licated response of simple enjoyment.
             Although the play ends with her outwardly conforming to the norms of society, this is in action only, not in mind. Although she assumes the role of the obedient wife, inwardly she still maintains her assertiveness. Most of the play's humor comes from the way in which characters create false realities by disguising themselves as other people, a device first introduced in the induction. Initially this is accomplished by having Christopher Sly believe he is someone he is not and then by having the main play performed for him. By putting The Taming Of The Shrew in a 'play within a play' structure, a microcosm with in a macrocosm if you will, Shakespeare immediately lets the audience know that the play is not real thus making all events in the play false realities (Righter 104). Almost all characters in the play take on identities other than their own at some point of time during the play.
             The first predicament that supports the theme is Petruchio's relationship with Katherine. In The Taming Of The Shrew, courtship and marriage are not so much the result of love but rather an institution of society that people are expected to take part in. As a result of the removal of romance from marriage, suitors are judged, not by their love for a woman, but by how well they can provide for her. Petruchio "does not become what others pretend him to be, nor does Katherine"(Oliver 38). When we first meet Petruchio, he is only after the money of Katherine, and accepts her harshness as simply a go
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