In North American culture, it’s likely that one will hear the phrase “Catch 22” used. This is “a phrase to be called upon when there seems no way out of the traps life can set for you and when humour really is the best response” (Neary). The way multiple generations have used this phrase to describe their own dilemmas is quite possibly the best argument to why Joseph Heller’s novel is a classic. John, the main character, is a relatable guy whose desire to survive and leave the war is thwarted by Air Force regulation “Catch 22”. The only way to be discharged from military actions was to be crazy, but if you asked to be discharged on account of insanity then you were proved sane and had to continue on with your duty. When this novel was published in November 1961, Americans at the time were going through anti-war movements to end the Vietnam war. Their ancestors had just come through both world wars. The 1960’s generation were tired of taking orders at face value. The idea that war is a paradoxical absurdity established by insane bureaucrats is a major theme throughout Catch-22. Written in a time where previous war novels were all about heroism, Catch 22 “turned heroism on its head”(Neary). It’s about an everyday man who goes to war with only one intent, to leave with his life. Removing heroism creates an instant human connection with the main character John Yossarian and broadens the range of readers of different backgrounds and levels of experience. A classic novel makes connections to current events in its time, and resonates with the audience for more than one generation. The themes and ideals of this perfectly crafted novel reflect this absolutely.

For a piece of literature to be defined as a classic, it must be judged by many critics to be worthy of that title. For this to happen, it must be relevant over a long period of time, thus appealing to a broad spectrum of audiences. What the Taming of the Shrew by William Shakespeare does so well is connect with its audience through a significant emotional transformation. Several characters in the play go through changes, some physical and comedic, while others are meaningful as they grapple with love and identity. But nevertheless, the appeal of emotional transformation is evident in the suitors false identities, Kate’s escape of entrapment, and the strong influence of Petruchio. 

The physical transformations of Lucentio, Hortensio, and Tranio serve both a comedic and thematic purpose. Encountering their fake transformations at the beginning of the play sets the audience up with the theme of appearance and reality. Lucentio and Tranio trade positions, and together with Hortensio, they set out to attract the same woman, who seems to be the perfect virtuous woman. Shakespeare adds physical comedy into the pursuit of Bianca.  Disguised as a music tutor, Hortensio desperately tries to get Bianca to listen to his music as seen when he interrupts Lucentio’s poetry reading and says “Madam, my instrument is in tune” (3:1:36).  Not being an actual musician, Hortensio cannot truly compete and Lucentio, disguised as a poetry tutor, taunts him by saying “spit in the hole, man, and tune again” (3:1:39). They may change clothes and namesake, but they haven’t changed who the are. They are still the same people underneath their disguises as tutors and instructors, and seek the hand of Bianca, a woman who looks to be the perfect catch, through slyness and trickery. Tranio also changes his clothes to become a “master”. This is funny to the audience who knows who he really is and enjoy seeing a “servant” compete on a higher social level.  However, the fact remains that the change in clothes is only that, a physical transformation. The audiences in the Elizabethan era, as well as modern audiences, find identity switching entertaining. Shakespeare included comedic strategy in the play to directly contrast the real transformation of Kate. Lucentio, Hortensio and Tranio remain the same characters at the end, while Kate does not.  

