Katherine is portrayed as a "shrew"—a loud, unmanageable, and bad-tempered woman—through her own actions and the remarks of other characters, who frequently describe her as ill-tempered and unreasonable. Unlike the typical shrew character found in many of Shakespeare's contemporaneous plays, Katherine comes across as a complex individual who garners the audience's sympathy and concern. Baptista's clear favoritism towards her sister, Bianca, his blatantly materialistic approach to his daughters' marriages, and the superficiality and rudeness of the Paduan suitors hint at possible causes for Katherine's shrewish behavior. Her sharp and pointed remarks also suggest she is more intelligent than most of the other characters in the play. Additionally, despite her shrewish demeanor, she shows concern for others, often attempting to protect the servants from Petruchio's violent outbursts.

Katherine first appears in Act I, scene i, where she vehemently protests both Baptista's decision not to allow Bianca to marry until a husband is found for her and the insulting comments made by Gremio and Hortensio. This prompts Tranio, who is observing with Lucentio, to remark that she is "stark mad or wonderful froward [disobedient, unmanageable]." After Baptista and his daughters leave, Hortensio and Gremio continue to discuss Katherine's bad temper and the near-impossibility of any man agreeing to marry her.

At the beginning of Act II, Katherine enters with Bianca, whose hands are tied, and strikes her when she denies having a preference for either of her suitors. When Baptista reprimands her for her behavior towards her sister, Katherine accuses him of favoritism. Later in the same scene, in her first encounter with Petruchio, she responds to his initial advances with hostility and insults. He counters with sexual innuendos. After he makes a particularly obscene remark, she strikes him. When her father enters, she denounces Petruchio as "one half lunatic" and responds to his insistence that they have agreed to marry on Sunday by saying, "I'll see thee hang'd on Sunday first." However, when Petruchio claims that she is only pretending to oppose the marriage and Baptista agrees to the match, she exits without further comment.

In Act III, when Petruchio initially fails to appear for their wedding, Katherine bitterly complains: she has not only been forced against her will to accept "a mad-brain rudesby full of spleen," but now she is being humiliated. She exits in tears. Reporting on Petruchio's outrageous behavior during the wedding ceremony, Gremio notes that the bride "trembled and shook" in response to the groom's antics. Nevertheless, when Petruchio insists on leaving immediately after the ceremony, Katherine resists, first pleading with Petruchio to stay, then firmly refusing to leave. When Petruchio asserts his right to make her leave and threatens violence against anyone who tries to stop them, she goes with him without further protest.

At the start of Act IV, Grumio recounts his journey to Petruchio's country house with Petruchio and Katherine. After Katherine's horse fell on her, Petruchio started beating Grumio, prompting Katherine to "wade through the dirt to pluck him off." Grumio's story causes Curtis to comment that Petruchio "is more shrew than she." Upon arriving at the country house, Petruchio scolds and strikes the servants, but Katherine defends them and urges Petruchio to be patient. After the couple retires to their room, Curtis informs the other servants that Petruchio is lecturing Katherine on self-restraint, while she "Knows not which way to stand, to look, to speak, / And sits as one new-risen from a dream." In the following scenes, Petruchio continually imposes his will despite Katherine's resistance and protests. In Act IV, scene v, as they head back to Padua for Bianca's wedding, Katherine contradicts Petruchio by stating that the sun is shining when he comments on the brightness of the moon. When he refuses to proceed unless she agrees with him, she relents, only for him to then insist that it is indeed the sun. Katherine, noting that "the moon changes even as your mind," agrees to call it whatever he chooses. Hortensio tells Petruchio that "the field is won." Katherine's submission to Petruchio at this point is often seen as a pivotal moment in their relationship, though critics have various interpretations of Katherine's feelings and the significance of this turning point. When the travelers encounter Vincentio on the road, Katherine plays along with Petruchio's joke of addressing the old man as if he were a young woman.

In Padua, as the subplot involving Bianca and Lucentio unravels, Katherine wants to follow the others to see what happens. Petruchio insists that she kiss him publicly first, and after a brief hesitation, she complies. At Bianca's wedding banquet, Katherine gets into an argument with the Widow, who references Katherine's reputation as a shrew. Later, when Petruchio, Lucentio, and Hortensio bet on their wives' obedience, Katherine is the only wife to come when called. She dutifully brings in the other wives, and when Petruchio instructs her to remove her cap and stomp on it, she obeys. When Petruchio tells her to lecture the other wives on their duties to their husbands, Katherine delivers a lengthy speech advocating wifely obedience. Highlighting the "painful labor" a husband endures to ensure his wife's security, she asserts that wives owe their husbands a "debt" of "love, fair looks, and true obedience." She remarks that women are "soft" and "weak," urging them to abandon their pride, "for it is no boot" [there is no remedy]. In her final words of the play, she offers to place her hand under Petruchio's foot, to "do him ease."

