Role of the theme of The Taming of the Shrew in Romeo & Juliet

The overarching theme in The Taming of the Shrew—one that echoes through the entire play—is that of role-playing. It begins in the Induction with the Duke’s men role-playing to trick Sly into playing the role of a lord watching a play-within-a-play where the actors are not only role-playing but are playing characters who (in the play-within-a-play) are also themselves indulging in role playing. 

Shakespeare is making the point that we all role-play according to our circumstances, which raises the question, in the end, of whether Kate has really been “tamed” or whether she is merely just role-playing to suit her new circumstances. Ultimately, we are confronted with the deeper question of whether the roles we play really define who we are. 

This question has alarming consequences in Romeo and Juliet because the labels “Capulet” or “Montague” appear to define, for them, their role as friend or foe. 

The play begins with a silly show of bravado by Sampson and Gregory, two members of the house of Capulet, who are totally immersed in playing the role of enemy of the Montagues simply because they are known as “Capulets.” They soon encounter members of the house of Montague.

These men have no reason for a dispute. The only problem is their respective labels: Capulet and Montague. But that is enough for a brawl, which is essentially fighting over labels.

Benvolio, nephew to Montague and Romeo’s cousin, soon appears, and attempts to end the fray. However, Tybalt, nephew of Lady Capulet and Juliet’s cousin, next appears on the scene, intent on his role as enemy of the Montagues.

Tybalt: What, art thou drawn among these hartless hinds?

Turn thee Benvolio, look upon thy death.

Benvolio: I do but keep the peace; put up thy sword,

Or manage it to part these men with me.

Tybalt: What, drawn and talk of peace? I hate the word

As I hate hell, all Montagues, and thee.

Have at thee coward!

Tybalt encounters the same situation as Benvolio but his reaction is the exact opposite of Benvolio’s. While Benvolio tries to stop the melee, Tybalt—well immersed into his role as a Capulet—escalates the violence. If Benvolio uttered words of wisdom, Tybalt’s words must be the height of human stupidity. Even animals do not behave that stupidly.

The fray now broadens as more Capulets and Montagues, immersed in their roles as enemies, rush in, like flies swarming to carrion. The brawling only comes to an end with the arrival of the Prince.

We encounter this deluded role-playing again when Tybalt realizes, during the Capulet ball, that the masked Romeo is in their midst.

Tybalt: This by his voice should be a Montague.

Fetch me my rapier, boy. What dares the slave

Come hither, covered with an antic face

To fleer and scorn at our solemnity?

Now by the stock and honour of my kin,

To strike him dead I hold it not a sin.

Shakespeare has thus created a brilliant allegorical scene with the masked ball representing the state of unity prior to labels being attached. All is well when all are masked, and identities unknown. Without labels, the Montagues and Capulets are amicable. This transcendent state of unity, however, gets tragically shattered once labels intrude upon it, like a dire plague.

Tybalt’s erroneous sense of identity is dictated by his role as an enemy of the Montagues. It is so intense that even though he is prevented by his uncle from assaulting Romeo, he bristles with thoughts of malice towards Romeo simply because he is a Montague.

Tybalt: Patience perforce with willful choler meeting

Makes my flesh tremble in their different greeting.

I will withdraw; but this intrusion shall

Now seeming sweet, convert to bitterest gall.

The real tragic outcome of this deluded role-playing occurs later when Mercutio and Tybalt meet in the open. Both Mercutio and Tybalt are playing their roles as enemies with relish, roles unnaturally assigned by mere labels. Mercutio spoils for a fight, and with the fiery Tybalt more than willing to oblige, their antagonistic comments build to a trigger point, only to be interrupted by the appearance of Romeo at the scene.

Tybalt turns his attention to Romeo, unaware that the newly wed Romeo is now actually his kinsman.

Tybalt: Romeo, the love I bear thee can afford

No better term than this: thou art a villain.

