The Taming of the Shrew | William Shakespeare
“The Taming of the Shrew” is a comedy by William Shakespeare, believed to have been written between 1590 and 1592. The play is set in Padua, Italy, and revolves around the courtship of Petruchio, a gentleman from Verona, and Katherina (Kate), the headstrong, obstinate shrew. The main plot is often seen as Petruchio’s attempt to tame Katherina and transform her into a compliant and obedient bride.
The play opens with a framing device, often referred to as the Induction, in which a mischievous nobleman tricks a drunken tinker named Christopher Sly into believing he is actually a nobleman himself. The nobleman then has the play performed for Sly’s diversion.
The main story then begins with Lucentio, a young man from Pisa, arriving in Padua to attend university. He falls in love at first sight with Bianca, the younger daughter of Baptista Minola, a wealthy Paduan merchant. However, Baptista has declared that Bianca cannot marry until her older sister, Katherina, is wed. Katherina is known for her sharp tongue and fiery temper, and she seems an unlikely candidate for marriage.
Petruchio arrives in Padua in search of a wealthy wife. He hears about Katherina’s dowry and decides to court her, undeterred by her reputation. Petruchio and Katherina meet and engage in a battle of wits. Petruchio declares his intention to marry her with or without her consent.
Parallel to this, several suitors are vying for Bianca’s hand. To get closer to her, Lucentio disguises himself as a Latin tutor named Cambio, and another suitor, Hortensio, disguises himself as a music tutor.
Petruchio marries Katherina and then embarks on a campaign to “tame” her through various psychological tactics, such as denying her food and sleep, claiming that such things are not good enough for her. His methods are controversial but eventually successful; Katherina becomes a compliant and obedient wife.
In the subplot, Lucentio wins Bianca’s heart, and they secretly marry. The play concludes with a banquet where the true nature of each wife’s character is revealed. Katherina, now tamed, gives a speech advocating the duty that wives owe to their husbands.
“The Taming of the Shrew” has been subject to considerable criticism and analysis, particularly regarding its themes of gender politics and marital harmony. The nature of Katherina’s “taming” has been interpreted in various ways, from a misogynistic subjugation to a playful battle of the sexes. The play remains popular and is frequently performed and adapted, with its themes and characters continuing to resonate and provoke discussion.
Quotes
“If I be waspish, best beware my sting.”
“My tongue will tell the anger of my heart, or else my heart concealing it will break.”
“I see a woman may be made a fool, if she had not a spirit to resist.”
“Such duty as the subject owes the prince, even such a woman oweth to her husband.”
“To me she’s married, not unto my clothes.”
“Thy husband is thy lord, thy life, thy keeper, thy head, thy sovereign.”
“There’s small choice in rotten apples.”
“I’ll not budge an inch.”
“He that is giddy thinks the world turns round.”
“Come on, and kiss me, Kate.”
“I am as peremptory as she proud-minded.”
“And thereby hangs a tale.”
“Better once than never, for never too late.”
“No profit grows where is no pleasure taken; in brief, sir, study what you most affect.”
“Asses are made to bear, and so are you.”
“Women are made to bear, and so are you.”
“I must dance bare-foot on her wedding day.”
“Love wrought these miracles.”
“We will have rings and things and fine array.”
“My cake is dough, but I’ll in among the rest, out of hope of all, but my share of the feast.”
These quotes reflect the wit, humor, and complexity of Shakespeare’s writing in “The Taming of the Shrew,” offering a glimpse into the play’s exploration of themes like marriage, gender roles, and social expectations.
Themes in The Taming of the Shrew
“The Taming of the Shrew” by William Shakespeare explores several themes, some of which are quite controversial, especially when viewed through a modern lens. Here are some of the key themes in the play:
Gender Roles and Relationships: The play delves deeply into the dynamics of gender roles, particularly in the context of marriage. It examines the expectations placed on men and women, the concept of obedience and submission in marriage, and the societal norms governing male and female behavior.
Marriage as an Economic Transaction: The play portrays marriage not just as a romantic union but also as an economic and social transaction. Dowries, social status, and financial gain play significant roles in the motivations for marriage, highlighting the less romantic aspects of matrimonial alliances in Shakespeare’s time.
The Nature of Love and Courtship: “The Taming of the Shrew” presents various perspectives on love and courtship, ranging from Petruchio and Katherina’s contentious relationship to the more conventional romance between Bianca and her suitors. The play questions whether love is a natural, emotional bond or a social construct subject to negotiation and compromise.