Directors and actresses have employed numerous methods for Katherine's final speech, influenced by their interpretation of the play's message. At times, the speech is delivered with irony, suggesting Katherine is insincere, either humoring Petruchio or mocking his wager. In instances where the speech is taken seriously, the tone can range from joyful acceptance to utter despair and resignation.

The traditional view of Petruchio's character depicts him as a romantic and charismatic figure, captivating Katherine with his robust energy, intelligence, and determination. His outbursts of violence and temper are typically seen as tactics to either highlight the absurdity of Katherine's own aggressive behavior or to jolt her out of her habitual obstinacy. Although this remains the prevalent dramatic interpretation, recent literary critics and some modern productions have portrayed Petruchio as a less than ideal man. These interpretations suggest that his violent, domineering, and often unreasonable behavior is inherent to his character rather than a facade for Katherine's sake. They also emphasize the crudeness of many of his remarks about marriage and Katherine.

Petruchio makes his first appearance at the start of Act I, scene ii, when he and his servant, Grumio, arrive in Padua from Verona to visit his friend Hortensio. Petruchio quickly becomes embroiled in a heated misunderstanding with Grumio, ultimately twisting the servant's ear. When Petruchio announces to Hortensio that he has come to Padua in search of a wife, Hortensio mentions a wealthy but shrewish woman. Despite warnings from both Hortensio and Gremio about Katherine's temperament, Petruchio insists he will pursue her, claiming that wealth is his primary criterion in a wife and that mere noise will not deter him.

In Act II, Petruchio presents himself to Baptista as a suitor for Katherine. At Hortensio's request, he also introduces Hortensio as Litio, a music teacher, leading Baptista to hire Hortensio to instruct his daughters. Ignoring both Baptista's dinner invitation and the older man's concerns about Katherine's suitability, Petruchio immediately initiates negotiations regarding Katherine's dowry. He and Baptista quickly reach an agreement. When Baptista insists that Petruchio must first win Katherine's love, Petruchio dismisses this as a minor issue, asserting that he is "as peremptory as she proud-minded" and predicting that she will "yield" to him. When Hortensio enters, bleeding and reports that Katherine has broken the lute over his head, Petruchio calls her "a lusty wench" and eagerly anticipates meeting her.

In a soliloquy in Act II, scene i, just before his initial encounter with Katherine, Petruchio outlines his strategy for handling her. Regardless of her behavior, he plans to act as though she has done the opposite: if she hurls insults, he will commend her sweet voice; if she remains silent, he will extol her eloquence; if she refuses marriage, he will ask her to set a wedding date. When Katherine arrives, they engage in a heated exchange of insults that soon shifts to sexual innuendos. After she slaps him for making a particularly lewd remark, Petruchio warns he will strike back if she hits him again. Despite Katherine's hostility, when Baptista returns, Petruchio claims they have agreed to marry. When Katherine objects, Petruchio asserts they have decided she will continue her shrewish behavior "in company." Baptista consents to the marriage.

On the wedding day, Petruchio shows up late and dressed in rags, justifying his inappropriate attire by stating that Katherine is marrying him, not his clothes. His conduct during the offstage ceremony appalls Gremio, who later describes it: Petruchio swore in church, hit the priest, guzzled wine, threw the remainder in the sexton's face, and kissed the bride loudly. After the ceremony, Petruchio insists on leaving immediately with Katherine. He dismisses her objections by declaring that he "will be master of what is [his] own" and feigns protecting her from others wishing to detain her.

When Petruchio and Katherine arrive at his country house at the start of Act IV, Petruchio verbally abuses and beats the servants, rejecting the dinner as burnt and unhealthy. In the bridal chamber, he lectures Katherine on self-restraint. In his second soliloquy, Petruchio compares Katherine to a wild falcon that must be deprived of food and sleep until it is tamed. He continually frustrates her needs and desires, asserting that it is for her own benefit.

