The inner transformation of Katharina into a woman as opposed to simply being tamed “ from a wild Kate to a Kate, conformable as other household Kates“ (266-267) begins to become evident in Act 4 Scene 5 where they are journeying to Baptista Minola’s house in Padua. Her character develops from a jealous girl lashing out in defence against her father’s favouritism, “ She is your treasure, she must have husband“ (32 Act 2 Scene 1) to a more mature woman who finally sees adult life is made of compromises “But sun it is not, when you say it is not“ (19 Act 4 Scene 5). Though this game gives Petruchio power, he is willing to share his power so long as Katharina is willing to humour him, so in essence Katharina has not lost anything playing this game.
In Act 5 Scene 1 the effects of Katharina’s developing maturity rather than a vicious suppression by a male egotist becomes publicly visible. The line, “Husband, let’s follow to see the end of this ado“ (134 Act 5 Scene 1) demonstrates that Katharina has not lost all her freedom, as the idea of a taming suggests but rather that she is still capable of suggesting the route of action that should be taken. Petruchio does not try to destroy Katharina’s high spirits but instead he teaches Kate to express her emotions in a different manner so for life for her can run more smoothly. This idea of compromise in marriage and life is evident when Petruchio agrees to go to the banquet on the condition that Katharina kisses him, “First kiss me Kate and we will“ (116 Act 5 Scene 1).
The final scene is often said to signify the true defeat of woman in a patriarchal society however a closer analysis of Katharina’s obedience speech suggests that she is not truly tamed but masquerading under the illusion of being so to advance her own desires. This key theme of illusion versus reality has been explored with both psychological and physical disguises from the very beginning of the play with the induction scene. The use of hyperboles such as “And for thy maintenance, commits his body to painful labour both by sea and land“ (148-149 Act 5 Scene 2) in the obedience speech suggest that Katharina is poking fun at the system of marriage. The use of the above hyperbole contrasts the mercenary but comical antics of men such as Gremio in the play.
Katharina’s distinction between blindly obeying one’s husband and obeying with discretion indicates the true extent of her “taming“, as “…Not obedient to his honest will“ (158 Act 5 Scene 2) implicates that when the husband’s will is not honest, it need not be obeyed.
There is evidence in The Taming of the Shrew to suggest that the protagonists work together to share the power however doing it in such a way to give society the impression that Petruchio is the one in control. Petruchio trusts Kate with his money as he was insulted by the initial twenty crown wager, “I’ll venture so much of my hawk or hound, but twenty times so much upon my wife“ (71-73 Act 5 Scene 2). When Petruchio demands that Katharina, “Tell these headstrong women, what duty they do owe their lords and husband“ (130-131 Act 5 Scene 2) he is staking his reputation on Katharina as well as giving her the opportunity of powering over the other ladies. The illusion of Petruchio being in control, when the couple worked together to trick the world around them is expressed in Lucentio’s last line.
In conclusion it can be seen that Lucentio’s dumbfounded last line has expertly summarised the ironies of the play and has brought to light the final question of Katharina’s taming for the audience to judge. The last line is ironically true to The Taming of the Shrew’s central theme of reality versus illusion.