Transformation and Identity: Characters in the play often disguise themselves or adopt new personas, leading to questions about the nature of identity and the possibility of change. Katherina’s transformation, whether viewed as genuine or coerced, is central to this theme.
Power and Control: The dynamics of power and control are evident throughout the play, especially in Petruchio’s methods of ‘taming’ Katherina. The play explores the use of psychological tactics and power struggles within relationships.
Role of Women in Society: The play reflects the Elizabethan attitudes towards the roles and expectations of women in society. Katherina’s initial independence and later submission have been variously interpreted as either a critique or reinforcement of these societal norms.
Illusion vs. Reality: The framing device of the play, where a nobleman tricks Christopher Sly, sets the stage for exploring the theme of illusion versus reality. This theme is further developed through the disguises and deceptions that occur in the main plot.
Comedy and Social Satire: The play uses humor and satire to comment on social norms, particularly those related to gender and marriage. The exaggerated characters and situations serve to both entertain and provoke thought about societal expectations.
“The Taming of the Shrew” remains a subject of debate and analysis, particularly regarding its portrayal of gender politics and relationships. Its themes continue to resonate and provoke discussion, making it one of Shakespeare’s more controversial and studied works.
Imagery in The Taming of the Shrew
In “The Taming of the Shrew,” William Shakespeare employs a variety of imagery to enrich the themes and character dynamics of the play. This imagery enhances the audience’s understanding of the characters and the societal norms of the time. Some notable examples include:
Animal Imagery: One of the most prominent forms of imagery in the play is the use of animal references, particularly in relation to Katherina. She is often compared to a shrew, a small, aggressive animal. Petruchio also uses falconry terms to describe his method of taming her, likening her to a wild hawk that needs to be trained.
Clothing and Disguise: Clothing is frequently used to symbolize identity and social status. The various disguises in the play, such as Lucentio’s transformation into a tutor, highlight themes of deception and identity. Petruchio’s absurd attire at his wedding is a form of visual imagery that underscores his unconventional approach to taming Katherina.
Food and Feasting: Food imagery is used to depict both hospitality and conflict. Petruchio’s denial of food to Katherina as part of her “taming” is a key example. Feasts and banquets also symbolize social harmony or discord, depending on the context.
Nature and the Elements: References to the natural world and the elements are used to describe characters and their relationships. For instance, Katherina is often associated with wild, untamed aspects of nature, reflecting her initial rebelliousness.
Hunting and Sport: Hunting imagery is used to depict the pursuit of wives and the competitive nature of courtship in the play. This imagery aligns with the themes of conquest and submission.
Economic and Transactional Imagery: The use of economic language and imagery emphasizes the theme of marriage as a financial and social transaction. References to dowries, inheritances, and financial bargaining are prevalent.
Light and Darkness: Although less prominent than in some other Shakespearean works, the play occasionally uses light and darkness to symbolize knowledge, truth, and deception.
Theatrical Imagery: The play itself begins with a play-within-a-play framework, and there are references to performance and role-playing throughout the text. This imagery underscores the themes of illusion versus reality and the performative aspects of social roles.
These various forms of imagery work together to create a rich tapestry that enhances the play’s exploration of its themes, particularly those related to gender roles, social norms, and the nature of personal relationships.
Characters in The Taming of the Shrew
Katherina (Kate) Minola: Often referred to as the “shrew” of the play, Katherina is the elder daughter of Baptista Minola. She is known for her sharp tongue and quick temper. Initially resistant to all suitors, her character undergoes a significant transformation after her marriage to Petruchio.
Petruchio: A gentleman from Verona, Petruchio comes to Padua to find a wealthy wife. He is bold, brash, and confident, and he sets his sights on taming Katherina. His methods of “taming” her are central to the play’s plot and themes.
Bianca Minola: The younger daughter of Baptista, Bianca is the opposite of her sister Katherina – mild-mannered, beautiful, and much sought after by several suitors. Her marriage is a key subplot of the play.
Baptista Minola: The wealthy father of Katherina and Bianca, Baptista is a Paduan merchant. He is protective of his daughters, particularly in managing their suitors and arranging their marriages.
Lucentio: A young student from Pisa, Lucentio comes to Padua to study but falls in love with Bianca at first sight. He disguises himself as a tutor named Cambio to woo her.
Tranio: Lucentio’s clever and loyal servant, Tranio assists in his master’s pursuit of Bianca. He plays a significant role in the play’s comedic and deceptive elements, even disguising himself as Lucentio at one point.
