Exploring Sexuality in "Taming of the Shrew"

Andrea Blacksten
Shakespeare Plays
Professor Christopher

Human sexuality underlies many of the happenings of "Taming of the
Shrew." It affects the conflicts, theme, and resolution of the play. It
becomes evident throughout the play that sexual behavior denotes whether a
character is thought of as good or evil (not necessarily good evil as meant in
conventional terms, but rather as a "nice" character versus a "waspish" or
"mean\' character).
In the beginning of the play, there is an obvious conflict between Kate
and her sister, Bianca. This conflict stems from the fact that their father
favors Bianca, as well as the fact that Bianca has many suitors, while Kate has
none. Kate\'s father, Baptista, tries to persuade some of Bianca\'s suitors to
pursue Kate instead. However, they make it clear that none of them could desire
Kate. "Mates, maid? How mean you that? No mates for you unless you were of a
gentler, milder, mold" (I,i, lines 58 - 60). From this it is clear that the men
in the play prefer a better "mold" than Kate, in other words, she does not carry
herself as well as Bianca. Kate does not play the coy flirting games, and is
therefore thought of as harsher than Bianca.
Bianca, however, knows how to be flirtatious, witty, and coy around her
admirers, and yet is almost intentionally mean to Kate. For instance, Bianca
knows that it hurts Kate to have no suitors while she (Bianca) has several.
Bianca uses this to hurt Kate. When Kate tries to find out which suitor Bianca
really likes, Bianca swears that she won\'t take the suitor that Kate likes. She
casually offers Kate whichever suitor she wants. Kate is enraged by this
because she knows that the only reason that Bianca has suitors while she has
none is because Bianca plays the sexual flirtation game.
When Kate gets a suitor of her own, Petruchio, there is a lot of sexual
tension in their relationship. At their first meeting, they exchange a barrage
of sexual comments:

Petruchio: Why, what\'s a movable?
Kate: A joint stool
Petruchio: Thou hast hit it; come sit on me.
Kate: Asses are made to bear and so are you.
Petruchio: Women are made to bear and so are you.
(II, i, lines 196 - 200)

Also, Petruchio decided before he met Kate that he would act as though she was
being very kind, and as if she welcomed him and accepted him no matter what she
does or says. This sets the tone for their entire relationship.
Later in the play, Petruchio decides that the best way to change Kate\'s
behavior is to act contrary to her. He uses this to deny her food, sleep, and
clothes. For instance, when they are brought dinner, he shouts that the food
isn\'t good enough, and sends it away. When she tries to sleep, he rants that
the bed is not good enough for her, and makes such a fuss about it that she
cannot sleep. He does this until she realizes that if she does not appease him,
she will not get anything.
In contrast, Bianca controls her relationships with her suitors. Bianca
realizes that if she acts nice and flirts with her suitors, they will do
anything she asks of them. All Bianca has to do is smile, and then anything she
says after that is accepted without argument by her suitors. For example, when
Hortensio and Lucentio are tutoring Bianca in different subjects, and arguing
amongst themselves about who should tutor her first, when Bianca steps in.

"Why, gentlemen, you do me double wrong to strive for that which resteth in my
choice. I am no breeching scholar in the schools. I\'ll not be tied to hours
nor \'pointed times, but learn my lessons as I please myself. And, to cut off
all the strife, here sit we down" (III,i, lines 16 - 21).

Hortensio and Lucentio accepted this reprimand from Bianca, however, had Kate
reprimanded them in the same way, they would have talked amongst themselves
about the fact that she was waspish. This again is a product of the perception
of good and evil that Bianca and Kate personify.
The final scene is affected by sexuality and its tie in to the
perception of Kate and Bianca as good or evil. In this final scene, the men -
Lucentio, Hortensio, Petruchio, and Baptista - are sitting around a table
talking. Kate, Bianca, and the Widow are in the next room carrying on their own
conversation. The men are discussing their wives; Lucentio and Hortensio are
certain that