Through extensive examination and analysis, Shakespeare's work, The Taming of the Shrew, presents motifs that are both controversial and questionable. In this piece, clothing is one of the most significant elements which has been illustrated several times. In Act 4, Scene 3, Petruchio, Kate's persistent fiancé and later husband, used clothing as a means to thwart his wife's "insight" and unpleasant behavior. Besides the famous argument scene in Act 4 Scene 3, there are other examples in the play where clothing has been associated with malicious schemes. These events are the deception of Christopher Sly and the disguises made by Lucentio, Tranio and Hortensio to win Bianca's hand. In this essay, I would explore how clothing was exploited as a tool of deception, concealing someone's true identity and being mocked. I would also discuss a literary analysis in more detail and include a cinematic interpretation of certain passages (4.3.61-190). Say no to plagiarism. Get a custom essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayAt the beginning of the play, induction scene 1, Christopher Sly becomes the object of the Lord's attention when he discovers him drunk. ; “What here?” A dead man or a drunk? See, is he breathing? (1.28). In this scene we do not know what the Lord's intention was in approaching Sly, but he must have been dismayed by his drunken appearance which caused him to say: "O monstrous beast, how he is like a pork” (1.30). He then hatches a deceptive plan to dress Sly as a noble man: "Gentlemen, I will practice on this drunken man" (1.32). At present, the true motive of the Lord's actions towards Sly's noble transformation appears ambiguous to us. However, it was obvious that clothing became a vital part of making Sly believe he was a fake persona. Additionally, he also ordered the page to pose as Sly's wife by disguising himself as a lady; “Sirrah, go to Barthol'mew my page, And dressed in all costumes like a lady” (1.101-102). Clothing was seen as a primary means of not only deceiving Sly, but also manipulating his weakened state; “Wrapped in soft clothing, rings placed on his fingers…” (34-37). During the Elizabethan era, citizens of the lower classes were prohibited from wearing clothing above their rank under sumptuary laws. The main aims of these laws were to protect English businesses from foreign traders and to establish a clear distinction between different social classes. The Lord's attempt to dress Sly as a noble was a complete violation of this law and could have implicated him. Clothing was used as a powerful garment to hide someone's true identity. Lucentio and Hortensio, who were vying for Bianca's attention, had chosen to hide their true identities by using a wardrobe to become her private tutors. The two suitors decided to pose as an authority figure who has direct contact with Bianca, as this is the only way to successfully seduce her without her father's disapproval. Bianca's father, Baptista, was determined to marry Kate first and forbade Gremio and Hortensio from courting Bianca with the words: "Gentlemen, trouble me no further..." (1.1.48-54). Besides Bianca's two daring suitors, Tranio, Lucentio's personal servant, was also mixed up in this whole courtship project. For Lucentio to succeed in his plans, he ordered Tranioto assume one's noble identity by putting on one's clothes; “Tranio, get rid of it immediately. Take my colorful hat and coat” (1.1.200-201). The clothing given to Tranio in this scene was seen as a representation of Lucentio's status in society. By simply donning Lucentio's wardrobe, Tranio immediately transformed from a simple servant into a wealthy nobleman. According to Susan Baker, the implementation of Elizabethan sumptuary laws and the ban on "cross-dressing reminds us that Renaissance clothing participated in an elaborate system of signifying rank, gender, profession, allegiance (household) - -- in short, its place in the social order” (313). I agree with Baker's statement that the clothes themselves are in fact a symbol of the individual's hierarchical position in Shakespeare's society. When Lucentio, Tranio, and Hortensio engage in representing false identities, their actions are reflected on the status of the clothing they wear. For example, during a conversation with Baptista and Gremio, Tranio acted as if he was actually Lucentio when he said, "I am my father's heir and only son" (2.1.356). By proclaiming that he was Lucentio, Tranio had perfectly transformed himself into a noble man. Through this moment, we can see how the clothing symbolizes the importance and power of Shakespeare's time. Another way in which clothing was illustrated in The Taming of the Shrew was through Petruchio's mockery of Kate in Act 4, Scene 3, with the presence of the tailor, the haberdasher, Grumio and Hortensio. In the midst of male spectators, Petruchio resorted to insulting Kate using clothing to negate her moody or "clever" behavior. Margaret Jaster commented on this saying: “Alone in the presence of these males, Katherina must endure insults to her social position and chastity” (102). Petruchio not only humiliated her in front of her male colleagues, but he also mocked her by saying: “A