Tranio and lucentio relationship with god

Masters and Servants: An Inversion of Roles in Shakespeare's The Taming of the Shrew

tranio and lucentio relationship with god

6 What is the relationship between Tranio and Lucentio a Tranio is Lucentios from The Lord and the servant's allusion to the god Apollo, god of the sun, music. Ros writes this because the servant-master relationships in Elizabethan England In the introduction of The Taming of the Shrew, a Lord has his servants take Lucentio then has his manservant Tranio, dress up as himself and continue for. Bianca, as well as engendering the third, that of Hortensio and the. Widow. Hortensio . For the relationship of Katherine and Petruchio, Shakespeare saves his . Their arrival at the Lord's, their reception by him, and the use to which he puts.

Tranio as Lucentio wins the right to court Bianca because he has more inheritance to offer her should he die. What does it imply?

This complication suggests that the play will involve even more lies and deceit. What is the relationship between Lucentio and Hortensio?

tranio and lucentio relationship with god

How do they interact with each other? Through what means do Bianca and Lucentio flirt? Bianca, in turn, neither rejects Lucentio nor accepts him. How does she seem different? In this scene, how- SGT: In this scene, Bianca is independent, strong, and clever; she assumes control, something she has not done previously. Hortensio claims he will no longer seek to court Bianca if she would stoop to flirt with her tutor. Hortensio may be trying to save his ego and his credibility by rejecting Bianca before she can reject him in a more straightforward manner.

The Taming of the Shrew - Act 1

What is the overall mood of this scene? The mood is light and amusing. Describe the role of disguise and pretense in this scene. Disguise and pretense play a large role, as nothing actually is what it appears to be. Lucentio, disguised as Cambio, communicates with Bianca through pretending to study Ovid.

Hortensio is disguised as Litio; he communicates with Bianca through a written accounting of the scales.

Why is Kate distraught over the thought that Petruchio may not show up for their wedding, given that she was opposed to the wedding from the beginning? Though Kate does not want to marry Petruchio, it is now public knowledge that she will marry him, and she fears being humiliated: Why does his attire upset Baptista? How does Baptista express his anger? His attire expresses a lack of respect for the importance of the wedding and a lack of respect for Baptista, the father of the bride who has planned and undoubtedly funded the wedding.

How does Petruchio respond in regard to his lateness and his clothing? What might his intent be? Petruchio is evasive about his attire and his tardiness, changing the focus of the conversation to Kate and proclaiming that he would like to kiss her. He brushes off any suggestion that his clothes convey disrespect: What recounting does Gremio offer of the wedding ceremony? Why might Shakespeare have decided to relay the events through Gremio rather than stage the scene for the audience?

Gremio explains to Tranio and Lucentio that Petruchio behaved horribly during the wedding ceremony, making Kate seem like a lamb in comparison. Petruchio cursed, causing the priest to drop the Bible he was using in the ceremony.

When the priest bent down to pick up the Bible, Petruchio struck him. Describe the first confrontation between Kate and Petruchio as husband and wife. Who prevails, and how? She asserts her will, and she fails. Petruchio insults Kate in front of everyone: How do the rest of the characters respond once Kate and Petruchio have left? They had not previously realized how volatile and abusive he can be.

What does Grumio tell Curtis happened on the journey home? Grumio tells Curtis that at one point in their journey, Kate fell off her horse and Petruchio used that as a reason to blame—and beat—Grumio.

Grumio is likely implying that because Petruchio has been behaving so badly, the scene will be a volatile one when he gets home with Kate. This implication raises suspense, as the audience anticipates what else will happen between them. Kate has a reputation for being shrill and unkind, and Petruchio is using these very characteristics in order to quiet Kate.

He is, in effect, out-shrewing the shrew. Kate finds herself in a situation in which she is confused and baffled by the new world unfolding around her. Christopher Sly, in the Induction, feels the same way when he awakes from his sleep to find the lord and a bevy of servants treating him as a noble.

He denies her food on the pretext that the food is not suitable for her to eat. He deprives her of sleep by thrashing about and complaining that the bed has not been made properly enough for her.

His plan does seem to be working, in that Kate has not seemed shrill or harsh, but rather confused and kind to the servants. What does it suggest about Petruchio that he compares her to one?