He also demands that Katherine agree with him even when he contradicts obvious truths, prompting his friend Hortensio to remark on his irrationality. Late in Act IV, as they prepare to return to Padua for Bianca's wedding, Petruchio argues with Katherine about the time of day, insisting they won't leave until "It shall be what a'clock I say it is." Later, on the road to Padua, he repeatedly changes his mind about whether the sun or the moon is shining, refusing to continue until Katherine concurs. Her eventual statement, "What you will have it nam'd, even that it is," is commonly seen as her submission to Petruchio. When they encounter Vincentio on the road, Katherine plays along with Petruchio's jest, pretending to believe the old man is a young woman.

Throughout the rest of the play, Petruchio continuously tests Katherine's obedience. Upon arriving in Padua, he threatens to go back home unless she kisses him in public. At Bianca and Lucentio's wedding feast, several guests suggest that Petruchio has failed to dominate Katherine. Petruchio then proposes a bet on which of the three newlywed wives—Katherine, Bianca, or Hortensio's widow—is the most obedient. When Katherine is the only one to respond to the summons, Petruchio instructs her to bring the other wives, then commands her to remove her cap and stomp on it. Finally, he orders her to "tell these headstrong women / What duty they do owe their lords and husbands." At the conclusion of Katherine's lengthy speech advocating for male authority and female submission, she offers to place her hand under her husband's foot to "do him ease." Petruchio praises her, kisses her, and leads her to bed, hinting as they exit that Hortensio and Lucentio face challenging marriages ahead.

Critical analyses and stagings of the play reveal a wide array of opinions about Petruchio's treatment of Katherine and his motivations. His character's motivations are variously interpreted as stemming from love for Katherine, a desire to dominate, self-interest, or simply the enjoyment of a challenge. Similarly, interpretations of his relationship with Katherine differ greatly. Some view him as coercing his wife into submission, while others believe he skillfully guides her to accept her "true" nature and societal role. Yet, others argue that throughout the play, Katherine and Petruchio establish a mutually acceptable way of coexisting within the constraints of their society.

Lucentio is the son of Vincentio. With his father's blessing, Lucentio embarks on a journey abroad to broaden his horizons and further his education. On his way from Pisa to Lombardy, he stops in Padua and decides to stay for a while, intrigued by what the town has to offer. He believes Padua has more cultural richness than Pisa, as he states:

... I have Pisa left
And am to Padua come as he that leaves
A shallow plash to plunge him in the deep,
And with satiety seeks to quench his thirst.
(I.i.21-24)

His comparison between Pisa and Padua is akin to comparing a small town to a big city. He intends to "quench his thirst" for knowledge in Padua, a renowned center of learning. However, Lucentio is not an overly serious scholar. When Tranio suggests, "Let's be no stoics, nor no stocks" (I.i.31), Lucentio quickly agrees. He is interested in educational pursuits that are entertaining, avoiding anything too tedious or demanding.

Before Lucentio can begin his academic endeavors, he sees Bianca and falls in love with her instantly. Her father, Baptista, has secluded her from the company of men, except for her male instructors. To get close to her, Lucentio adopts the disguise of Cambio, a schoolmaster. The reason for Lucentio insisting that Tranio wear his clothes and impersonate him remains unclear. Lucentio had already mentioned to Tranio that they should "take a lodging fit to entertain / Such friends as time in Padua shall beget" (I.i.44-45). Since Lucentio does not yet have friends in Padua, there seems to be no need for Tranio to maintain his presence or make it known.

This desire to cultivate or uphold his reputation hints at a certain arrogance in Lucentio. He lives a life of privilege, where things come easily to him. Despite knowing Bianca has two suitors, Hortensio and Gremio, he believes he can interpose himself and win her affection. Bianca must perceive some inherent virtues in his disguise as Cambio, a humble schoolmaster, as he wins her heart quite effortlessly. Lucentio deceives Baptista by marrying Bianca without his knowledge, even putting his own father in humiliating situations. Nevertheless, he quickly gains the blessing of both men by pleading for mercy and seeking their forgiveness. He does not provide any valid excuses; he merely presents himself as someone worthy of forgiveness.

The only thing Lucentio fails to achieve is winning the contest at the end of the play. When Bianca does not come at his call, he loses his wager. Lucentio can only congratulate Petruchio for successfully taming his shrewish wife.

