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Back in Petruchio’s house, Kate has had little food or sleep for several days now, and she entreats Grumio to get her something to eat. He refuses, and, like his master, claims that they are depriving her for her own benefit. Finally, Petruchio and Hortensio bring her a meal. (Hortensio has apparently arrived from Padua sometime in the last few days to educate himself at Petruchio’s “taming-school.”) Kate has little time to eat before Petruchio’s tailor arrives. The tailor has prepared elegant and expensive clothes for their journey back to Baptista’s house in Padua. Predictably, Petruchio finds fault with everything that Kate likes, from the cap to the gown, and he blames the tailor for poor craftsmanship. The tailor tries to deflect the blame onto Grumio, but Petruchio and Grumio indignantly force him to leave. Petruchio, however, secretly tells Hortensio to pull the tailor aside and tell him that he will be paid the following day, revealing that Petruchio’s distasteful treatment of the tailor is in jest. Petruchio then tells Kate that they will leave at once for Padua in the clothes that they have on, planning to arrive at noon. But, when Kate tells Petruchio that noontime has already passed, he angrily responds that, yet again, she is contradicting him. He declares that they will not go that day, and that, when they do go, “[i]t shall be what o’clock I say it is” (IV.iii.189).
In Padua, Tranio has properly outfitted the pedant as Vincentio and rehearses his act with him to ensure that their stories match. When Baptista and Lucentio (still disguised as Cambio) enter, the pedant convinces Baptista that he is indeed Lucentio’s father, and that he fully approves of the marriage between Bianca and his son. Baptista, the pedant, and Tranio then leave to find a private place where they can discuss the financial details of the marriage.
Lucentio (disguised as Cambio) returns to the stage with Biondello, who informs him that Baptista has requested that Cambio bring Bianca to dinner. Biondello explains that he has personally arranged for a priest and witnesses to perform a hasty marriage in a church nearby. Lucentio agrees to the plan to elope, and they quickly leave to perform their respective tasks.
As Act IV, scene iii opens, Kate has clearly been affected by Petruchio’s treatment, especially by the excuses he continues to give for his behavior. She complains to Grumio that what particularly infuriates her is that Petruchio torments under the pretense of love. This pretense—not to mention Petruchio’s erratic and peremptory behavior—makes it hard for her to react to his actions with her typical anger, since he seems to have the best intentions and to only desire her happiness and comfort. And yet, given Kate’s obvious intelligence, it is remarkable that she does not see through Petruchio’s facade and realize that he is doing everything simply to frustrate her. Most likely, she does in fact suspect foul play, as she indicates when she says that he torments her “under name of perfect love,” implying that the “name” and the reality do not necessarily match (IV.iii.12). She simply does not wish to stand up to him on this point. The play is, after all, a comedy, and we are probably meant to believe that, despite their difficulties, Kate and Petruchio are falling in love, if they have not already done so. Under the comic influence of love, Kate is much less likely to use the full power of her critical thought to see through Petruchio’s schemes.
Of course, the attraction between Kate and Petruchio, which exists despite their social inequality and seems to stem from their intellectual equality, is central to our ability to read The Taming of the Shrew as something more than merely a troubling chronicle of sixteenth-century spousal abuse. Most readers, as Jean E. Howard notes in her introduction to the play in The Norton Shakespeare, “have seen in Kate and Petruchio’s relationship an attractive mutuality and vitality they find difficult to reconcile with the idea that the play is simply a lesson in how to subordinate a woman.” This sense of an “attractive mutuality” is what enables the play to be funny, but one of the unresolvable complications of The Taming of the Shrew is the question of how we should reconcile the apparent love story of the two main characters with Petruchio’s obviously cruel treatment of his new wife.
In Act IV, scene iii, Kate once again tries to draw the line: when Petruchio tries to throw away the cap that the tailor made, which she very much likes. She has had enough and tries to establish an autonomous position:
Lucentio is a very kind and obedient servant. He agrees to every thing that his master Lucentio says. Lucentio's father had told Tranio to take good care of his master while in Padua [ Lucentio had come to study at a famous university, but he fell in love with Bianca later ]. Since Tranio is aware of his master's love Bianca( the youngest daughter of Baptista Minola ), he helps him [Lucentio] in all ways possible.
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Katherina and Bianca are like the north pole and south pole. They both have different characteristics and different natures.
KATHERINA:- Katherina is Baptista Minola's eldest daughter. She is an intolerable, curst, ill favored and shrewd young lady. She is famous in Padua for her scolding tongue. She is so "wild", unpleasant and hot tempered that no man wants to marry her. She thinks her father loves her sister Bianca more than he loves her. Katherina does not care about marriage and does not want any man to love her. She is disliked... Read more→
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Petruchio is late for his wedding. All the family members and guests are worried about the fact if he is coming or not.
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Petruchio comes dressed up in a new hat, an old jerkin, a pair of old breeches (that were turned thrice), a pair of boots, with a broken hilt an chapless, and with two broken points. Even his horse was looking messed up. The horse was hipped-- with an old mothy saddle and some stirrups of no kindred-- besides, possessed with the glanders and like to mose in chine; t... Read more→
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