Hortensio: A friend of Petruchio and a suitor to Bianca. He also disguises himself, taking on the role of a music tutor to get closer to Bianca.
Gremio: An elderly and wealthy suitor of Bianca. He is part of the competition for Bianca’s hand in marriage and is often outwitted by the younger suitors.
Grumio: Petruchio’s comic servant, known for his wit and humor. He provides a comedic counterpart to Petruchio’s more serious character.
Vincentio: Lucentio’s father, who comes to Padua from Pisa. His arrival towards the end of the play helps resolve some of the confusions and deceptions.
Christopher Sly: A drunken tinker who is tricked by a nobleman into believing he is a lord. He appears in the Induction scenes at the beginning of the play, setting the stage for the theme of transformation and role-playing.
Criticisms of The Taming of the Shrew
“The Taming of the Shrew” is a comedy by William Shakespeare, believed to have been written between 1590 and 1592. The play is set in Padua, Italy, and revolves around the courtship of Petruchio, a gentleman from Verona, and Katherina (Kate), the headstrong, obstinate shrew. The main plot is often seen as Petruchio’s attempt to tame Katherina and transform her into a compliant and obedient bride.
The play opens with a framing device, often referred to as the Induction, in which a mischievous nobleman tricks a drunken tinker named Christopher Sly into believing he is actually a nobleman himself. The nobleman then has the play performed for Sly’s diversion.
The main story then begins with Lucentio, a young man from Pisa, arriving in Padua to attend university. He falls in love at first sight with Bianca, the younger daughter of Baptista Minola, a wealthy Paduan merchant. However, Baptista has declared that Bianca cannot marry until her older sister, Katherina, is wed. Katherina is known for her sharp tongue and fiery temper, and she seems an unlikely candidate for marriage.
Petruchio arrives in Padua in search of a wealthy wife. He hears about Katherina’s dowry and decides to court her, undeterred by her reputation. Petruchio and Katherina meet and engage in a battle of wits. Petruchio declares his intention to marry her with or without her consent.
Parallel to this, several suitors are vying for Bianca’s hand. To get closer to her, Lucentio disguises himself as a Latin tutor named Cambio, and another suitor, Hortensio, disguises himself as a music tutor.
Petruchio marries Katherina and then embarks on a campaign to “tame” her through various psychological tactics, such as denying her food and sleep, claiming that such things are not good enough for her. His methods are controversial but eventually successful; Katherina becomes a compliant and obedient wife.
In the subplot, Lucentio wins Bianca’s heart, and they secretly marry. The play concludes with a banquet where the true nature of each wife’s character is revealed. Katherina, now tamed, gives a speech advocating the duty that wives owe to their husbands.
“The Taming of the Shrew” has been subject to considerable criticism and analysis, particularly regarding its themes of gender politics and marital harmony. The nature of Katherina’s “taming” has been interpreted in various ways, from a misogynistic subjugation to a playful battle of the sexes. The play remains popular and is frequently performed and adapted, with its themes and characters continuing to resonate and provoke discussion.
The Legacy of The Taming of the Shrew
“The Taming of the Shrew” by William Shakespeare has left a complex and multifaceted legacy, influencing literature, theater, and popular culture in various ways. Its impact and legacy can be seen in several areas:
Enduring Popularity in Theater: The play has been a staple of theatrical performances for centuries. Its lively characters, comedic elements, and intricate plot make it appealing to audiences and actors alike. Despite its controversial aspects, it continues to be staged regularly, often with modern interpretations or adaptations.
Adaptations and Reinterpretations: “The Taming of the Shrew” has inspired numerous adaptations in different media, including film, television, and literature. Notable adaptations include the 1967 film starring Elizabeth Taylor and Richard Burton, the musical “Kiss Me, Kate,” and the teen movie “10 Things I Hate About You,” which reimagines the story in a modern high school setting.
Influence on Gender Studies and Feminist Critique: The play has been a significant subject of study in gender studies and feminist literature. It has prompted discussions about gender roles, marital relationships, and the representation of women in literature. These discussions often reflect broader societal debates about these issues.
Educational Value: As part of the Shakespearean canon, “The Taming of the Shrew” is widely studied in educational settings. It offers valuable insights into Elizabethan society, language, and theatrical practices, as well as themes that are still relevant today, such as power dynamics in relationships and societal expectations of behavior.