Christopher Sly serves as the central character in the Induction, or frame story. After a night of heavy drinking and squabbling with the inn's hostess, Sly falls asleep outside the establishment. A passing lord stumbles upon the inebriated Sly and decides to trick him into believing he is wealthy. The lord instructs his huntsmen to transport Sly to a lavishly decorated bedroom, dress him in elegant garments, and convince him that he is the refined master of the manor upon waking. The humor lies in the fact that Sly is the least sophisticated person imaginable. Upon waking, his first request is for "a pot of small ale" (Induction.ii.1). Though he is offered a glass of sack, Sly claims he has never tasted it, highlighting a contrast similar to that between beer and champagne. When the servants address him with titles like "your lordship" and "your honor," Sly attempts to assert his true identity:

Am not I Christopher Sly, old
Sly's son of Burton-heath; by birth a pedlar, by education a
card-maker, by transmutation a bear-herd, and now by present
profession a tinker?
Induction.ii.17-20

Sly remains somewhat skeptical of the servants' tale that he has been delusional for years. True to his nature, he only becomes intrigued by his new role as lord of the manor when informed that he has a wife, who is actually the lord's young page in disguise. Sly immediately seeks to satisfy his sexual urges, but the Page delays him by claiming that the doctors have forbidden such activities, as they would worsen Sly's condition. When it is suggested that Sly watch a play staged for his entertainment, he further reveals his lack of refinement. He inquires whether the play "Is not a commonty a Christmas gambold or a tumbling-trick?" (Induction.ii.137-38), referring to the types of entertainment he knows best. The Page responds, "It is a kind of history" (Induction.ii.141), and Sly agrees to watch. However, by the end of the first scene, Sly is already dozing off. He is neither seen nor heard from again, leaving the intricate frame story unresolved, even though the audience anticipates seeing Sly realize the joke and return to his former self by the play's conclusion.

Baptista

Baptista is a prosperous landowner residing in Padua. He has two daughters, Bianca and Katherina/Kate. While Bianca, the younger daughter, is highly sought after, Baptista has decreed that she cannot marry until Kate, the elder, is wed. He is adamant with Bianca's suitors, Hortensio and Gremio, about this rule and insists that Bianca dedicate her time to studying until a suitable husband is found for Kate. Though Kate accuses Baptista of favoring Bianca, he genuinely wants the best for both his daughters. Throughout the play, Baptista is often seen negotiating dowries, ensuring that both Bianca and Kate are provided for materially. He even instigates a bidding war between Gremio and Tranio (who is disguised as Lucentio) for Bianca's hand. Additionally, he demands that his daughters' suitors have proper social standings. Despite being distressed when Petruchio arrives for the wedding in outlandish clothing, Baptista's desire to see Kate married outweighs his concern over public embarrassment. His opinion of Kate remains unchanged after her marriage; he even wagers that Kate will lose a contest to prove which wife is the most obedient. Although Baptista does not consider his daughters' feelings for the men he chooses, he believes that financially secure marriages are the best, reflecting the societal norms of the time.

Bianca

Bianca is Baptista's younger daughter and Kate's sister. She is evidently very attractive, as both Hortensio and Gremio are vying for her attention, and Lucentio falls for her at first sight. Lucentio describes Bianca as a "young modest girl" (I.i.156) and tells Tranio, "Sacred and sweet was all I saw in her" (I.i.176). Bianca's allure is partly due to her modesty, especially when contrasted with Kate's outspoken and abrasive nature. Bianca leverages this contrast to her advantage, appearing as the epitome of feminine modesty and duty when Baptista decrees she must focus on her studies and avoid male company. She obediently tells her father, "Sir, to your pleasure humbly I subscribe" (I.i.81). However, Bianca also has a selfish side. Just before her dutiful response to her father, she tells Kate, "Sister, content you in my discontent" (I.i.80). Bianca harbors resentment towards Kate for her willful behavior, which prevents her from enjoying her suitors' attentions. This resentment becomes evident when Kate strikes Bianca for implying that Kate is envious of her.

By the end of the play, we get a somewhat different perspective on Bianca. Petruchio suggests that Bianca, Kate, and the widow be summoned by their husbands to see which of the three responds the quickest. Biondello is sent to retrieve Bianca for Lucentio and returns with news that Bianca claimed to be too busy to heed her husband's call. Only Kate responds promptly, causing Lucentio to lose his wager. When Lucentio tells Bianca that she has cost him the wager, she retorts, "The more fool you for laying on my duty" (V.ii.129). This indicates that different rules apply in marriage compared to courtship. Once Bianca has secured Lucentio, she no longer needs to focus all her attention on him as she did in her secluded cell. As a married woman, she is now free to pursue her own desires.

