Through thorough examination and analysis, Shakespeare's The Taming of the Shrew presents both controversial and questionable motifs. In this play, clothing is one of the most significant elements that has been illustrated several times. In Act 4 Scene 3, Petruchio, Kate's persistent boyfriend and later husband, used clothes as a tool to counteract his wife's “cunning” and unpleasant behavior. Aside from the famous argument scene in Act 4, scene 3, there are other instances in the play where clothing has been associated with malicious schemes. These events are the deception of Christopher Sly and the disguises performed by Lucentio, Tranio and Hortensio to win Bianca's hand in marriage. In this essay I would explore how clothing was exploited as a tool of deception, hiding someone's true identity and mocking them. I would also further discuss a literary analysis and include a cinematic interpretation of a certain passage (4.3.61-190). Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay At the beginning of the play, introductory scene 1, Christopher Sly becomes the object of the Lord's attention when he discovers him in a state of drunkenness; “What here? A dead or drunk one? 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 shocked by his drunken appearance which prompted him to say, "O monstrous beast, how he lies like a pig" (1, 30). He then hatches a deceptive plan to dress Sly up as a noble man, "Gentlemen, I will practice on this drunken man" (1.32). At this moment, the true reason for the Lord's actions towards Sly's noble transformation is ambiguous to us, however, it was evident that clothing became a fundamental component in making Sly believe he was a false character. Furthermore, he also ordered the page to pretend to be Sly's wife by dressing as a lady; “Sir, go to Barthol'mew, my page, and dress in all his clothes like a lady” (1.101-102). The clothing was considered a primary tool not only for deceiving Sly but also for manipulating his weakened state; “Wrapped in sweet robes, rings placed on the fingers…” (34-37). In the Elizabethan period, lower-class citizens were prohibited from wearing clothing above their station through sumptuary laws. The main purposes 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 turn Sly into a noble was a total 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 competed for Bianca's attention had chosen to hide their true identity through the use of the wardrobe to become her private guardians. The two suitors have decided to impersonate an authoritative figure who has direct contact with Bianca because only in this way will they be able to woo her successfully without the disapproval of her father. Bianca's father, Baptista, was determined to marry Kate first, forbidding Gremio and Hortensio from courting Bianca with these lines: "The gentlemen do not bother me further..." (1.1.48-54). Aside from Bianca's two bold suitors, Lucentio's personal servant Tranio was also involved in the whole courtship plan. In order for Lucentio to succeed in his plans, he ordered Tranio to assume his noble identity by wearing his robes; “Tranio, free yourself immediately. Take my colorful hat and mycloak” (1.1.200-201). The clothing given to Tranio in this scene was considered a representation of Lucentio's status in society. Simply by wearing Lucentio's wardrobe, Tranio instantly transformed from a humble servant into a wealthy nobleman. According to Susan Baker, the implementation of Elizabethan sumptuary laws and the prohibition of "dressing up" reminds us that Renaissance clothing participated in an elaborate system of signifying rank, gender, occupation, belonging (family)---in short, one's place in the social order” (313). I agree with Baker's statement that clothing itself is actually a symbol of the hierarchical position of the individual in Shakespeare's society. When Lucentio, Tranio and Hortensio embark on portraying false identities, their actions are reflected in the status of the clothes 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 declaring himself Lucentio, Tranio had perfectly transformed himself into a noble man. Through this moment, we can see how significant and powerful clothing symbolizes in Shakespeare's era. Another way clothing was illustrated in The Taming of the Shrew was through Petruchio's teasing of Kate in Act 4, Scene 3 featuring the Tailor, Haberdasher, Grumio, and Hortensio. Among the male spectators, Petruchio resorted to insulting Kate through the use of clothing to negate her short-tempered or “rude” behavior. Margaret Jaster commented on this saying; “Alone in front of these males, Katherina must endure insults to her social standing and chastity” (102). Petruchio not only humiliated her in front of her male colleagues, but also mocked her by saying: “A velvet plate. Damn, damn, it's obscene and dirty..." (4.3.65-67). Margaret Jaster also said that "Petruchio taunts Katherina with food words and sexual innuendos" (102). She also pointed out that "connecting the image of sex and food reminds Katherina and the audience that in his role as husband, Petruchio controls the necessities of Katherina's life" (103). After the couple's heated argument, Petruchio cleverly used a clothing analogy to calm his wife; “What is the jay more precious than the lark…” (4.3.169-175) He then stated to Kate that physical dress does not define an individual's character; …” (4.3.164-166). This scene, Margaret Jaster commented that “Petruchio's insistence on humble attire 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 to control 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 hollow. verse in which each verse is made up 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 has been shortened to line 72. Margaret Rose Jaster commented on this line in her article by saying that “ Petruchio's play on Katherina's words belittles her social position and suggests that she hinders her master with her supposed recalcitrance” (103). Another example 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 noted 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 line 129 to 159 where the number of syllables varies in each line. Another form of literary elements incorporated into the Tailor's scene passage includes repetitions of words and use of figurative language or tropes. Most of these literary components usually appeared in Petruchio's verses. 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's part in lines 88-89, 107-108 and 113. Furthermore, the use of Epizeuxis was also detected in some of Petruchio's lines 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. From a narrative point of view, both Petruchio and Kate's dialogue is said in first and second person while Sarto, 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 in which it includes Prologue, Conflict, Rising Action and Denouement. . In the passage we can consider the entrance of the Tailor and the Haberdasher as the Prologue and then the Conflict would be the discussion about the hat between Petruchio and Kate. The Rising Action would be Petruchio's intense dialogue about Kate's dress in lines 106-113. Then the epilogue would culminate with the tailor's exit, then followed by the conversation between Petruchio and Kate in lines 163-189. As for the movement of the passage, it can be described as circular since at the beginning of the Tailor's scene we are faced with the hat dispute between Petruchio and Kate (64-85) and then at the end of the passage (184-189) we return once again to the two characters to witness their reconciliation. The movement of the passage could also be iterative, in the sense that it involves Petruchio's repeated 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 wedding. At this moment, although Kate's body is facing the audience, her eye contact is fixed on Petruchio. Meanwhile, the position of Petruchio's body is facing Kate as he informs her of the Tailor's arrival. In terms of background scenery, there were 2 servants in the left corner and a dish drainer in the center, implying that they are in a living room. Moving forward, Petruchio then grabbed Kate's right arm leading her into the room where the Tailor was. Then a jump occurred where the scene advances across the room showing the tailor, the haberdasher and their assistants in a frenetic atmosphere. Suddenly the scene changes again to show a surprised Kate entering through the door first, followed by Petruchio. She dropped the letter on the floor and covered her mouth with her hands as she looked at the scene she saw in shock. Kate's position here is facing the room where the tailors are located. Then followed a skipped scene showing a room where the tailors and assistants were bowing. The camera's focus is back on Kate, then we see Petruchio and Grumio enter through the door. At this moment, Kate touches Petruchio's left arm and then he steps forward and says the lines “come to measure” (61-62). The scene returns again to show the.