Debate and Discussion: The play has been a catalyst for debate about the portrayal of women in literature and the acceptability of its themes in the modern world. This debate has contributed to a broader discussion about the interpretation of historical texts in contemporary times.
Cultural References: Elements of the play, such as character names and key plot points, have entered popular culture. References to the play and its themes appear in various forms of media, reflecting its impact on the cultural consciousness.
Artistic Inspiration: Beyond direct adaptations, the themes and characters of “The Taming of the Shrew” have inspired artists, writers, and filmmakers to explore similar themes in their own work, often providing a counterpoint or response to the original play.
Reflection of Social Evolution: The changing interpretations and receptions of the play over time reflect broader societal changes, especially regarding views on gender roles and relationships. It serves as a barometer for how societal norms and attitudes have evolved.
In summary, the legacy of “The Taming of the Shrew” is one of enduring popularity and ongoing debate. It continues to be relevant, not only as a work of art but also as a subject of social and cultural discussion, reflecting and challenging societal norms and attitudes towards gender and relationships.
Structure of The Taming of the Shrew
“The Taming of the Shrew” by William Shakespeare is structured in a way that is typical of many of Shakespeare’s plays, but with a unique framing device that sets it apart. The play’s structure can be broken down as follows:
Induction: The play begins with an induction, which is a kind of prologue or framing device. In this section, a nobleman finds the drunkard Christopher Sly passed out and decides to play a trick on him. Sly is made to believe that he is a nobleman who has been suffering from amnesia. The nobleman then arranges for a play to be performed for Sly, which is “The Taming of the Shrew” itself. This framing device sets up the themes of transformation and role-playing.
Five-Act Structure: Following the induction, the play follows the traditional five-act structure common in Shakespeare’s works:
Act I: The exposition, where the main characters and conflicts are introduced. Lucentio arrives in Padua and falls in love with Bianca. Petruchio arrives in search of a wife and agrees to court Katherina.
Act II: The development of the plot, where Petruchio begins his courtship of Katherina, and the various suitors of Bianca devise their plans to woo her.
Act III: The climax or turning point of the play. Petruchio marries Katherina and begins his campaign to “tame” her. The subplot involving Bianca’s suitors continues to unfold.
Act IV: The falling action, where Petruchio’s taming of Katherina continues, and the various subplots move towards resolution.
Act V: The resolution or denouement. The various plot lines are resolved. Katherina demonstrates her transformation in a speech about the duties of a wife, and the true identities of the disguised characters are revealed.
Subplots: The main plot of Petruchio and Katherina is interwoven with subplots, particularly the courtship of Bianca by her various suitors. These subplots often mirror or contrast with the main plot, enriching the themes and adding complexity to the play.
Interplay of Comedy and Serious Themes: The structure of the play allows for a blend of comedic elements with more serious themes. The comedic aspects are evident in the witty dialogue, mistaken identities, and humorous situations. At the same time, the play deals with serious subjects such as marriage, gender roles, and social norms.
Use of Disguise and Deception: A key structural element is the use of disguise and deception. Several characters disguise themselves for various purposes, creating a complex web of deceit that drives the plot and adds to the comedic effect.
Conclusion with the Induction: Some versions of the play return to the induction at the end, though this is not always the case. When included, it serves to remind the audience of the play’s exploration of illusion and reality.
The structure of “The Taming of the Shrew” is thus characterized by its framing induction, a five-act composition, interwoven subplots, and a blend of comedic and serious elements, all of which contribute to its enduring appeal and complexity.
Summary of The Taming of the Shrew
Act 1, Scene 1
Location: A public place in Padua, Italy.
Summary:
The play opens with Lucentio, a young man from Pisa, and his servant Tranio arriving in Padua. Lucentio is there to pursue his studies, but he quickly becomes enamored with Bianca, the younger daughter of Baptista Minola, after he sees her for the first time.
Baptista, a wealthy Paduan merchant, appears with his two daughters, Katherina (Kate) and Bianca. Baptista announces that Bianca, who has several suitors, will not be allowed to marry until Katherina, the elder and more headstrong daughter, is wed first.
Katherina is known for her sharp tongue and independent spirit, making her an unattractive prospect for marriage in the eyes of most men of that era.
Bianca’s suitors, Gremio and Hortensio, discuss their frustration over Baptista’s decision. They decide to work together to find a husband for Katherina so that Bianca will be free to marry.
Lucentio, smitten with Bianca, devises a plan to disguise himself as a tutor to get close to her. Tranio agrees to help and takes on the role of Lucentio, while Lucentio disguises himself as a schoolmaster named Cambio.