Biondello

Biondello is Lucentio's servant. The stage directions refer to him as a boy, suggesting he is younger than Tranio. When Lucentio disguises himself as Cambio, a schoolmaster, to get close to Bianca, he tells Biondello that he has killed a man in a quarrel and that Tranio has disguised himself as Lucentio to protect him. Biondello must now treat Tranio as Lucentio and serve him. Although Biondello never fully believes Lucentio's fabricated story, he quickly understands the actual plan. When necessary, he is tasked with finding someone to convincingly impersonate Vincentio, Lucentio's father, and he chooses the pedant, "In gait and countenance surely like a father" (IV.ii.65). Biondello acts as a messenger for Tranio and becomes so entangled in Lucentio and Tranio's scheme that he even denies knowing Vincentio when Vincentio recognizes him outside Tranio's lodging. At the play's conclusion, Biondello is sent to fetch Kate, Bianca, and the widow for their husbands.

Cambio

See Lucentio.

Christopher Sly

See Sly.

Curtis

Curtis is a servant at Petruchio's country house. He tries to gather information from Grumio, another of Petruchio's servants, when Grumio arrives ahead of the newlyweds, Kate and Petruchio, with orders to prepare the house. When Grumio finally shares details of Petruchio and Kate's behavior on their journey from Baptista's home, Curtis summarizes Petruchio's conduct, saying, "By this reckoning he is more shrew than she" (IV.i.85). Curtis then gathers Petruchio's other servants—Nathaniel, Philip, Gregory, Nicholas, and Joshua—and ensures they are ready for their master's and new mistress's arrival. Later, Curtis informs Grumio that Petruchio is in Kate's chamber, lecturing her on the need to abstain from sexual activity, leaving poor Kate perplexed by the lecture.

Gremio

Gremio is a prosperous suitor vying for Bianca's hand in marriage, competing with Hortensio. When Baptista declares that neither can court Bianca until Kate is wed, they both agree to cooperate toward that goal, knowing their chances with Bianca depend on Kate's marriage. Despite this, each secretly devises plans to stay close to Bianca. Gremio, following Baptista's advice, recommends Cambio as Bianca's schoolmaster, unaware that Cambio is actually Lucentio in disguise. Gremio expects that, in return, Lucentio will help advance his suit for Bianca. However, Lucentio, pursuing his own interest, does not assist Gremio. Once Kate marries Petruchio, the competition for Bianca resumes. Gremio argues that he deserves to marry Bianca because, as he tells Baptista, "I am your neighbor, and was suitor first" (II.i.334). Baptista tends to favor Gremio due to his greater wealth but decides to be fair by offering Bianca to the highest bidder. Tranio, disguised as Lucentio and presumably acting on his behalf, claims Gremio is too old for Bianca. Gremio retorts that Bianca would never be interested in someone as young and immature as Tranio. Tranio then exaggerates Lucentio's wealth and outbids Gremio, who accepts that he will never win Bianca. At the play's conclusion, Gremio, with no hope of finding a partner among those gathered at Lucentio's house, joins the festivities to enjoy the feast.

Grumio

Grumio is Petruchio's primary servant, accompanying him on his journeys between his countryside home and the town of Padua. Grumio is a clownish character and enjoys being stubborn and pretending to be dim-witted. He frequently has issues with language, often playing with ambiguities and claiming he doesn't understand unless things are stated in the most straightforward terms. For instance, when Petruchio first arrives in Padua to visit his old friend Hortensio, he instructs Grumio to knock on Hortensio's door. Grumio humorously pretends to think that Petruchio wants him to knock on Petruchio himself or someone who has offended him. It is only when Petruchio specifically mentions knocking on the gate (I.ii.37) that Grumio comprehends the request. Again, when Curtis asks Grumio about the attitudes of Petruchio and his new bride during their journey from Padua, Grumio is deliberately evasive. He becomes irritated with Curtis and strikes him, claiming that Curtis's annoyance prevented him from hearing the full story. Yet, Grumio then proceeds to provide the details, contradicting his earlier statement. He also mimics his master by dressing outrageously for Petruchio's wedding and participating in Petruchio's plan to deceive and humiliate Kate.

