Fall to them, as you find your stomach serves you; Luc. Gramercies," Tranio, well dost thou advise. Such friends as time in Padua shall beget. Tra. Master, some show, to welcome us to Enter BAPTISTA, Katharina, BIANCA, GREMIO, Bap. Gentlemen, impórtune me no farther, sure. That wench is stark mad, or wonderful froward. Tra. Well said, master; mum! and gaze your fill. Bap. Gentlemen, that I may soon make good Bian. Sister, content you in my discontent.20. Gre. To cart her rather; she's too rough for On them to look, and practise by myself. 16. To make a stale of me amongst these mates? Katharina, hearing her father thus coarsely offer her in marriage, like goods hawked about for sale, asks him if it be his will to make her this commonised ware among these chapmen companions. She not only uses the word "mates" in the sense of companions,' which has been shown to have been often employed disparagingly in Shakespeare's time (see Note 7, Act iii., "Merry Wives"); but there is a kind of punning reference to the terms 'stale' and 'mate' at chess, which signify positions of awkwardness and dilemma in the game, and (figuratively) apply to the humiliating position in which she is placed by Baptista's unfatherly speech. Horatio, feeling the sting in the word "mates" as Katharina uses it, replies by employing it in the sense of partners for life-husbands. 17. I wis I know, I am certain. See Note 112, Act ii., "Merchant of Venice." 18. Use you like a fool. The rough usage to which the heads of professional fool-jesters were subjected has been shown in Note 17, Act v., "Comedy of Errors." 19. Peat. A form of 'pet,' from the French petite, little; Luc. Hark, Tranio! thou mayst hear Minerva Hor. Signior Baptista, will you be so strange 21 Gre. often used as a term of endearment. Katharina uses it in indig nant allusion to the partiality of the father; petting and soothing one sister, who has been nowise injured, while degrading the other, and subjecting her to insult. 20. Content you in my discontent. Bianca so generally produces the same impression upon superficial observers that she does upon Lucentio, that we take the pains to point out those passages where the character displays itself according to our view of Shakespeare's intention in its delineation. He has drawn it subtly, by skilful touches, scarcely perceptible to casual lookers-on; but clearly visible to those who know how false a reputation such mincing pretenders to sweetness, such demure affecters of modesty, such artful assumers of meekness, almost universally obtain. In these very first lines she utters, we find Bianca, under appearance of a mild appeal to her sister, really uttering an uncharitable insinuation that Katharina will take delight in her being sent to her room-just the unkind construction that would peculiarly gall a nature like Kate's; and then she goes on to parade her excess of filial obedience, and her ultra-devotion to solitary study. Artful and artificial is Bianca from first to last. She gains herself a name for gentleness of temper by making a foil out of her sister's violence of temper, and causes herself to appear charming by forming the extremest of contrasts with Katharina's conduct in all things. 21. Strange. Used here for odd in conduct,' 'peculiar in resolve.' 22. Mew her up. Shut her up; confine or imprison her, as in a cage. See Note 10, Act i., "Midsummer Night's Dream." And for 23. I know she taketh most delight To mine own children in good bringing-up: What! shall I be appointed hours; as though, belike, 26 I knew not what to take, and what to leave, ha ? [Exit. Gre. You may go to the world's end: your gifts are so good, here's none will hold you.Their love is not so great," Hortensio, but we may blow our nails 20 together, and fast it fairly out: our cake's dough on both sides.29 Farewell:-yet, for the love I bear my sweet Bianca, if I can by any means light on a fit man to teach her that wherein she delights, I will wish him to her father.30 31 Hor. So will I, Signior Gremio: but a word, I pray. Though the nature of our quarrel yet never brooked parle, know now, upon advice," it toucheth us both, that we may yet again have access to our fair mistress, and be happy rivals in Bianca's love,-to labour and effect one thing 'specially. Gre. What's that, I pray? Hor. Marry, sir, to get a husband for her sister. Thinkest thou, Hor 23. And for I know she taketh, &c. "For" used in the sense of 'because. 24. Prefer them hither. Send them hither for acceptance ; present them to me that I may engage their services. Shakespeare uses "prefer " and "preferred" in this sense elsewhere. See Note 39, Act iv., "Midsummer Night's Dream." 25. Cunning. Skilful, proficient. See Note 26, Induction. 26. Your gifts are so good. One of Shakespeare's ironical phrases. "Gifts" is here used for 'qualities,' 'endowments.' 27. Their love is not so great. "Their" in this sentence has puzzled the commentators, who have variously altered it to 'our,' 'your,' 'this,' &c. But "their" seems to us to refer to 'gifts;" in which case the meaning would be, 'The love of her gifts is not so great on our parts, Hortensio, as to induce either of us to marry Katharina, and enable the other to win Bianca ; therefore we may bear our impatience as well as we may together.' 