Act 1, Scene 2
Location: Another part of Padua.
Summary:
Petruchio, a young gentleman from Verona, arrives in Padua. He meets his friend Hortensio, who tells him about Katherina and her dowry. Petruchio expresses his intention to marry a wealthy woman and decides to court Katherina, undeterred by her reputation.
Hortensio, also interested in Bianca, decides to disguise himself as a music tutor named Litio to be near her.
Gremio introduces Lucentio (disguised as Cambio, the tutor) to Baptista as a potential instructor for Bianca.
The scene sets up the various disguises and deceptions that will drive much of the play’s comedic and dramatic action.
In this act, Shakespeare establishes the central conflict of the play and introduces the main characters and their motivations. The themes of love, marriage, social status, and the use of disguise are all introduced, setting the stage for the unfolding comedy and drama in the subsequent acts.
Act 2, Scene 1
Location: A room in Baptista Minola’s house in Padua.
Summary:
The scene opens with Katherina tying up her sister Bianca, demanding to know which of her suitors Bianca loves best. Bianca, however, refuses to answer, and the altercation is interrupted by their father, Baptista.
Baptista scolds Katherina for her behavior. He then discusses Bianca’s suitors and their proposals. Gremio and Tranio (disguised as Lucentio) present their offers, each trying to outdo the other in promises of wealth and property as a dowry for Bianca.
Petruchio arrives with his servant Grumio. Petruchio meets Baptista and declares his intention to court Katherina. Baptista is initially skeptical but is convinced when Petruchio assures him of his determination and ability to handle Katherina’s temper.
Baptista agrees to Petruchio’s suit, provided Katherina also consents to the marriage. Petruchio is confident he will win her over.
Petruchio then has a witty and spirited verbal exchange with Katherina. Their banter is filled with puns and wordplay, indicating a meeting of equals in wit and spirit.
After Petruchio and Katherina exit to continue their conversation, Gremio and Tranio (as Lucentio) continue to vie for Bianca’s hand, increasing their offers. Baptista decides to give them a week to finalize their proposals.
Meanwhile, Hortensio, disguised as the music tutor Litio, is also introduced to Baptista as another instructor for Bianca.
The scene ends with Baptista leaving to see how Petruchio fares with Katherina. Gremio and Tranio (as Lucentio) agree to work together to outmaneuver the other suitors. Hortensio, in his disguise, plans to woo Bianca while teaching her.
This scene is crucial as it sets up the central plot of Petruchio’s courtship of Katherina and the comedic subplot involving Bianca’s suitors. The themes of disguise, deception, and the complexities of courtship are further developed, adding layers to the play’s exploration of relationships and societal norms.
Act 3, Scene 1
Location: A room in Baptista’s house.
Summary:
This scene focuses on the subplot involving Bianca’s suitors. Lucentio (disguised as Cambio, the tutor) and Hortensio (disguised as Litio, the music tutor) are both giving lessons to Bianca, but they are more interested in wooing her than in teaching.
Lucentio declares his love for Bianca during his Latin lesson, using a translation exercise to convey his feelings. Bianca seems to respond favorably to Lucentio’s advances.
Hortensio, observing Lucentio’s tactics, tries a similar approach by embedding messages of love in his music lesson. However, Bianca seems less receptive to Hortensio.
The scene also features a brief moment where Gremio enters and observes the lessons, commenting on the progress of the tutors.
The scene ends with Bianca favoring Lucentio over Hortensio, though she does not openly declare her choice.
Act 3, Scene 2
Location: Before Baptista’s house.
Summary:
This scene is centered around the wedding of Petruchio and Katherina. Petruchio arrives late to his own wedding, dressed in ridiculous and inappropriate attire, much to everyone’s shock and dismay.
Despite his outrageous behavior, the wedding proceeds, but Petruchio continues to behave in a wild and eccentric manner, embarrassing Katherina and upsetting the wedding guests.
After the ceremony, Petruchio announces that he and Katherina will leave immediately for his country house, despite the plans for a wedding feast. Katherina is reluctant, but Petruchio insists, claiming that she is now his property.
The scene concludes with the wedding party left in confusion and dismay, while Petruchio forcefully takes Katherina away, beginning his process of “taming” her.
Act 3 is pivotal in advancing both the main plot and the subplot of the play. The contrast between the gentle, romantic pursuit of Bianca and the aggressive, unconventional courtship of Katherina is highlighted, further developing the themes of love, marriage, and societal expectations in the play.
