The Taming of the Shrew (OCR A Level English Literature): Exam Questions

‘The Taming of the Shrew presents marriage as a contest to be won.’

Using your knowledge of the play as a whole, show how far you agree with this view of The Taming of the Shrew.

Remember to support your answer with reference to different interpretations.

[15 marks]

Discuss the following passage from Act 1, Scene 1, exploring Shakespeare’s use of language and dramatic effects.

TRANIO

Not possible; for who shall bear your part

And be in Padua here Vincentio’s son;

Keep house and ply his book, welcome his friends,

Visit his countrymen, and banquet them?

LUCENTIO

Basta, content thee, for I have it full.

We have not yet been seen in any house,

Nor we can be distinguish’d by our faces

For man or master. Then it follows thus:

Thou shalt be master, Tranio, in my stead,

Keep house and port and servants, as I should;

I will some other be – some Florentine,

Some Neapolitan, or meaner man of Pisa.

’Tis hatch’d, and shall be so. Tranio, at once

Uncase thee; take my colour’d hat and cloak.

When Biondello comes, he waits on thee;

But I will charm him first to keep his tongue.

TRANIO

So had you need.

[ They exchange habits ]

In brief, sir, sith it your pleasure is,

And I am tied to be obedient –

For so your father charg’d me at our parting:

‘Be serviceable to my son’ quoth he,

Although I think ’twas in another sense –

I am content to be Lucentio,

Because so well I love Lucentio.

LUCENTIO

Tranio, be so because Lucentio loves;

And let me be a slave t’ achieve that maid

Whose sudden sight hath thrall’d my wounded eye.

Enter BIONDELLO.

Here comes the rogue. Sirrah, where have you been?

BIONDELLO

Where have I been! Nay, how now! where are you?

Master, has my fellow Tranio stol’n your clothes?

Or you stol’n his? or both? Pray, what’s the news?

LUCENTIO

Sirrah, come hither; ’tis no time to jest,

And therefore frame your manners to the time.

Your fellow Tranio here, to save my life,

Puts my apparel and my count’nance on,

And I for my escape have put on his;

For in a quarrel since I came ashore

I kill’d a man, and fear I was descried.

Wait you on him, I charge you, as becomes,

While I make way from hence to save my life.

You understand me?

BIONDELLO

I, sir? Ne’er a whit.

LUCENTIO

And not a jot of Tranio in your mouth:

Tranio is chang’d into Lucentio.

BIONDELLO

The better for him; would I were so too!

TRANIO

So could I, faith, boy, to have the next wish after,

That Lucentio indeed had Baptista’s youngest daughter.

But, sirrah, not for my sake but your master’s, I advise

You use your manners discreetly in all kind of companies.

When I am alone, why, then I am Tranio;

But in all places else your master Lucentio.

LUCENTIO

Tranio, let’s go.

One thing more rests, that thyself execute –

To make one among these wooers. If thou ask me why –

Sufficeth, my reasons are both good and weighty.

[ Exeunt ]

The Presenters above speak.

FIRST SERVANT

My lord, you nod; you do not mind the play.

SLY

Yes, by Saint Anne do I. A good matter, surely; comes there any more of it?

PAGE

My lord, ’tis but begun.

SLY

’Tis a very excellent piece of work, madam lady. Would ’twere done!

[15 marks]

‘In The Taming of the Shrew no one is punished for pretending.’

Using your knowledge of the play as a whole, show how far you agree with this view of The Taming of the Shrew.

Remember to support your answer with reference to different interpretations.

[15 marks]

Discuss the following passage from Act 2, Scene 1, exploring Shakespeare’s use of language and dramatic effects.

BAPTISTA

Content you, gentlemen; I will compound this strife.

’Tis deeds must win the prize, and he of both

That can assure my daughter greatest dower

Shall have my Bianca’s love.

Say, Signior Gremio, what can you assure her?

GREMIO

First, as you know, my house within the city

Is richly furnished with plate and gold,

Basins and ewers to lave her dainty hands;

My hangings all of Tyrian tapestry;

In ivory coffers I have stuff’d my crowns;

In cypress chests my arras counterpoints,

Costly apparel, tents, and canopies,

Fine linen, Turkey cushions boss’d with pearl,

Valance of Venice gold in needle-work;

Pewter and brass, and all things that belongs

To house or housekeeping. Then at my farm

I have a hundred milch-kine to the pail,

Six score fat oxen standing in my stalls,

And all things answerable to this portion.

Myself am struck in years, I must confess;

And if I die to-morrow this is hers,

If whilst I live she will be only mine.

TRANIO

That ‘only’ came well in. Sir, list to me:

I am my father’s heir and only son;

If I may have your daughter to my wife,

I’ll leave her houses three or four as good,

Within rich Pisa’s walls as any one

Old Signior Gremio has in Padua;

Besides two thousand ducats by the year

Of fruitful land, all which shall be her jointure.

What, have I pinch’d you, Signior Gremio?

GREMIO

Two thousand ducats by the year of land!

[ Aside ] My land amounts not to so much in all.

That she shall have, besides an argosy

That now is lying in Marseilles road.

