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?

Is Kate's entreaty to stay, or her action in showing her bridegroom
the door the climax of the wedding scene? What is the point in the
stage business of Petruchio's speech warning others not to touch his
chattel? Is she really being befriended by the bystanders when she
declares they must go "forward to the bridall dinner" or is she so
entirely alone in her opposition to Petruchio's command to go, that
his speech is the keenest satire upon her defencelessness in every
direction but through him?

Is Petruchio's conduct at h