Kate’s feelings of entrapment and longing for change speak to audiences universally and gets them emotionally involved in her transformation. In the beginning of the play, Kate is frustrated by her lack of respect from her own townspeople, her father's harsh treatment, and her snobby sister.  Audiences understand the pain of being left out and see how it has her torn up inside. Kate is made fun of by the people around her for her brash behaviour. She is talked down often, and publicly, as Tranio remarks “that wench is stark mad or wonderful froward” as Kate approaches them (Act 1:1 69). Her father favours Bianca, and does so in front of Kate. Kate’s own father, Baptista, leaves her out unchaperoned in the street while he goes inside to talk with Bianca, something that was disgraceful in the time. As he goes into his home he instructs Kate to stay outside,  “Katherina, you may stay, for I have more to commune with Bianca” (Act 1:1 101-102). Her sister is the one Baptista really wants to make happy, as he only wants Kate to wed for Bianca's benefit. Bianca is a character the audience starts to despise. Her appearance is a perfect feminine idea of a woman during the time, but in reality she's extremely spoiled and manipulative. Her beauty is her weapon, and she uses it well, using her looks and tears to get her way. An example of her manipulative ways can be found in act three, scene one. She cuts off Lucentio and Hortensio’s bickering and tells them she’s in charge. “I’ll not be tied to hours nor ’pointed times, but learn my lessons as I please myself” (Act 3:1 19-20). She then proceeds to sit with Lucentio, pushing Hortensio away, as she is more fond of Lucentio. In a comedic way Lucentio, Hortensio and Tranio appear to be someone else instead of themselves, and in more serious and emotional way, Bianca’s appearance does not match who she really is.  It is made clear to the audience that Kate is unhappy, and she shows it through her behaviour.  Kate’s situation appeals to anyone who has a heart, as people begin to start rooting for her to become happy. Shakespeare writes in a way where the audience identifies with Kate and wants her to change because they see the reasons behind her behaviour. Her need to escape entrapment and to find change appeals to a vast and diverse audience who recognizes that society can be oppressive, regardless of the time period, and in this case, the lack of women’s basic rights and freedom.

The catalyst for Kate’s transformation is the complex character of Petruchio.  First, Kate must be wed, and so when Petruchio comes along wanting Kate’s hand, Baptista doesn’t hesitate. Petruchio is warned beforehand about her shrewish behaviour, how she is tempered, rude and bossy. But that is no problem for Petruchio, as he says “I come to wive it wealthily in Padua; If wealthily, then happily in Padua” (Act 1:2 70-71). His only intentions are to wife someone who is rich, and wealth is enough for him. Even Grumio knows that a shrew is not a problem for Petruchio,  as he says “for he fears none” (Act 1:2 204). Petruchio will not be scared off by Kate’s behaviour. At first, modern audiences would be disgusted by Petruchio but as Act 1 goes on, they realize that Petruchio is the perfect catalyst for Kate’s transformation. Act two scene one shows how Kate and Petruchio are perfectly matched. They have a long conversation where Petrucio matches her wit and cleverness with quick thinking and smooth talking. 

“PETRUCHIO. Come, come, you wasp!

KATE. If I be waspish, best beware my sting. 

PETRUCHIO. My remedy is then to pluck it out.” 

(Act 2:1 211-213). 

As an audience, the chemistry between them becomes clear, but at this time Kate is still closed off towards everyone else. This is meant to make the audience wait in anticipation to see what will unfold. When Petruchio arrives to his wedding in his ragged, torn up clothes, he shocks everyone. He does this to show Kate that she's marrying him for his true character, and the same goes for him. Petruchio goes on to act out against Kate and his suitors, which reflects Kate’s own bad behaviour. She shows compassion towards the suitors which Petrucio sees. Petruchio finally brings out what the audience has been wanting to see from the start. The transformation of Kate. The appeal of finding out what happens to Kate with Petruchio is what draws the audience in, and is what has been drawing people of all experiences in since the day this play was first performed.

The Taming of the Shrew is a play that has been around for a long time, and for good reason. Audiences of different times are drawn in again and again, because of the deep and meaningful connections the characters make to our human nature, something that has remained the same for centuries. We are attracted to the emotions and feelings the characters wrestle with throughout the play, as we have all felt them ourselves. With the father daughter tensions of Kate and Baptista, to the feelings of entrapment Kate feels within her society, there's something that resonates with everyone.  Anyone with a heart can relate to any one of the many characters and feel a connection. This play appeals to so many different people, of any gender, race, or time period that it remains a classic piece of literature. It creates connections through the characters and problems they face, where even though people may not face the same problems, we connect to their emotional transformations in the play.