What, have I chok’d you with an argosy?

TRANIO

Gremio, ’tis known my father hath no less

Than three great argosies, besides two galliasses,

And twelve tight galleys. These I will assure her,

And twice as much whate’er thou off’rest next.

GREMIO

Nay, I have off’red all; I have no more;

And she can have no more than all I have.

If you like me, she shall have me and mine.

TRANIO

Why, then the maid is mine from all the world,

By your firm promise; Gremio is out-vied.

BAPTISTA

I must confess your offer is the best;

And let your father make her the assurance,

She is your own; else, you must pardon me;

If you should die before him, where’s her dower?

TRANIO

That’s but a cavil; he is old, I young.

GREMIO

And may not young men die as well as old?

BAPTISTA

Well, gentlemen,

I am thus resolv’d: on Sunday next you know

My daughter Katherine is to be married.

Now, on the Sunday following shall Bianca

Be bride to you, if you make this assurance;

If not, to Signior Gremio.

And so I take my leave, and thank you both.

GREMIO

Adieu, good neighbour.

[ Exit Baptista ]

Now, I fear thee not.

Sirrah young gamester, your father were a fool

To give thee all, and in his waning age

Set foot under thy table. Tut, a toy!

An old Italian fox is not so kind, my boy.

[ Exit ]

TRANIO

A vengeance on your crafty withered hide!

Yet I have fac’d it with a card of ten.

’Tis in my head to do my master good:

I see no reason but suppos’d Lucentio

Must get a father, call’d suppos’d Vincentio;

And that’s a wonder – fathers commonly

Do get their children; but in this case of wooing

A child shall get a sire, if I fail not of my cunning.

[15 marks]

‘Every relationship in the play is finally a financial arrangement.’

Using your knowledge of the play as a whole, show how far you agree with this view of The Taming of the Shrew.

Remember to support your answer with reference to different interpretations.

[15 marks]

Discuss the following passage from Act 5, Scene 2, exploring Shakespeare’s use of language and dramatic effects.

Re-enter KATHERINA with BIANCA and Widow.

PETRUCHIO

See where she comes, and brings your froward wives

As prisoners to her womanly persuasion.

Katherine, that cap of yours becomes you not:

Off with that bauble, throw it underfoot.

[ Katherina complies ]

WIDOW

Lord, let me never have a cause to sigh.

Till I be brought to such a silly pass!

BIANCA

Fie! what a foolish duty call you this?

LUCENTIO

I would your duty were as foolish too;

The wisdom of your duty, fair Bianca,

Hath cost me a hundred crowns since supper-time!

BIANCA

The more fool you for laying on my duty.

PETRUCHIO

Katherine, I charge thee, tell these headstrong women

What duty they do owe their lords and husbands.

WIDOW

Come, come, you’re mocking; we will have no telling.

PETRUCHIO

Come on, I say; and first begin with her.

WIDOW

She shall not.

PETRUCHIO

I say she shall. And first begin with her.

KATHERINA

Fie, fie! unknit that threatening unkind brow,

And dart not scornful glances from those eyes

To wound thy lord, thy king, thy governor.

It blots thy beauty as frosts do bite the meads,

Confounds thy fame as whirlwinds shake fair buds,

And in no sense is meet or amiable.

A woman mov’d is like a fountain troubled –

Muddy, ill-seeming, thick, bereft of beauty;

And while it is so, none so dry or thirsty

Will deign to sip or touch one drop of it.

Thy husband is thy lord, thy life, thy keeper,

Thy head, thy sovereign; one that cares for thee,

And for thy maintenance commits his body

To painful labour both by sea and land,

To watch the night in storms, the day in cold,

Whilst thou liest warm at home, secure and safe;

And craves no other tribute at thy hands

But love, fair looks, and true obedience –

Too little payment for so great a debt.

Such duty as the subject owes the prince,

Even such a woman oweth to her husband;

And when she is froward, peevish, sullen, sour,

And not obedient to his honest will,

What is she but a foul contending rebel

And graceless traitor to her loving lord?

I am asham’d that women are so simple

To offer war where they should kneel for peace,

Or seek for rule, supremacy, and sway,

When they are bound to serve, love, and obey.

Why are our bodies soft and weak and smooth,

Unapt to toil and trouble in the world,

But that our soft conditions and our hearts

Should well agree with our external parts?

Come, come, you froward and unable worms!

My mind hath been as big as one of yours,

My heart as great, my reason haply more,

To bandy word for word and frown for frown;

But now I see our lances are but straws,

Our strength as weak, our weakness past compare,

That seeming to be most which we indeed least are.

Then vail your stomachs, for it is no boot,

And place your hands below your husband’s foot;

In token of which duty, if he please,

My hand is ready, may it do him ease.

PETRUCHIO

Why, there’s a wench! Come on, and kiss me, Kate.

LUCENTIO

Well, go thy ways, old lad, for thou shalt ha’t.

[15 marks]

‘Katherina’s final speech should be played as sincere.’

Using your knowledge of the play as a whole, show how far you agree with this view of The Taming of the Shrew.

Remember to support your answer with reference to different interpretations.

[15 marks]