The Taming of the Shrew

by William Shakespeare

The Taming of the Shrew: Allusions 7 key examples

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Definition of Allusion

In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... read full definition
Induction, Scene 2
Explanation and Analysis—Classical References:

In the following excerpt from Scene 2 of the Induction, the English lord's household staff attempt to deceive Christopher Sly into believing he is actually a nobleman, as opposed to a poor beggar. They offer to bring artwork before him, alluding to several figures of Classical antiquity that may feature in the paintings.

SECOND SERVINGMAN: Dost thou love pictures? We will fetch thee straight
Adonis painted by a running brook,
And Cytherea all in sedges hid,
Which seem to move and wanton with her breath,
Even as the waving sedges play with wind.

Act 1, Scene 1
Explanation and Analysis—Minerva:

In Act 1, Scene 1, the audience is introduced to Baptista and his two daughters, Katherine and Bianca. While Katherine is unpleasant and standoffish, the observing men view Baptista as an ideal woman. After Bianca states that she will go inside and attend to her studies, as her father wishes, Lucentio praises her through allusion:

BIANCA: Sister, content you in my discontent. —
Sir, to your pleasure I humbly subscribe.
My books and instruments shall be my company,
On them to look and practice by myself.

LUCENTIO [aside to Tranio]: Hark, Tranio, thou mayst hear Minerva speak!

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Explanation and Analysis—Europa:

In Act 1, Scene 1, Lucentio waxes eloquent about Bianca's beauty, combining allusions and similes to properly convey his appreciation:

LUCENTIO: O yes, I saw sweet beauty in her face,
Such as the daughter of Agenor had,
That made great Jove to humble him to her hand
When with his knees he kissed the Cretan strand.

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Act 1, Scene 2
Explanation and Analysis—Petruchio's Needs:

In Act 1, Scene 2, Petruchio explains that his primary marital concern is money. He emphasizes this point by pairing multiple similes and allusions, comparing his theoretical wife to several less-than-desirable characters from classical antiquity only to state that nothing else matters as long as she has money:

PETRUCHIO: Signior Hortensio, ’twixt such friends as we
Few words suffice. And therefore, if thou know
One rich enough to be Petruchio’s wife,
As wealth is burden of my wooing dance,
Be she as foul as was Florentius' love,
As old as Sibyl and as curst and shrewd
As Socrates' Xanthippe, or a worse,
She moves me not, or not removes at least
Affection’s edge in me, were she as rough
As are the swelling Adriatic seas.
I come to wive it wealthily in Padua;
If wealthily, then happily in Padua.

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Explanation and Analysis—Hercules:

In Act 1, Scene 2, Gremio speaks with Petruchio about his intent to court Katherine. In the course of this conversation, Gremio alludes to Greek mythology in an attempt to illustrate the difficult task ahead:

PETRUCHIO: Sir, sir, the first’s for me; let her go by.
GREMIO: Yea, leave that labor to great Hercules,
And let it be more than Alcides’ twelve.

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Explanation and Analysis—Helen of Troy:

In Act 1, Scene 2, Tranio (under the guise of Lucentio) discusses his courtship of Bianca with several of the other men. Tranio tries to compare his lady love to the most desirable object he can think of. To do so, he utilizes both allusion and hyperbole:

TRANIO: [as Lucentio] She may more suitors have, and me for one.
Fair Leda’s daughter had a thousand wooers;
Then well one more may fair Bianca have.
And so she shall. Lucentio shall make one,
Though Paris came in hope to speed alone.

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Act 2, Scene 1
Explanation and Analysis—Diana:

In Act 2, Scene 1, Petruchio admires Kate from afar, utilizing allusion to compare her to an ancient goddess:

PETRUCHIO: Did ever Dian so become a grove
As Kate this chamber with her princely gait?
Oh, be thou Dian, and let her be Kate,
And then let Kate be chaste and Dian sportful.

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