Animals
Animals are an important motif in The Taming of the Shrew, and in fact the very notion of referring to a woman as a "shrew" derives from the name of a small, temperemental animal. But the likening of Kate to a shrew is not the only zoomorphic comparison in the play. Sly, for example, is deemed a "beast" before his transformation in the induction, which foreshadows Kate's own transformation from a rebellious woman to obedient wife. The frequent appearance of animals therefore emphasizes the play's focus on wildness and taming, as well as the questions it raises about gender and power.
Clothing
Clothing appears in the play as another motif related to power and control. That Petruchio shows up to his wedding dressed in an absurd outfit (and therefore embarrasses Kate) is his way of communicating that Kate's opinions have no bearing on his behavior. Conversely, Petruchio controls Kate's own apparel toward the end of the play, when he insists that they wear rags to Bianca's wedding and reminds Kate that she has no say in how she dresses herself. Petruchio's regulation of both his and Kate's clothing mirrors his quest to "tame" his rebellious bride.
Devils
Just as characters refer to Kate frequently as a "shrew," they also refer to her as a devil or demon throughout the play. When Petruchio boasts of his ability to "tame" Kate, he praises his power in subduing her "devilish" behavior. Thus, at the same time Petruchio and other male characters cast Kate as a demonic presence, Petruchio assumes for himself a godlike role in his proclamation of superiority and strength over Kate's rebelliousness.
The Widow
While she is a character in her own right, the Widow that Hortensio marries is also a symbol, evidenced largely by the fact that she is never given a proper name but is instead referred to as "Widow" throughout the play. In early modern England, widows enjoyed a surprisingly amount of autonomy – they often inherited their late husband's estate and were not expected to remarry, though they were free to do so if they chose. That the Widow is openly critical and unafraid of Hortensio showcases her freedom as a woman who, because of her widow status, is not beholden to patriarchal control.
Parents and Children
The play depicts a handful of parent/child relationships, most notably through Baptista's vastly different behavior toward his two daughters, Kate and Bianca. The play highlights the extent to which marriage was not just a personal endeavor between a bride and a groom, but was a high-stakes experience for parents (especially parents of young women) who needed to secure their children's financial and social future through the selection of their spouse.
