As for Xanthippe, she was Socrates' wife, and the tales told of her show her to have been a scolding shrew. To be sure, any impartial person would have to admit she had some justification, since Socrates neglected his family to wander about the market place, talking philosophy and teaching rich noblemen without pay, so that his family was always in want. Nevertheless, people aren't impartial. Since Socrates is thought of as the wisest of men and as a kind of pagan saint, Xanthippe is frowned upon for complaining.

The complications grow. Petruchio insists he will woo and win Katherina for her money, quite without regard for her shrewishness. Whereupon it occurs to Hortensio (as earlier it had occurred, independently, to Lucentio) to disguise himself as a teacher and be brought to the house under the patronage of Petruchio. If Petruchio offers to woo Katherina, surely the delighted Baptista will accept his protege for the post of teacher and Hortensio would then be on the inside track with Bianca.

At this point, though, in comes Gremio, with no one other than the disguised Lucentio. Gremio is going to sponsor the disguised Lucentio for the post of teacher, planning to have the man plead Gremio's cause with Bianca. Then in comes Tranio, in fancy clothes, disguised as his master, Lucentio. He too is heading for Baptista's house to woo Bianca.

When Gremio and Hortensio object, the disguised Tranio says grandly:

—Act I, scene ii, lines 243-46

Leda was a queen of Sparta with whom Jupiter fell in love. He visited her in the shape of a swan with the result that eventually Leda laid an egg, out of which Helen was hatched. Helen, as the very epitome of womanly beauty, naturally had many wooers (see page I-90), but was eventually snatched away by Paris.

There are thus four men now after Bianca. There is 1) Gremio; 2) Hortensio, soon to be disguised as a teacher; 3) Lucentio, already disguised as a teacher; and 4) Tranio, disguised as Lucentio.

All understand though mat everything depends on how Petruchio fares with Katherina, and Gremio says, gloomily, that that task is liable to be harder than Hercules' twelve labors put together.

In Baptista's house, meanwhile, Katherina the Shrew is cruelly baiting her younger sister, Bianca, whose hands she has bound. Katherina is demanding to know which of Bianca's many suitors the younger girl likes best, and one may easily suppose that Kate is annoyed at the ease with which Bianca gains love, while she herself remains with no one.

This is made the clearer when Baptista comes in, rescues Bianca, and scolds Katherina. Katherina at once accuses Baptista of favoritism:

—Act II, scene i, lines 31-34

To dance barefoot on the wedding day symbolizes the humiliation of an older unmarried sister on the occasion of a younger sister's marriage. Leading apes in hell is the traditional fate of women who die spinsters.

Shakespeare seems to be making it quite clear that Katherina is a girl who desperately wants love and who doesn't know how to go about getting it. She lacks the natural charm that is so often visible in a quiet, simpering girl, and the fascination that goes with a spirited temper is somewhat less obvious.

Shakespeare does not give us the early history of Katherina, but it is not difficult to suppose that her temper was nothing out of the ordinary till a younger sister came along. A quieter little girl, a younger, the baby of the family, would draw the attention of the father, and with every sign of favoritism, Kate would grow wilder in her indignation and Baptista would cling all the more closely to the little one.

There is no sign that Baptista is actually cruel to Kate, and he is trying to get her a husband, but he cannot conceal the fact that he likes Bianca better, so that the vicious cycle continues till Katherina is virtually mad for lack of love and in becoming so has made it impossible for herself to receive love even if it were offered-or almost impossible.

Now the pack of suitors enters Baptista's house. Petruchio tackles his Hercules' labor at once, announcing himself in affable fashion, and stating that he has come to woo Katherina, of whose mild and sweet behavior he has heard a great deal. While Baptista stands there gasping at this novel description of his older daughter, Petruchio blandly introduces Hortensio in disguise, urging his acceptance as a music teacher. Petruchio says of his disguised friend:

—Act II, scene i, line 60

Thus, another north Italian city is mentioned. Mantua is sixty miles southwest of Padua.

Old Gremio has his ax to grind too. He wants his teacher (the disguised Lucentio) in the house for his own purposes (though he hasn't an inkling that his candidate for the post fully intends to double-cross him). Gremio introduces the disguised Lucentio under the name of Cambio.

Since the disguised Hortensio has been put forward as a specialist in music and mathematics, Gremio avoids those subjects in order to get his man hired as well. He introduces him, saying:

—Act II, scene i, lines 79-82

Rheims (Reims) is not an Italian, but a French city, and is located five hundred miles northwest of Padua. Its distance and its foreignness may serve to give the disguised Lucentio an exotic cachet that would be particularly valued in a teacher. Reims is chiefly noted for the fact that the kings of France were traditionally crowned there (see page II-539).

Tranio also introduces himself as Lucentio, thus (presumably) making it easier for the real Lucentio to avoid discovery and allowing a two-pronged attack on Bianca. The real Lucentio would win her love for his person, and Tranio, in the guise of Lucentio, would win her father's official permission.

Meanwhile, Petruchio asks permission to woo Katherina at once, pleading haste. Hortensio, who has gone inside to teach the girls music, comes flying out with the lute broken over his head, thanks to Katherina's shrewish temper. Petruchio isn't fazed at all. As soon as Katherina enters, breathing fire, he is at her at once, insisting on calling her only by the familiar version of her name. He says: