Linguistic Play of Words in the Play the Taming of the Shrew

The Taming of the Shrew contains numerous examples of linguistic wordplay as a method of witty attack when characters are in conflict. In Act Two, Scene One, Petruchio and Katherine employ an array of puns, metaphors, and similes as they attempt to outwit one another and seize the upper hand in their ‘battle of wits.’ Shakespeare utilizes linguistic and literary devices to nurture the blossoming relationship between Kate and Petruchio and accentuate their striking contrasts. Katherine epitomizes a feminist of her era, using her intelligence to ward off Petruchio’s advances, whereas Petruchio applies cunning strategies in his endeavor to convince Kate of his suitability as her suitor and vice versa.

Their manipulation of language to dictate meaning and importance mirrors their attempts to control each other and the circumstances they find themselves in.

When Petruchio discloses to Katherine his intention to “woo thee for my life,” she retorts with a scathing insult that exploits the term “moved” (2.1.202). Demonstrating cunning, Katherine deflects the conversation from the proposed marriage to mockery through a series of puns centered on a single word. By calling Petruchio a “movable” or a “joint-stool” (2.1.206-208), she reduces him to a negligible item of furniture. However, he promptly retorts, inviting her to sit on him as she would a stool. Each character showcases their linguistic dexterity during this initial exchange. Katherine’s belief in her equal wit to Petruchio reveals her notion of being on par with any man. Immediately, Petruchio communicates his intentions with Kate, expressing his wish to not merely “woo her” (2.1.177), but also to tame her. He characterizes Kate as everything she is not to disorient her, signaling the beginning of taming the “shrew.” Their first encounter showcases his light-hearted confidence, which initiates the taming process with humor and interest, while Katherine reacts with anger and frustration, releasing her “shrewish” nature and leading to her witty insults and violence.

During Katherine and Petruchio’s first verbal duel, their repartee begins to upset Katherine and she becomes very frustrated. Petruchio attempts to calm her down by saying, “Come, come, you wasp! I’ faith, you are too angry,” setting off another trading of puns between them based on a wasp’s tail (2.1.222). The play on the word tail shifts from a wasp’s tail, to a tale, before Petruchio rudely retorts with “What, with my tongue in your tail?” This provokes Kate to swap their linguistic battle for a physical attack (2.1.231). Katherine loses her composure with Petruchio due to his blatantly rude remark. This moment, where Kate strikes Petruchio, hints at her inability to remain calm and gives the audience a glimpse of Kate’s shrewishness. Katherine’s violent action gives the effect that she might have much less control of what is going on, and foreshadows the direction her relationship with Petruchio is going to take. It seems that during their meeting, Petruchio tends to hold more control than Kate, despite her attempts to convey her quick-witted feminist spirit. Katherine is capable of keeping up and matching Petruchio’s wordplay which she demonstrates during their conversation; however, her resort to violence, and Petruchio’s calm resolve, truly shows who held the power during their first interaction.

The dialogue between Katherine and Petruchio in Act Two, Scene One introduces the audience to their relationship and allows them to form their initial impressions about Katherine. Up until this point in the play, the audience has only been exposed to Kate through the words of other characters. As Katherine is absent from the play until Act Two, the audience has already gathered information about her but has not experienced her firsthand. It is significant that the first real glimpse of her is a battle of wits between herself and her suitor. The audience is exposed to her “shrew”-like qualities, as it becomes clear that Katherine is unhappy with her social position as a young maiden-in-waiting. Katherine is displeased with her social role, and her shrewishness results directly from her anger about her position. By forgoing her behavioural role in society, she hopes to gain power in dispelling her suitors from their goal. However, with Petruchio, she meets her match; he is not slow-witted like her other suitors and refuses to accept that she cannot be tamed—he therefore sets out to do so. The two characters share a similar intelligence and both wish to gain control of their situation. This makes their disagreements all the more intense, and maintains the audience’s interest in the development of their relationship throughout the remainder of the play.

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