Through the metaphor, Petruchio attempts to employ logic to justify starving her. In comparing Kate to a falcon, Petruchio indicates that he sees her as if she were an animal with the sole purpose of obeying and serving him. How does Tranio trick Hortensio into giving up his pursuit of Bianca? Tranio, in the guise of Lucentio, pretends to be shocked and dismayed that Bianca would show affection towards Cambio, a mere schoolmaster.

tranio and lucentio relationship with god

He makes a deal with Hortensio, who comes forward with his true identity, that neither of them will marry Bianca. Of course, Tranio can easily make and keep this promise because he is not actually Lucentio. According to Tranio, who is the master of the taming school? Petruchio is the master of the taming school. How does Tranio trick the pedant into assuming the identity of Vincentio? Tranio finds out the pedant is from Mantua and then concocts a story about those from Mantua not being permitted in Padua, the result of political bickering.

What does the audience learn about him? Tranio is incredibly clever. He makes quick work of getting Hortensio out of the competition for Bianca, and he also convinces a stranger to assume the identity of another man. Tranio does all of this for Lucentio, demonstrating his loyalty to him. How is food used in this scene? Food is used to torture—and thus tame—Kate. Knowing how hungry she must be, Grumio speaks of a variety of meats he might procure for Kate, but he then tells her they are not good for her temperament.

Petruchio actually does produce meat for Kate, but he insists she thank him before he will give it to her. She has not known deprivation, which undoubtedly makes her predicament more challenging for her. Toward what purpose is clothing used in this scene? Like food, clothing is used as a means to tame Kate. Just as Petruchio presented food to Kate only to prevent her from eating it, he presents a hat and dress only to keep it from her.

When Kate compliments the clothing, her meaning is deliberately misconstrued. It is a paltry cap. How does Petruchio continue to kill Kate with kindness? His actions and his words are completely at odds; though Kate speaks, she is essentially voiceless. Kate still exhibits some of the fire she showed before she married Petruchio.

I am no child, no babe. Why does Kate accuse Petruchio of making her a puppet? How does Petruchio respond to this accusation? Kate understands that Petruchio is trying to bend her to his will so that she will say only what he wants her to say and will do only what he commands her to do. Describe the conversation about the time of day between Kate and Petruchio. What point is Petruchio making? How might this scene be played in different ways?

This scene could be played seriously, its tone disturbing. They are physically stronger than she is, and they outnumber her. What does the pedant fear about Baptista? The pedant met Baptista years before; he fears Baptista will recognize him and know he is not Vincentio.

Does the pedant do a convincing job acting as Vincentio? Why or why not? The pedant does do a convincing job acting as Vincentio. He gives an eloquent speech about the love between Lucentio and Bianca and graciously offers his support of the union. Baptista fully believes the pedant is Vincentio.

What does Biondello think Lucentio—who is still disguised as Cambio—should do immediately, and why? Biondello thinks Lucentio should find a priest and marry Bianca that afternoon. What does he mean, and what connotation does it have? Biondello is casting Bianca as merely an appendage to Lucentio, which discredits her worth. Another interpretation could be that he sees Bianca as an empty book that Lucentio will fill with pages as he sees fit.

What game with regard to the sun and the moon does Petruchio play with Kate? What is his purpose? Although it is daytime, Petruchio admires the moon while clearly referring to the sun. When Kate corrects him, he orders the servants to direct the horses homeward; he will not progress on their journey unless Kate agrees with him.

Once she does as he wishes and agrees the sun is the moon, he tells her it is the sun, to which she also agrees. He is trying to train Kate to obey him and humor him, even if he is being ridiculous. How does each of these comparisons objectify her?

Kate is a passive object in both of these metaphors. When Petruchio invokes the game of bowling, he also makes Kate a passive object; she is either the ball being directed towards the pins or the pins standing still, waiting to be knocked down.

How does Petruchio make Vincentio a prop in his taming of Kate? Petruchio refers to Vincentio as a young maiden, even though clearly he is not. Kate agrees with him despite all the facts indicating that Vincentio is not a young maiden; when Petruchio ridicules her for her mistake, she again agrees with his narrative and says she was just mistaken.