Act 4, Scene 1
Location: Petruchio’s country house.
Summary:
On the way to Petruchio’s house, Katherina and Petruchio argue, and Petruchio continues his unorthodox methods of taming Katherina. He behaves erratically, scolding his servants and rejecting the food as unfit for Katherina, effectively starving her.
Petruchio’s strategy is to act more shrewish than Katherina to make her realize her own behavior. He insists that everything he does is out of love and concern for her.
Act 4, Scene 2
Location: Padua. Before Baptista’s house.
Summary:
Back in Padua, Tranio (still disguised as Lucentio) and Hortensio (as Litio) inform Baptista that Bianca loves Cambio (Lucentio in disguise). Hortensio, realizing Bianca favors Lucentio, decides to withdraw his pursuit and marry a wealthy widow.
Tranio convinces Baptista to consent to Bianca’s marriage to Lucentio, but there’s a problem: they need someone to pretend to be Lucentio’s father, Vincentio, to assure Baptista of the dowry.
Tranio finds a Pedant who resembles Vincentio and convinces him to impersonate Vincentio to secure Bianca’s hand for Lucentio.
Act 4, Scene 3
Location: A room in Petruchio’s house.
Summary:
Katherina is still being starved by Petruchio. Grumio teases her with food but doesn’t give her any.
Petruchio enters with a tailor and Haberdasher to present Katherina with new clothes, but he finds fault with everything and refuses to let her have them, claiming that they are not good enough for her.
Petruchio announces that they will return to Padua for Bianca’s wedding, but they will wear their old clothes, as he insists that it’s the person, not the apparel, that makes someone presentable.
Act 4, Scene 4
Location: A road.
Summary:
The Pedant, now disguised as Vincentio, meets Tranio (disguised as Lucentio). They prepare to meet Baptista to finalize the marriage arrangement.
Meanwhile, the real Lucentio and Bianca plan to secretly get married.
Act 4, Scene 5
Location: A public road.
Summary:
On the way to Padua, Petruchio continues his ‘taming’ tactics by contradicting everything Katherina says and insisting she agree with whatever he says, no matter how absurd.
They meet the real Vincentio on the road to Padua. Katherina, following Petruchio’s lead, initially addresses Vincentio as a young maiden, but then corrects herself when Petruchio changes his tune.
Act 4 is crucial in developing the ‘taming’ plot and the subplot involving Bianca’s suitors. Petruchio’s psychological tactics with Katherina intensify, and the subplot moves towards complication with the impersonation of Vincentio. The act blends comedic elements with the exploration of themes such as identity, obedience, and the nature of relationships.
Act 5, Scene 1
Location: Padua. Before Lucentio’s house.
Summary:
The scene opens with Biondello informing Lucentio and Bianca that they have been spotted by Vincentio, Lucentio’s real father, who is on his way to Padua.
Vincentio arrives in Padua and encounters the Pedant, who is still impersonating him. Confusion and accusations of madness and impersonation ensue.
Tranio (still disguised as Lucentio) tries to maintain the deception but is eventually exposed when the real Lucentio arrives with Bianca, revealing that they have been secretly married.
Baptista, initially upset about the deception, eventually accepts the marriage. Vincentio reconciles with his son Lucentio, and the group prepares to attend Lucentio and Bianca’s wedding banquet.
Act 5, Scene 2
Location: Lucentio’s house.
Summary:
The final scene is set during the wedding banquet for Lucentio and Bianca. The main characters, including Petruchio, Katherina, Bianca, and the widow Hortensio has married, are all present.
The men engage in a debate about the obedience of wives. Petruchio proposes a wager to see whose wife is the most obedient. Each man will send for his wife, and the one whose wife comes first will be deemed the most obedient.
Both Bianca and the widow refuse to come when called, but to everyone’s surprise, Katherina comes immediately when Petruchio calls her.
Katherina then gives a speech about the duty of wives to their husbands, which is seen as evidence of her complete transformation and submission.
The play concludes with Petruchio winning the wager, and the guests are left to marvel at the change in Katherina. The couples end the evening with a dance.
Act 5 resolves the main plot and subplots of the play. The confusion and deception surrounding the various disguises are cleared up, and the relationships are finalized. The act culminates in the banquet scene, which serves as a platform for the play’s final commentary on marriage, obedience, and the roles of men and women. The transformation of Katherina and the resolution of the wager are key elements that underscore the play’s themes and provoke much discussion and analysis.