagery once more as Tranio suggests that Petruchio's "deer"
holds him "at a bay." Petruchio proposes a wager: "he whose wife is most obedient / To come at first when he doth send for her," will win. One hundred crowns is agreed on, and Biondello is sent to fetch Bianca, the Widow and Katherina in turn. Bianca and the Widow both refuse their husbands' commands, but Katherina obeys, much to everyone's surprise. Petruchio sends her to fetch the other two women and, again, she does as she is told. When she returns with Bianca and the Widow, Petruchio orders Katherina to remove her cap and "throw it underfoot." She obeys and the other women claim that she is "silly" and "foolish." Lucentio expresses a wish that Bianca would be more "foolish," as her disobedience has cost him one hundred crowns, but in a manner more associated with Katherina at the beginning of the play, she tells him that he is the fool. Petruchio instructs Katherina to tell the other women "What duty they do owe their lords and husbands." She gives a speech asserting that "Thy husband is thy lord, thy life, thy keeper, / Thy head, thy sovereign." This presents a problematic end to the play and the audience are left to decide for themselves whether Katherina has really changed or whether she is simply playing along with Petruchio.
THE TAMING OF THE SHREW IN PERFORMANCE: THE RSC AND BEYOND
The best way to understand a Shakespeare play is to see it or ideally to participate in it. By examining a range of productions, we may gain a sense of the extraordinary variety of approaches and interpretations that are possible--a variety that gives Shakespeare his unique capacity to be reinvented and made "our contemporary" four centuries after his death.