Duplicity and disguise

While Kate is agreeing with Petruchio that Vincentio is a young maiden, she addresses Vincentio with the following speech: Young budding virgin, fair and fresh and sweet, Whither away, or where is thy abode?

Happy the parents of so fair a child; Happier the man, whom favourable stars Allot thee for his lovely bedfellow! Why might Kate make such an embellished speech, instead of merely acknowledging Vincentio is a maiden as Petruchio has said? What might the speech suggest about her?

Together they break the social convention of honoring an older person by teasing Vincentio. At this moment, they are equally ridiculous, and Kate appears to be enjoying herself. Vincentio is angry because he has not given consent for Lucentio to marry, and he is appalled that his son would go forward without his blessing.

Even so, Vincentio is reluctant to believe Petruchio because Petruchio has behaved so strangely and falsely in pretending that Vincentio was a young maiden. What effect has Petruchio had on Hortensio? Hortensio is impressed by the way Petruchio has tamed Kate and vows to do the same with his new love, a widow.

How does Biondello greet Vincentio?

  • The Taming of the Shrew

Biondello swears that he does not recognize Vincentio. Biondello knows that Vincentio has the power to unravel their complicated web of lies, so he must render Vincentio powerless by making him seem like a liar. O, I am undone, I am undone! What assumption does Vincentio make about why Tranio is pretending to be Lucentio?

What does Tranio do in response?

tranio and lucentio relationship with god

Vincentio assumes that Tranio must have killed Lucentio in order to assume his identity. Tranio must get Vincentio out of the way, and so he calls the police to apprehend him.

What does this say about Gremio? It does not occur to him that just as SGT: This gap in logic suggests that Gremio is not very intelligent. How is the elaborate web of lies finally revealed? The lies end when Lucentio appears. He explains the lies to his father and Baptista and asks his father not to blame Biondello or Tranio.

What does it suggest about the status of servants in some Elizabethan households? I have brought him up ever since he was three years old, and his name is Tranio. By claiming Vincentio is someone other than who he says he is, Tranio and Biondello make Vincentio seem—and possibly feel—unhinged.

Petruchio uses a similar tactic with Kate when he behaves as though she has said something other than what she has said, and the lord uses the same approach with Christopher Sly, treating him as though he is someone other than who he is. How does Petruchio convince Kate to kiss him in the street? He may be expressing his genuine desire and affection for Kate and wanting her to reciprocate these emotions. Also, the context of their exchange suggests that Petruchio is engaging with his wife, not wielding power over her.

Finally, after Kate kisses him, their behavior toward each other is tender. Come, my sweet Kate: Who takes offense when the widow suggests that Petruchio is afraid of Kate, and who does not? Why is this surprising? In the introduction of The Taming of the Shrew, a Lord has his servants take home a drunken beggar, Christopher Sly, to have a bit of fun with him.

They put him in a bed, put rings on his fingers and prepare a banquet for him, all in jest, to entertain themselves and the Lord. The servants tell Sly that he is their master, despite his disagreeing. With a complete inversion of roles, Shakespeare allows Tranio, a servant, to take on the disguise of his master, Lucentio. However, she cannot be wed until her shrew sister, Katharina, is married. In order for Lucentio to court Bianca, he takes on the role of a schoolmaster to tutor Bianca.

Lucentio then has his manservant Tranio, dress up as himself and continue for him his studies at the university.

The Taming of the Shrew

Here, Shakespeare is literally making the servant the master. Shakespeare could be suggesting here that a household cannot be run by men, women and servants. That for order to be in place, someone needs to be in charge, be the head of the household.

However, just because these ideas are examined, does not mean that all the characters are satisfied or feel complete within their roles. This is also supported by the fact that housewives and servants also shared many household responsibilities in the Renaissance.

How far was Shakespeare willing to push the servant to master boundaries? He creates Tranio, and transforms him into the disguised Lucentio. Only by transforming the servant into a master can Shakespeare allow a manservant to play such an active role in this scheme. These roles are also inverted. He turns master into teacher and servant into master, through his disguise convention. He flips the role of Tranio, a manservant, dresses him and places him at a university.

Shakespeare dissects these social constructions in this play through the inversion of servant-master roles. Works Cited Korda, Natasha. Domesticating Commodities in The Taming of the Shrew.