Perhaps the unknown purpose behind an induction, which even the most experienced readers have failed to explain, has finally come to light. Christopher Sly, the main character of William Shakespeare's short Induction of the Taming of the Shrew, acts as a drunken tinker tricked by a mischievous nobleman into believing that he is actually a lord. These characters and their short introductory story manage to represent all the main themes of the entire work already in the first pages. However, identifying these themes has proven difficult for many readers, who remain confused after reading this brief introduction and who overlook the big picture it presents. Indeed, the induction into this play-within-a-play serves an often overlooked but important purpose in comedy. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The first major topic covered in the prelude is power, a concept that becomes a concern of the characters in the play. The Nobleman's decision to have fun at Sly's expense by exploiting the tinker's poor condition suggests how power is used throughout the rest of the narrative. Some characters decide to take their authority to the next level, so much so that they abuse it. For example, Petruchio, a Veronese gentleman, beats a servant because he accidentally spilled water and throws food at his servants because he finds fault with his dinner. Others, however, reject their superiors' attempts at taming. When Petruchio announces his intention to woo Katherine Minola, the fiery and vivacious daughter of Baptista Minola, a wealthy man from Padua, Katherine protests by behaving aggressively and telling him to “get away from here, you fool, and give orders to your servants, not me. " (II. I. 248) His "shrew-like" behavior illustrates the challenge to power relations presented in the literary work. Within the plot, power presents itself as a form of control or domination that is used, abused or subverted by each character, depending on their intentions. The moment Sly takes on the job of being a nobleman with just a change of clothes, the crucial role of both physical and psychological cross-dressing is introduced, only to continue through the show When Katherine uses the façade of an obedient and loving wife to mask her irascible true self, she manages to assume a cognitive guise. Likewise, Tranio, Lucentio's servant, changes identity when the rich young Pisan student orders him to. “to be me…living in my house, teaching the servants and doing everything for me just as I would do.” (I. i. 172-173) as part of Lucentio's plan to obtain Bianca Minola, Battista's youngest daughter. When Tranio follows his master's orders to impersonate him while pretending to woo Bianca, he, much like Sly, undergoes an identity change simply by altering his physical appearance. The servant finds himself forced to take on the duties and tasks of those belonging to the upper class and to act as one of them. Certainly, Tranio rising to the powerful position of an aristocrat like Lucentio mirrors Sly's dressing in the manners of a lord. All characters must act according to a role even when it serves as a disguise. The type of comedy this comedy belongs to is called slapstick. Such comedy is simply part of the fun of comedy and is appreciated for its sheer silliness. The reader might notice the characteristics of the category right from the start, with Sly's exaggerated and hostile behavior due to alcohol intoxication. Many funny misunderstandings can be found within the farce, such as when Petruchio and,.