Haberdasher

The haberdasher shows Kate a hat that Petruchio has commissioned for her. However, in front of Kate, Petruchio pretends to be very displeased with the hat, calling it too small and unfashionable for her. Despite Kate liking the hat and insisting that she wants that one or none at all, Petruchio refuses it on her behalf, and the haberdasher exits.

Hortensio

Hortensio is a friend of Petruchio and engages in a friendly rivalry with Gremio to win Bianca's hand in marriage. When Baptista declares that Bianca cannot marry until her sister Kate is wed, Hortensio subtly suggests to Petruchio that he knows a wealthy woman who is available, though she has a difficult personality. To Hortensio's astonishment, Petruchio shows immediate interest and decides to propose to Kate right away. Hortensio joins Petruchio and disguises himself as Litio, a music teacher, to get an advantage over Gremio in courting Bianca. However, Hortensio soon finds himself competing with another suitor, Cambio, who is actually Lucentio in disguise. It becomes evident that Bianca prefers Cambio over Hortensio. Feeling dejected, Hortensio brings Tranio, whom he believes to be Lucentio, to witness Bianca's affection for her tutor Cambio. Upset that Bianca favors someone he perceives as lower in status, Hortensio vows to stop pursuing her and decides to marry a widow he has recently met. At the play's conclusion, during a gathering at Lucentio's house, Hortensio, along with Lucentio and Baptista, loses a bet that Kate will be the least obedient of the three wives, including the widow.

Hostess

The hostess appears briefly at the start of the Induction. She reprimands Christopher Sly and asks if he plans to pay for the glasses he broke while intoxicated. When Sly declares he has no intention of paying, she leaves to fetch the sheriff to have him arrested.

Huntsmen

The huntsmen appear in the Induction. They return from a hunt with the lord, discussing the qualities of various hunting dogs. Upon finding Sly asleep outside the tavern, they carry him to the lord's chambers and agree to participate in the lord's prank on Sly.

Litio

See Hortensio

Lord

This lord appears in the Induction. He finds Sly's unconscious body and is initially annoyed that a drunkard has passed out near his estate. However, he then decides to entertain himself by convincing Sly that he is a nobleman when he wakes up.

Page

The page, named Bartholomew, appears in the Induction. Serving the lord who is orchestrating an elaborate prank on Sly, Bartholomew is instructed to dress as he has seen noblewomen do. His role is to impersonate Sly's wife. When Sly mentions that the servants have told him he has been unconscious for fifteen years, the page responds, "Ay, and the time seems thirty unto me, / Being all this time abandon'd from your bed" (Induction.ii.114-15). This is exactly the wrong thing to say, as Sly immediately desires to be intimate with his wife. The page must quickly think on his feet and suggests that he should avoid sharing Sly's bed for a while, citing doctors' advice that intimacy might cause Sly to relapse into his previous condition.

Pedant

The pedant is selected by Biondello to impersonate Vincentio, Lucentio's father. Biondello, tasked with finding a suitable candidate, notes that the pedant carries himself in a fatherly manner. When Tranio inquires about the choice, Biondello remarks that the man is either "a mercatante or a pedant, / I know not what" (IV.ii.63-64). Tranio informs the pedant, who hails from Mantua, that the Duke of Padua has decreed any Mantuan merchant found in Padua should be executed, due to a recent conflict between the two towns. To ensure his safety, Tranio advises the pedant to disguise himself as Vincentio. In Elizabethan drama, pedants were often mocked for their narrow-mindedness and lack of creativity. True to this stereotype, the pedant embraces the role of Vincentio "by the numbers." Although he manages to negotiate with Baptista convincingly, he lacks the presence of mind to abandon his disguise when confronted by the real Vincentio. He insists he is Vincentio, forcing Tranio and Biondello to deny Lucentio's true father to his face.

Players

The players also appear in the Induction. They arrive at the lord's house as he prepares the intricate ruse for Christopher Sly. The players are recruited to participate in the hoax and are instructed by the lord to perform for Sly, providing entertainment befitting the sophisticated persona Sly is supposed to adopt. The lord warns the players to restrain themselves in front of Sly, as he has never seen a play before. In reality, this means they must avoid mocking Sly for his rustic demeanor. The players constitute the cast of characters in the play within the play.

