BIANCA AND HER SUITORS

Lucentio’s errand in Padua, his breeding and relations to his servant qualify him as quite the conventional hero of a romantic love-story.  How does he compare with the young noblemen of “Love’s Labour’s Lost?” What part of the study of Philosophy does he specially desire to take up and how does his temper toward learning fall in with theirs?

What light does Bianca on her appearance throw upon herself?  Through the testimony of her sister and her father and the two suitors what else is to be gathered?

Her effect upon Lucentio:  The parallelism with “A Midsommer Nights Dreame” (I, i, 156, and see p. 134 in the First Folio Edition of “The Shrew”) not appearing in “A Shrew,” considered as indicative of the favorite method of Shakespearian lovers in falling in love at first sight.

Katherine’s effect upon Tranio, lost upon Lucentio, in his daze over Bianca, leads to what plan of action?  How does the part Hortensio and Gremio play in this reinforce the plot, and combine them all to instigate Petruchio to woo Katherine?  How does the contest for the best sale of Bianca when Katherine is out of the way lead to a new plot?  The money-contest of the suitors, judged by the father is supplemented by the mock teaching-contest of the lovers of which Bianca herself is the judge.  Show how this constitutes the second step in the action and what complications and simplifications it prepares.  Lucentio’s studies in the hedonistic Philosophy he professes and its victory over Music and Hortensio.

What is Bianca’s contribution to the gossip excited by Katherine’s wedding, and what impression does Act iii give you altogether of Bianca’s character?  Is the bad report of it in Act iv, made by Hortensio, as the Musician, Lisio, with Tranio, quite fair to her?

The abusive opinion and jealousy of Hortensio assisted by the supposed Lucentio narrow down the uncertainties of the courtship so as to concentrate interest on the new scheme of the supposed father.  How is this worked out?  Explain the conflict with the arrival of the true father, and the amusing counter-play.

QUERIES FOR DISCUSSION

Why does Lucentio’s suit excel that of any other in interest?

Is Bianca wrong in acting independently of her father?

IV

THE SHREW AND HER TAMER

Does the Shrew justify her reputation on her first appearance?  What is said of her compared with what she does then and in Act ii?  Why is Petruchio’s first approach with a combat of wit and a great bluff of compliment effective?  Is Kate really impressed by it, or only fearful that she is being fooled?  How do you account for her denial of him and his suit to her father in Act ii and her mortification when he does not arrive till late in Act iii?  Does Petruchio’s speech to the others and before them (ii, i, 328-350) account for the change?  His arrival at the wedding in such shabby attire and with so wretched an appearance as to retinue, with his sorry horse and man-servant contrasts strongly with the promises held out in this speech.  What is the effect on Kate and why does it serve his purpose?