In contrast, Michael Bogdanov's modern dress production by the Royal Shakespeare Company in emphasized the moral and physical ugliness of a male-dominated society. However, she does it with tact and poise, which is no longer met with a dispute. She also has learned how to love by being loved.
She recognizes his argumentativeness as playfulness, and she reacts with a similar elaborate rant of her own. By the time they return to her father's home, the woman is meek and submissive.
Meanwhile, the men begin to chide Petruchio—Baptista, Lucentio, Tranio, and Hortensio still think that Petruchio has been stuck with a vicious shrew, and they give him some grief for it.
We can also break the speech down into a nice little close reading. He's constantly having to improvise. Though it is Petruchio who helped her along the journey, if she hadn't desired for love, in the beginning, her transformation would not have occurred.
Remember when Bartholomew plays the part of an obedient nobleman's wife in the Induction? Each of them will send for his wife, and the one whose wife obeys first will be the winner.
Yes, they drive you potty — but that's between you two. This is proven in several scenes. Hortensio receives a similar response from the widow.