Servants

The Taming of the Shrew features various groups of servants. In the Induction, the lord's servants are involved in the trick played on Sly. They address him with grand titles when he awakens and convince him that he is a nobleman suffering from a delusion that causes prolonged unconsciousness. At Petruchio’s country house, besides Grumio, Petruchio has several other servants. (See Curtis.) These servants bring food and drink to Kate, but Petruchio dismisses it all as unsuitable for her. It seems that, apart from Grumio, the other servants are unaware of Petruchio's method for taming Kate. They are astonished by their master's strange behavior. Baptista also has servants in his household. One of these servants is tasked with bringing Hortensio and Lucentio, disguised as schoolmasters, to meet their student Bianca.

Tailor

The tailor, like the haberdasher, has been hired to make a dress for Kate. When he presents the dress, Petruchio criticizes both the design and the tailor. The tailor defends himself, stating that he followed Petruchio’s exact instructions. Petruchio asks the tailor to read the list of specifications, but when the tailor reads, "'The sleeves curiously cut'" (IV.iii.143), Petruchio responds, "Ay, there's the villainy" (IV.iii.144). The description of the sleeves is vague enough for Petruchio to reject the dress for Kate. Petruchio’s intent is to teach Kate a lesson, not to punish the tailor; he instructs Hortensio to assure the tailor that he will be paid for his work.

Tranio

Tranio serves as Lucentio's attendant. Together, they witness Baptista sequestering Bianca and denying her suitors access. They also overhear Baptista declare that Bianca will only be permitted the company of her tutors. Instantly, both conceive a plan: Lucentio will disguise himself as one of these tutors to woo the woman he has immediately fallen for. Meanwhile, Tranio will don Lucentio's clothes, which signify a higher social status than his own, and maintain Lucentio's presence in Padua.

Tranio adapts to his new role with ease. Distinguishing which schemes are Lucentio's ideas and which are Tranio's own becomes difficult. Tranio introduces himself to Baptista and Bianca's other suitors as Lucentio, expressing his intent to court Baptista's younger daughter. He participates in a ludicrous bidding war for Bianca, promising a dowry surpassing that of Gremio. He enlists a pedant to impersonate Vincentio and vouch for the extravagant wealth Tranio claims to possess. Tranio handles the marriage negotiations with Baptista and even instructs Lucentio to marry Bianca at the church before presenting her at the negotiations.

Tranio performs his role so convincingly that it almost appears as though he has become Lucentio, and Lucentio has become the servant. However, Tranio's fall from this elevated status is abrupt. Vincentio exposes Tranio as Lucentio's servant, a distinction Vincentio recognizes well, having raised Tranio since he was three years old.

Vincentio

At the play's outset, Lucentio informs us that his father, Vincentio, is "A merchant of great traffic through the world" (I.i.12). Residing in Pisa, Vincentio has urged Lucentio to travel and further his education away from home. During their journey to Padua to visit Kate's father, Petruchio and Kate meet Vincentio, who reveals, "And bound I am to Padua, there to visit / A son of mine, which long I have not seen" (IV.v.56-57). The play doesn't specify the exact duration since Lucentio and Tranio arrived in Padua, but it's implied that Lucentio has been absent long enough for Vincentio to miss him. Vincentio finds Petruchio and Kate's behavior peculiar. Petruchio whimsically describes Vincentio as a young maid, and Kate concurs; then, Petruchio claims Vincentio is a grizzled old man, and Kate agrees again. Despite this strange interaction, Vincentio accepts their guidance to Lucentio's house in Padua. There, Vincentio encounters a pedant impersonating Lucentio's father. Initially confused, Vincentio becomes enraged when Tranio and Biondello, whom he recognizes, deny knowing him and even call for his arrest. Accustomed to respect and deference from Lucentio's servants, Vincentio is desperate to assert his authority and punish them. He exclaims, "I'll slit the villain's nose that would have sent me to the gaol" (V.i.131-32). Even after Lucentio arrives to clarify the situation and requests Vincentio to forgive Tranio, Vincentio remains upset. Ultimately, Vincentio shows his magnanimous and gracious side by assuring Baptista that he will fully compensate for Lucentio's deceit in secretly marrying Bianca.

Widow

When Hortensio realizes he has lost Bianca, he resolves to marry within three days the widow who has loved him for as long as he has loved Bianca. In the final scene, Petruchio jests with the widow that Hortensio fears her. She responds to Kate, "Your husband, being troubled with a shrew, / Measures my husband's sorrow by his woe" (V.ii.28-29). She implies that Petruchio believes all wives are shrews because his own wife is one. However, the widow ultimately proves to be less manageable than Kate. She fails the test by not coming when called.