28. Blow our nails. A colloquial expression then in use for remaining baffled, unable to take any steps in a vexatious affair. See Note 174, Act v., "Love's Labour's Lost." South, in one of his sermons, says "So that the king, for anything that he has to do in these matters, may sit and blow his nails; for use them otherwise he cannot." 29. Our cake's dough on both sides. A proverbial expression, signifying, our prospect of success has turned out a failure, like tensio, though her father be very rich, any man is so very a fool to be married to her? Hor. Tush, Gremio, though it pass your patience and mine to endure her loud alarums, why, man, there be good fellows in the world, an a man could light on them, would take her with all faults and money enough. Gre. I cannot tell; but I had as lief take her dowry with this condition,-to be whipped at the high-cross every morning. Hor. Faith, as you say, there's small choice in rotten apples. But, come; since this bar in law makes us friends, it shall be so far forth friendly maintained, till by helping Baptista's eldest daughter to a husband, we set his youngest free for a husband, and then have to't afresh.-Sweet Bianca! Happy man be his dole!" He that runs fastest gets the ring. How say you, Signior Gremio? Gre. I am agreed: and would I had given him the best horse in Padua to begin his wooing, that would thoroughly woo her, wed her, and rid the house of her! Come on. [Exeunt GREMIO and HORTENSIO. Tra. [Advancing.] I pray, sir, tell me,—is it possible That love should of a sudden take such hold? I never thought it possible or likely ; a cake put down to the embers to bake, and sometimes proving scorched on one side, and underdone, or dough, on the other; sometimes dough on both. 30. I will wish him to her father. "Wish," as here, was formerly sometimes used in the sense of 'recommend.' 31. Parle. A form of 'parley.' See Note 13, Act i., "Two Gentlemen of Verona." 32. Upon advice. Upon reflection; upon deliberation; upon farther consideration. 33 It toucheth us both. It concerns us both; it is of import ance to us both. 34. Happy man be his dole! "Dole" is a portion, that which is dealt out; therefore the saying means, May happiness be his lot!' See Note 37, Act iii,, Merry Wives of Windsor." 35. He that runs fastest gets the ring. An allusion to running matches, where a "ring" was the prize; and also to the wedding ring, which husbands as well as wives formerly wore. 36. Woo her. 'Her," of course, here refers to Katharine, though Bianca was last mentioned; affording an instance of Shakespeare's using a pronoun relatively to an antecedent not immediately named before. 37. Anna. Sister to Dido, and her confidant when the latter was in love with Eneas. See Note 7, Act ii., "Tempest." Anna is mentioned in Book IV. of Dryden's translation of Virgil's Æneid. Tra. Master, it is no time to chide you now; If love have touch'd you, naught remains but so,- Luc. Gramercies, lad; go forward; this con tents: The rest will comfort, for thy counsel's sound. Perhaps you mark'd not what's the pith of all. Luc. Oh, yes, I saw sweet beauty in her face, Such as the daughter of Agenor11 had, That made great Jove to humble him to her hand, When with his knees he kiss'd the Cretan strand. Began to scold, and raise up such a storm, Tra. Nay, then, 'tis time to stir him from his trance. I pray, awake, sir: if you love the maid, And be in Padua here Vincentio's son ; Visit his countrymen, and banquet them? Luc. Basta ; content thee; for I have it full.” Bend thoughts and wits to achieve her. Thus it Some Neapolitan, or meaner man of Pisa.50 stands: Her elder sister is so curst and shrewd,12 That, till the father rid his hands of her, Luc. Ah! Tranio, what a cruel father's he! 38. Rated. Used here for 'driven out by scolding,' 'expelled by reproof.' 39. Redime te captum quam queas minimo. 'Redeem thyself, oh, captive, for the least sum thou canst.' A line quoted from Terence in Lily's grammar; and as it is printed in the Folio as it is given by Lily, they who disparage Shakespeare's learning affirm that the English poet derived the line from the grammarian's pages, and not from the Latin original. 40. Longly. Used for 'longingly,' with the effect of 'intently,' 'perseveringly,' 'exclusively,' combinedly conveyed. 41. The daughter of Agenor. Europa, of whom Jupiter was enamoured. In order to attract her notice, the god transformed himself into a magnificent bull, kneeling gently beside her, that she might seat herself upon his back; and when she did so, carried her off from her companion nymphs. 42. So curst and shrewd. 'So cross-tempered, shrewish, and ill-conditioned.' The analogy between "curst,' "shrewd," "shrewish," &c. (pointed out in Note 24, Act ii., "Two Gentlemen of Verona"), is here made manifest. 43. Because she will not be annoyed, &c. "Will," here, has been changed by some editors to 'shall.' But the passage, as it stands, seems to mean, 'Because then she will not be annoyed by suitors.' 44. Art thou not advis'd. Used for 'Did you not observe,' 'did you not remark.' 45. To get her cunning schoolmasters, &c. The construction of this passage is the same as the one pointed out in Note 33. Act ii., "Merchant of Venice." Here "her" is used for 'for 'Tis hatched, and shall be so:-Tranio, at once Tra. So had you need. [They exchange babits. And I am tied to be obedient (For so your father charg'd me at our parting, her.' "Cunning" was frequently used for 'skilful.' See Note 25 of this Act. 46. Jump. Shakespeare sometimes uses this word for 'agree,' 'accord,' conform.' See Note 108, Act ii., "Merchant of Venice." 