Shakespeare's comedy, The Taming of the Shrew, focuses heavily on the character of Kate, the "shrew" of the story, and her transition from an unlikeable and capricious harridan to the image of a perfect wife. Surrounding this story of Petruchio and Kate are the comical antics of Hortensio and Lucentio as they scheme to win over Bianca. Beyond that, we follow Tranio's efforts to pass himself off as a nobleman and continue to advance Lucentio's plots by enlisting the help of a wandering merchant. Even further, apart from the plot, is the rather strange introduction to the play in which a lord plays a prank on Sly, a worthless beggar, and makes him believe that he is a nobleman. All of these stories have a very strong common theme underlying them. Almost every main character changes roles, whether of their own accord or because of the actions of others. However, when everything is accomplished, there is one character who has indeed become a new person. All the role changes for ploys or jokes just highlight the true change in Kate's character. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The first role change, which gives a taste of what's to come in the main story, is the strange introduction of Christopher Sly. An anonymous lord finds him sleeping and has the brilliant idea of ​​making Sly believe that he only imagined he was a beggar. The lord changes roles and becomes a servant and the beggar becomes a lord. This joke is indicative of the very first role change found in the actual story in which Lucentio becomes a humble schoolmaster and his servant, Tranio, takes Lucentio's place. However, the nameless lord's role change, although temporary like that of Lucentio and Tranio, is only a joke for his own enjoyment. Sly is ready to take on his new role as lord and assume it permanently: "As long as I live I am a lord indeed, / And not a tinker nor Chistophero Sly" (Taming of the Shrew Ind 2.70-71), but he is the object of ridicule and is not part of the project. The story of Kate, Petruchio, Lucentio, Bianca and the others is played out for Sly. Perhaps this is another joke on the lord's part, trying to show Sly a role-swapping play to give him an idea of ​​what happened to him. We never know whether or not Sly gets the joke. The beginning of the main story introduces Lucentio and Tranio, the first characters in the play to change roles. Lucentio does this, however, as a plot to win the love of the beautiful Bianca: “Let me be a slave, to get this maid” (1.1.216). His servant Tranio is not at all against it and in fact admits to having the same idea: “Master, for my hand, / Our two inventions meet and leap into one” (1.1.186-187). However, the obstacle remains in the form of Kate, who must be married before Bianca can be. Kate is shown in her true form at the beginning of the play. She's bossy and just plain terrifying. Her transformation will not be sudden, like the change in roles around her, but will require time and effort on Petruchio's part. Shakespeare makes it very clear that any change in her is nothing short of miraculous: “Do you think, Hortensio, though her father be very rich, that any man is so foolish as to marry hell? (1.1.122-124) She, much like Sly, will never be part of the schemes or jokes, but unlike Sly, her change will be permanent and for the better. Hortensio and Lucentio appearin their altered roles as Bianca's guardians at the same time Petruchio is to be introduced to Kate. Ironically, while Hortensio and Lucentio both pretend to be guardians in order to woo Bianca for themselves, Petruchio instead becomes like a true guardian to Kate in the path of gentle feminine virtue. Hortensio's change of role does not end successfully. While attempting to write poetry as tutor Litio and to plead the cause of Hortensio the suitor, Lucentio has exposed himself to Bianca under the name not of Cambio, but of Lucentio. Hortensio recognizes that Bianca is growing fonder of his rival Cambio/Lucentio and makes plans: "If once I find you changing, / Hortensio will be quite with you in changing" (3.1.89-90). If Bianca doesn't seem supportive of his trial, he plans to simply move on to another woman, a widow who wants his favor. Thus, Hortensio prepares to change roles once again, leaving his position as guardian behind. Lucentio and Tranio realize that in order to carry out their project, they need a character to play the role of Vincentio, Lucentio's father. Tranio, through humorous ruses, convinces a willing merchant, known in the play as a pedant, to assume this role. This does not bother the pedant since he evolves in the world from a simple pedant to a rich and prestigious merchant: “In all these circumstances, I will instruct you. / Go with me to clothe yourself as suits you” (4.2.120-121). Thus, the following role is assumed. The whole project must end when Vincentio himself appears. However, much like Sly's situation with the lord, everyone except Vincentio himself insists on an alternative truth to what Vincentio knows to be true. Even though he insists that he is Vincentio, the characters of Tranio, the pedant, Gremio, Baptista and Biondello are against him: "Deny him, / renounce him, or we are all lost" (5.1. 98-99). ). However, Lucentio and Bianca emerge and settle the matter by confessing everything. Petruchio and Kate, who deserve more study, are left until last. Much of their drama is paralleled by the actions of other characters, particularly in the roles assumed by other characters. When Petruchio enters the picture, he is immediately seen as a good match for the troublesome Kate. Petruchio is confrontational, demonstrative and stubborn. At first he views Kate as a means to acquire wealth: "I come to live richly in Padua - / So rich, then happy in Padua" (1.2.73-74), but by the end he has visibly discovered his best qualities. and comes to truly love him. However, this is not so much a change in his character as in his own. Petruchio's role change comes after meeting and understanding Kate's character and what is required to care for her. In fact, he plays two different characters before finally returning to his true self. Likewise, Kate must go from being a malignant self, to a harried and embittered woman, to a gentle and contented wife. Petruchio's disposition toward Kate when he meets her is entirely different from that when he first marries her, because she is different again. when he tamed her. When he first meets her, he refuses to be harassed and treats each of her harsh words as beautiful: "Your virtues have been spoken of and your beauty has resonated, / Yet not as deeply as it belongs to you , / I myself am led to court you for my wife” (2.1.192-194). By perhaps trying to unbalance her, he certainly succeeds in destabilizing her to the point that she can no longer fight with him. She is engaged despite his attempts to protest. It's a humorous parallel to courting. 1969.