Katherina (Kate) Minola (EIE) – the "shrew" of the title and Petruchio (LSI), protagonists of the Shakespeare's Taming of the Shrew.
Katherina - charming, verbose, intelligent, hot-tempered, and shrewish. Katherina's a girl who's just as capable of giving what she gets: just as the men around her objectify her, she insults and degrades them. However, her wit and anger scare both suitors and society, leading them to try to “fix” her. But while Katherina may be fundamentally unhappy, she’s unwilling to compromise her personality for the sake of others. Yet her angry, often violent, methods of expressing her frustrations do little to change anyone's mind.
Petruchio - selfish and cunning, but completely honest about it. Petruchio is materialistic, snobbish, collected and domineering.
central theme of the comedy is psychological interplay between Kate and Petruchio, more specifically, subordination and "educational therapy" often adopted by "declatim" LSI in the process of dualization with an EIE. The motif of such domestication is broadcasted in the play’s title by the word “taming.” A great part of the action consists of Petruchio’s attempts to cure Katherine of her antisocial hostility. Katherine is thus frequently referred to as a wild animal that must be domesticated. Petruchio considers himself, and the other men consider him, to be a tamer who must train his wife, and most of the men secretly suspect at first that her wild nature will prove too much for him. After the wedding, Petruchio and Katherine’s relationship becomes increasingly defined by the rhetoric of domestication. Petruchio speaks of training her like a “falcon” and plans to “kill a wife with kindness.” Hortensio even conceives of Petruchio’s house as a place where other men may learn how to domesticate women, calling it a “taming-school. the play portrays dispensation of the "dark energy" frequently present in characters of the EIE sociotype.
"Not waiting for permission from the outside, Hamlet allows himself to "take his emotions for a walk", as dogs who have been sitting on a chain far too long, and releases them on whoever happened to be at hand. For this he provokes a scandal, using any opportunity to "pose the question or issue point-blank". And it's not that there are many "questions" and "issues", but that there is a lot of "dark energy" ("condensed emotions") that have accumulated, which are necessary to express somehow, to spill out somewhere, to discharge, because "burning them through" by oneself is all very difficult. It's not pleasant to see how unrealized emotions – their value, unrealized strength, hope, energy, and aspirations – burn pointlessly, as "dry foliage". Thus the EIE "lights up" as if on gunpowder whenever he is not allowed (for whichever reasons) to successfully and creatively to realize his emotional and energy potential."
to close the psychological distance and to break the vicious condensation of this destructive energy, a static declatim LSI, applies the rigorous "carrot and stick" method, the aforementioned educational "therapy" with much success rendering her balanced and transformed at the end of the play. Katherina is still powerful and sharp but grounded and relieved of negative emotions at the end of the play, left in a state out of which, a true "mentor" can emerge to surface.
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