Tranio and lucentio relationship quiz

What is the relationship between Tranio and Lucentio? a. Tranio is Lucentio's servant. Their relationship is very ironic because Tranio, the servant, is more. Tranio accompanies Lucentio from Pisa. Wry and comical, he plays an important part in his master's charade—he assumes Lucentio's identity and bargains with. Tranio reminds Lucentio that Bianca is unavailable until her sister Katherina, the shrew of the play, is married off first, but Tranio's eyes and ears are still just full.

After his father's death, he has come into his inheritance. Just prior he has noted his overarching goal is "Happily to wive and thrive as best I may" Some critics theorize that although Petruchio has come into his inheritance, it is not of considerable quantity, and therefore he needs the financial resources of a wealthy wife in order to secure his position as one of the up and coming gentry.

Hortensio seems to be aware of his friend's precarious status because he immediately, albeit half-comically, offers to fix him up with someone who is assuredly rich, although she is also hard to handle and most likely not worth even the largest fortune. Petruchio's ears immediately perk up at Hortensio's offer, and he shows us just how ready he is to marry for money. Although Petruchio's motives may seem a bit mercenary to us today when we espouse marrying for love, at the time in which the play was written, marriage for reasons other than love was not at all unusual.

Political alliances and family fortunes were often at the heart of marriages, especially in the upper classes from which people like Petruchio and Kate come.

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Petruchio is clearly interested in solidifying his net worth, and how better to do it than through marriage? Kate, the elder daughter of a wealthy man who has no sons nor any promise of ever having any is a prime catch.

She brings a generous dowry and stands to inherit half her father's worth upon his death. Her personality has kept suitors from capitalizing on her economic potential, but we must wonder, given what mercenary tactics may underlay marriage, perhaps Kate's behavior is merely a defense against men seeking her fortune rather than her company an issue which is explored further in Act II. Shakespeare has set up two distinctly volatile personalities in Petruchio and Katherine.

Although what we know of Kate so far comes largely through what other's say of her, we know her well enough to know that if their accounts are even partially correct, the action will explode when she meets Petruchio. Just as the theme of marriage, its purposes and forms, expands in this scene, so too does the number of disguises. Hortensio, rejected as a suitor to Bianca, is determined to work his way into Baptista Minola's house.

In disguising himself as a music tutor, he believes, as does Lucentio, that he can get the upper hand on the competition for Bianca's love. What he doesn't realize, of course, is that Lucentio has the same plan. In reality, Hortensio doesn't even know Lucentio is his competition. Hortensio believes Gremio is his only rival. Shakespeare makes sure to let the audience in on the joke, allowing us to wait for comic moment when the two tutors are welcomed into Baptista's house.

At his second appearance in so many scenes, spectators again see Gremio's comic flatness. His lack of depth serves two distinct purposes. First it makes it impossible to identify with him and, in turn, makes Lucentio's plan to best him quite comic. Rather than doing Gremio's bidding as he is supposed to do when, disguised as a tutor, he enters the Minola household, we know Lucentio will be advancing his own case as Bianca's suitor.

We have little sympathy for Gremio. Instead, we smile to see such a ridiculous old man exercising such poor judgment in his quest for a beautiful young girl.

Lucentio And Tranio from Shrew

The comic flatness of Gremio also keeps spectators firmly aware that what is unfolding on the stage is, in fact, a comedy, not a slice of life information that will need to be remembered in Act V.

Glossary trow 4 to believe, think, suppose, etc. Florentius 68 a knight in John Gower's Confessio Amantis who promises to marry an ugly old woman if she solves the riddle he must answer. It could be that Tranio is just taking on this disguise in order to have the chance to play the part of a master and noble. However, Shakespeare constantly reminds the audience that Tranio's intentions are pure and all for the love of his master. When Biondello exclaims how he wish he could play the master, Lucentio replies: But, sirrah, not for my sake but your master's, I advise you use your manners discreetly in all kind of companies.

When I am alone, why, then I am Tranio; but in all places else your master Lucentio. He does not abuse his temporary power as master with the other servants and continues to treat them as his equals except when he must keep up his pretense around the public.

Tranio even goes as far to have Vicentio imprisoned in order to do as Lucentio told him. Tranio's obedience goes first and foremost to Lucentio even above his higher master.

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He does not obey Vicentio who is shown beating Biondello, rather than treating him or Tranio with respect. This supports the idea that Tranio does this because of Lucentio's kindness for him.

Lucentio, in turn for his servant's obedience, takes the blame for all the lies told and role reversals, begging his father not to harm his faithful servant, Tranio. Lucentio's treatment of Tranio is reflected in his treatment of Bianca and their role as man and woman.

Lucentio never hits Bianca or mistreats her in anyway, but spends the play wooing her and showing her his love. However, Bianca does not completely mimic Tranio's obedience in her role as wife to Lucentio.

Though Bianca is not as stubborn willed and shrewish as her sister, Katherine, she does not obey her husband when he calls her to him. Biondello comes back to Lucentio to report: His relationship with Tranio differs slightly from Bianca, Tranio's servant hood more apparent and selfless.

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Petruchio, though rightfully attempting to stand as a master and man according to the homily, does not do so with his servant, Grumio, or wife, Katherine, with love and respect as it suggests. The scenes that introduce Petruchio and Lucentio begin by depicting their relationships with their servants, as if foreshadowing the way that they will treat their respective wives.

Grumio misunderstands his master when he asks him to knock on Hortensio's gate, after asking just one question Petruchio already loses his temper, responding: Later in the play, Petruchio also strikes Grumio and his other servants.