velvet dish. Fi, fi, it’s obscene and dirty…. (4.3.65-67). Margaret Jaster also stated that "Petruchio mocks Katherina with food words as well as sexual innuendo" (102). She further pointed out that "linking the image of sex and food reminds Katherina and the audience of her role as husband, Petruchio controls the necessities of Katherina's life" (103). After the couple's heated argument, Petruchio then cleverly used a clothing analogy to calm his wife down; “What is more precious than the jay than the lark…” (4.3.169-175). He then asserted to Kate that physical clothing does not define an individual's character; “Even in these honest clothes…” (4.3.164-166). In this scene, Margaret Jaster commented that Petruchio's "insistence on humble clothing at this point is yet another blow to the social status of Katherina and her family" (104). In the end, Petruchio had succeeded in his plan of controlling his wife's rebellious behavior by using clothing as a weapon to deny her. Further literary analysis of the tailor scene in Act 4, scene 3, revealed that the tenor of the speech between Kate and Petruchio was empty. verse where each verse is composed of 10 syllables. However, there were some parts of the passage where Petruchio's lines showed moments of falling and truncation. For example, after Kate's response (lines 69-70) of liking the hat despite Petruchio's criticism, we will notice that Petruchio's response was shortened to line 72. Margaret Rose Jaster commented on this line in her article saying that "Petruchio's play on Katherina's these words disregard her social position andsuggest that she is antagonizing her master with her supposed recalcitrance” (103). Another case where Petruchio's lines do not adhere to the 10 syllable rule was found in line 106 where there are 13 syllables in that specific line. It was also observed in the passage that the dialogue between Petruchio, Grumio and the tailor did not follow the standard order of 10 syllable lines. This was evident at the beginning of lines 129 to 159, where the number of syllables varies in each line. Another form of literary elements incorporated in the Tailor scene passage includes repetitions of words and the use of figurative language or tropes. Most of these literary elements usually appeared in Petruchio's lines. One of the repetitive techniques used was anaphora, where the same words are used at the beginning of each clause. This technique was observed in Petruchio in lines 88-89, 107-108 and 113. Additionally, the use of Epizeuxis was also detected in some lines of Petruchio where he repeatedly uttered the word "fie" ( 65.157). The use of figurative language such as metaphor in lines (166-67), (169-71) and onomatopoeia in line 90. In terms of narrative point of view, Petruchio and Kate's dialogue is told at the first and second person while the tailor, Grumio and Hortensio used variations of first, second and third person pronouns. The structure of the passage chosen in Act 4 Scene 3 could be compared to the structure of the play as a whole where it includes the prologue, the conflict, the rising action and the denouement. . In the passage we can consider the entrance of the tailor and the merchant as the prologue and then the conflict would be the argument between Petruchio and Kate. The Rising Action would be Petruchio's intense dialogue about Kate's dress in lines 106-113. Then the denouement would culminate with the tailor's exit, followed by Petruchio and Kate's conversation in lines 163-189. Regarding the movement of the passage, it can be described as circular since at the beginning of the tailor's scene we are confronted with the argument about Petruchio and Kate's hat (64-85) then at the end of the passage (184 -189). we return once again to the two characters to witness their reconciliation. The passing movement could also be iterative in the sense that it involves Petruchio's repetitive complaints about certain items of clothing. To visually understand the tailor scene in Act 4, Scene 3, I would discuss a visual analysis of the film The Taming of the Shrew which was released in 1967 starring Elizabeth Taylor and Richard Burton. The scenes I chose appeared in this time frame (1:28:17 to 32:10). In the film, the tailor scene begins when the camera shows Petruchio holding Kate's right arm while Kate holds a letter about her sister's marriage. At this moment, although Kate's body is facing the audience, her gaze is fixed on Petruchio. Meanwhile, Petruchio's body position is turned towards Kate as he informs her of the tailor's arrival. In terms of the background, there were 2 servants in the left corner and a dish rack in the center suggesting that they are in a living room. Continuing, Petruchio then grabbed Kate's right arm, leading her towards the room where the tailor was. Then a jump occurred where the scene advances to the room showing the tailor, the haberdasher and their assistants in a lively atmosphere. Suddenly, the scene changes again, showing a surprised Kate entering the door first, then followed by Petruchio. She dropped the letter on the floor and covered her mouth with her hands while appearing shocked by the scenario she had seen. Kate's position.