Throughout the play, numerous references to kisses and matrimony as a whole are made, yet none are as perplexing as Petruchio’s first, vague command to Katherine in Act Two. While Katherine’s extensive monologue at the end of the play is famed for its variety of interpretations (ranging from the sincerity of a loyal, timid wife to the dripping disdain of the witty shrew) the future tone of the work hinges on the foundations established in this first scene.

Shakespeare’s intention for the blocking of this scene is elusive, yet in the context of Petruchio’s other demands for a kiss, the semblance of a meaning can be discerned. In Act 2, Petruchio commands Katherine to kiss him following the establishment of the legitimacy of the wedding by Baptista. While the kiss on the surface appears like the seal of a contract, the fact that it follows a lengthy scene of wordplay taints the business-element of Petruchio’s demand. It has a nifty duality - the power dynamic is established, characterized by resentment embodied in the separate exits of the actors. Petruchio, debatably, wants Katherine to continue to rebel; he finds pleasure in watching her circumnavigate his challenges - especially reveling in her shortcomings. Each character has met their match; they are indeed two fires are colliding as Petruchio says.

The second possibility of a kiss surfaces much later in Act Five. Kate displays a modesty in avoiding direct intimacy with Petruchio in the street (5.2.147). This again shifts the power dynamic into Katherine’s hands in a subtle way. While not ashamed of Petruchio himself, the kiss is considered to be indecent. The intellectual dynamic has expanded to encompass the vast concept of sexuality. Katherine alludes to the secret nature demanded of an intimate couple - possibly indicating of her recognition of autonomy in one realm of their looming relationship.

The final reference to kissing in the play follows Katherine’s speech on the duties of women. This kiss is completely up to directorial discretion making it highly interesting. Shakespeare leaves virtually no clues to detect authorial voice or the intent of the characters. This is partially why the comedy of the work is so malleable and the dramatic undertones can be manipulated for any audience.

The first command retains its importance in light of this analysis. If Katherine and Petruchio are playing an elaborate game of cat-and-mouse perhaps the kiss is a coy taunt; if they are in the midst of a battle of the sexes and Elizabethan norms it is a demonstration of a vulgar form of masculinity and marital imbalance. This kiss, the brief passing mention, carries great weight in the scope of the piece - it establishes tone and dynamic with ease. It subtly lends itself to this task - avoiding the elaborate wordplay and lengthy monologues that entangle the audience audience.

This drawing displays a still from the Shakespeare in the Park adaption of Taming of the Shrew. This depicts the first time that Petruchio kisses Kate. The director of this rendition of the play chose to make this kiss tension filled - which further complicates the dynamic between the two characters.