Tybalt has fallen into depths of delusion over the mire of labels. To him, the name “Montague” is equated with “villain.” Tybalt has lost the ability to even catch a glimpse of reality. His entire outlook is distorted by the poison of labels, transforming his world into a splintered reality—a total “us-versus-them” mentality.

Romeo, newly married to Juliet, has a clearer view of the truth. He knows names do not demarcate them as enemies. Even by the labelling convention, his marriage to Juliet now makes the Montagues and the Capulets kinsmen. Romeo thus tries placating the belligerent Tybalt.

Tybalt, however, is so trapped in his deranged role as enemy to the Montagues that he is incapable of seeing that the artificially attached names of “Montague” and “Capulet” do not inherently belong to either Romeo or himself. Romeo—upon seeing that Tybalt is bent on playing the role of enemy—sets out in earnest to pacify him, and comes close to revealing that they are now actually kinsmen.

Romeo: I do protest I never injured thee,

But love thee better than thou canst devise

Till thou shalt know the reason of my love.

And so, good Capulet, which name I tender

As dearly as mine own, be satisfied.

The tragedy now is that Mercutio, unaware of Romeo’s marriage to Juliet, misreads the whole situation and takes up the challenge to the fight that Romeo tries to avoid. Alarmed, Romeo tries to stop the duel, but instead tragically gets in the way of Mercutio who is stabbed by Tybalt under Romeo’s arm. Tybalt leaves after inflicting the mortal wound.

Mercutio: I am hurt.

A plague o’ both your houses. I am sped.

Is he gone and hath nothing?

Mercutio’s words, “a plague o’ both your houses,” is telling. Mortally wounded, he gains a clearer perspective and realizes that he is a victim of a conflict born of delusion, born of the illogical labelling convention proudly maintained by both houses. Mercutio no longer takes sides but curses both houses. Effectively, he is cursing the egotistical role-playing, performed in accordance with the labels of the two houses, that has led to his demise.

Unable to accept the unfolding tragedy before his eyes, Romeo desperately tries to convince everyone that it is not really happening.

Romeo: Courage man, the hurt cannot be much.

Mercutio: No, ’tis not so deep as a well, nor so wide as a church door, but ’tis enough, ’twill serve. Ask for me tomorrow and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o’ both your houses.

Mercutio, while still able to deliver witty comments in the throes of death, nonetheless continues to curse both houses. It is the stupid convention of maintaining a conflict because of labels that has tragically done him to death.

Mercutio: ’Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death. A braggart, a rouge, a villain, that fights by the book of arithmetic—why the devil came you between us? I was hurt under your arm.

In a mystery play, enacted as a form of initiation, the aim is for the audience to directly experience the truth of the message through their emotional participation. This is also the nature of a Shakespearean play.

Here, when Mercutio informs Romeo that it was his intervention that led to the fatal wound, we can feel the anguish of Romeo vicariously. Much of Romeo and Juliet is meticulously designed by Shakespeare for exactly this purpose: to have his audience experience for themselves the agony of the two lovers—an agony caused by the poison of labels and the corresponding role-playing dictated by these labels.

Now Romeo, in painful desperation, tries to explain his actions to Mercutio but it neither eases his anguished horror nor saves his fallen friend.

Romeo: I thought all for the best.

Mercutio: Help me into some house, Benvolio,

Or I shall faint. A plague o’ both your houses,

They have made worms’ meat of me.

I have it, and soundly too. Your houses!

Mercutio repeatedly curses both houses. With his life at an end, it has become painfully clear to Mercutio that it is this inane feud, maintained by the tragic role-playing as enemies in the name of the two houses, that has caused his demise.

As Shakespeare demonstrates in The Taming of the Shrew, the roles we play do not define who we are. They are merely roles governed by extraneous circumstances and are thus subject to change. The danger of role-playing to fit our labels is that it creates a vicious cycle, reinforcing the delusion of those same labels. The role-playing itself then becomes a source of delusion and can generate an unwarranted enmity that can lead to dire conflict situations with devastating consequences.