47. Basta. Italian; enough, sufficient. 48. I have it full. I have it (the "device") completely,' entirely sketched out in my mind. Shakespeare uses "full" (adjectively) in this sense. See Note 8, Act iii., "As You Like It." In the present passage he uses the word adverbially. 49. Port. State, befitting appearance; style of living appropriate to the speaker's rank. See Note 22, Act i., "Merchant of Venice." 50. Or meaner man of Pisa. Some editors alter " meaner" to' mean; but Lucentio intends to say, some man of Pisa (the speaker's native place) lower in rank than I am.' 51. Uncase. Shakespeare uses this word for taking off the outer garments. In "Love's Labour's Lost" (v. 2), Moth says, "Do you not see, Pompey is uncasing for the combat?" 52. My colour'd hat and cloak. In Shakespeare's time the servants wore soberer-tinted clothes than their masters, the young gallants, who flaunted about in garments of bright and varied hues, that might well, by contrast, be emphatically called "coloured." 53. Charm him first to keep his tongue. Bind him over, as by a spell, to keep his tongue within bounds;' or, in modern parlance, 'to hold his tongue.' 54. Sith. An old form of 'since.' "Be serviceable to my son,"quoth he, Although I think 'twas in another sense), I am content to be Lucentio, Because so well I love Lucentio. Luc. Tranio, be so, because Lucentio loves: And let me be a slave, to achieve that maid Whose sudden sight hath thrall'd my wounded eye. Here comes the rogue. Enter BIONDELLO. Sirrah, where have you been? Bion. Where have I been! Nay, how now! where are you? Master, has my fellow Tranio stolen your clothes? Or you stolen his? or both? pray, what's the news? Luc. Sirrah, come hither: 'tis no time to jest, And therefore frame your manners to the time. Your fellow Tranio here, to save my life, Put my apparel and my countenance on, And I for my escape have put on his; For in a quarrel, since I came ashore, I kill'd a man, and fear I was descried : Wait you on him, I charge you, as becomes, While I make way from hence to save my life: You understand me? Luc. And not a jot of Tranio in your mouth : Tranio is chang'd into Lucentio. Bion. The better for him: would I were so too! Tra. So would I, faith, boy, to have the next wish after, To make one among these wooers: if thou ask me why, Sufficeth, my reasons are both good and weighty. [Exeunt,55 First Serv. My lord, you nod; you do not mind the play. Sly. Yes, by Saint Anne, do I. A good matter, surely comes there any more of it? Page. My lord, 'tis but begun. Sly. 'Tis a very excellent piece of work, madam lady would 'twere done! SCENE II.-PADUA. Before HORTENSIO'S Pet. bouse. Enter PETRUCHIO 56 and GRUMIO. Verona, for awhile I take my leave, To see my friends in Padua; but, of all, My best beloved and approvèd friend, Hortensio; and I trow 58 this is his house. Here, sirrah Grumio; knock, I say. Gru. Knock, sir! whom should I knock? is there any man has rebused your worship? Pet. Villain, I say, knock me here soundly.60 Gru. Knock you here, sir! why, sir, what am 1, sir, that I should knock you here, sir? Pet. Villain, I say, knock me at this gate, And rap me well, or I'll knock your knave's pate. Gru. My master is grown quarrelsome.—I should knock you first, And then I know after, who comes by the worst. Pet. Will it not be? That Lucentio indeed had Baptista's youngest Faith, sirrah, an you'll not knock, I'll wring it: daughter. But, sirrah,—not for my sake, but your master's,— I advise You use your manners discreetly in all kinds of companies : When I am alone, why, then I am Tranio; One thing more rests, that thyself execute, 55. Exeunt. In the Folio, after this word, there is a stage direction-" The Presenters above speak;" meaning the actors in the Induction, who occupied the balcony at the back of the stage. See Note 36, Induction. 56. Petruchio. This is the way in which the name is spelt in the Folio; and, judging by other anglicised spellings of foreign names therein, it is probably the means by which Shakespeare indicated to the actors the way in which those foreign names should be pronounced. Some editors have altered the orthography to Petrucio;' but if their intention be to give it as an Italian name, it should be spelt 'Petruccio. 57. Approved. In the sense of 'proved,' 'tested. 58. Trow. Think,' 'believe.' 59 Rebused. Grumio's blunder for abused.' 60. Knock me here soundly. The present passage affords a notable instance of the idiomatic form of phrase pointed out in Note 33, Act ii., "Merchant of Venice," as it gives occasion for a play upon the word. "Knock me" is used by Petruchio according to the constructional idiom, in the sense of Knock for me;' but Grumio, after his clown-jester fashion, chooses to take it in the more usual sense of the phrase. Another instance of this form of construction occurs in the first scene of the Induction, where the lord says-"Procure me music ready when he wakes" 61. Sol, fa. The Italian names for the notes g and fin music. The Italian nomenclature in notation is generally adopted; and a musical term (as a verb) is made from the words "sol, fa," meaning to sing a scale, to practise the gamut with the voice. |