SCENE II.
Padua. Before HORTENSIO'S house

Enter PETRUCHIO and his man GRUMIO

  PETRUCHIO. Verona, for a while I take my leave,
    To see my friends in Padua; but of all
    My best beloved and approved friend,
    Hortensio; and I trow this is his house.
    Here, sirrah Grumio, knock, I say.
  GRUMIO. Knock, sir! Whom should I knock?
    Is there any man has rebus'd your worship?
  PETRUCHIO. Villain, I say, knock me here soundly.
  GRUMIO. Knock you here, sir? Why, sir, what am I, sir, that I
    should knock you here, sir?
  PETRUCHIO. Villain, I say, knock me at this gate,
    And rap me well, or I'll knock your knave's pate.
  GRUMIO. My master is grown quarrelsome. I should knock you
first,
    And then I know after who comes by the worst.
  PETRUCHIO. Will it not be?
    Faith, sirrah, an you'll not knock I'll ring it;
    I'll try how you can sol-fa, and sing it.
                                     [He wrings him by the ears]
  GRUMIO. Help, masters, help! My master is mad.
  PETRUCHIO. Now knock when I bid you, sirrah villain!

                        Enter HORTENSIO

  HORTENSIO. How now! what's the matter? My old friend Grumio and
my
    good friend Petruchio! How do you all at Verona?
  PETRUCHIO. Signior Hortensio, come you to part the fray?
    'Con tutto il cuore ben trovato' may I say.
  HORTENSIO. Alla nostra casa ben venuto,
    Molto honorato signor mio Petruchio.
    Rise, Grumio, rise; we will compound this quarrel.
  GRUMIO. Nay, 'tis no matter, sir, what he 'leges in Latin. If
this
    be not a lawful cause for me to leave his service- look you,
sir:
    he bid me knock him and rap him soundly, sir. Well, was it
fit
    for a servant to use his master so; being, perhaps, for aught
I
    see, two and thirty, a pip out?
    Whom would to God I had well knock'd at first,
    Then had not Grumio come by the worst.
  PETRUCHIO. A senseless villain! Good Hortensio,
    I bade the rascal knock upon your gate,
    And could not get him for my heart to do it.
  GRUMIO. Knock at the gate? O heavens! Spake you not these words
    plain: 'Sirrah knock me here, rap me here, knock me well, and
    knock me soundly'? And come you now with 'knocking at the
gate'?
  PETRUCHIO. Sirrah, be gone, or talk not, I advise you.
  HORTENSIO. Petruchio, patience; I am Grumio's pledge;
    Why, this's a heavy chance 'twixt him and you,
    Your ancient, trusty, pleasant servant Grumio.
    And tell me now, sweet friend, what happy gale
    Blows you to Padua here from old Verona?
  PETRUCHIO. Such wind as scatters young men through the world
    To seek their fortunes farther than at home,
    Where small experience grows. But in a few,
    Signior Hortensio, thus it stands with me:
    Antonio, my father, is deceas'd,
    And I have thrust myself into this maze,
    Haply to wive and thrive as best I may;
    Crowns in my purse I have, and goods at home,
    And so am come abroad to see the world.
  HORTENSIO. Petruchio, shall I then come roundly to thee
    And wish thee to a shrewd ill-favour'd wife?
    Thou'dst thank me but a little for my counsel,
    And yet I'll promise thee she shall be rich,
    And very rich; but th'art too much my friend,
    And I'll not wish thee to her.
  PETRUCHIO. Signior Hortensio, 'twixt such friends as we
    Few words suffice; and therefore, if thou know
    One rich enough to be Petruchio's wife,
    As wealth is burden of my wooing dance,
    Be she as foul as was Florentius' love,
    As old as Sibyl, and as curst and shrewd
    As Socrates' Xanthippe or a worse-
    She moves me not, or not removes, at least,
    Affection's edge in me, were she as rough
    As are the swelling Adriatic seas.
    I come to wive it wealthily in Padua;
    If wealthily, then happily in Padua.
  GRUMIO. Nay, look you, sir, he tells you flatly what his mind
is.
    Why, give him gold enough and marry him to a puppet or an
    aglet-baby, or an old trot with ne'er a tooth in her head,
though
    she has as many diseases as two and fifty horses. Why,
nothing
    comes amiss, so money comes withal.
  HORTENSIO. Petruchio, since we are stepp'd thus far in,
    I will continue that I broach'd in jest.
    I can, Petruchio, help thee to a wife
    With wealth enough, and young and beauteous;
    Brought up as best becomes a gentlewoman;
    Her only fault, and that is faults enough,
    Is- that she is intolerable curst,
    And shrewd and froward so beyond all measure
    That, were my state far worser than it is,
    I would not wed her for a mine of gold.
  PETRUCHIO. Hortensio, peace! thou know'st not gold's effect.
    Tell me her father's name, and 'tis enough;
    For I will board her though she chide as loud
    As thunder when the clouds in autumn crack.
  HORTENSIO. Her father is Baptista Minola,
    An affable and courteous gentleman;
    Her name is Katherina Minola,
    Renown'd in Padua for her scolding tongue.
  PETRUCHIO. I know her father, though I know not her;
    And he knew my deceased father well.
    I will not sleep, Hortensio, till I see her;
    And therefore let me be thus bold with you
    To give you over at this first encounter,
    Unless you will accompany me thither.
  GRUMIO. I pray you, sir, let him go while the humour lasts. O'
my
    word, and she knew him as well as I do, she would think
scolding
    would do little good upon him. She may perhaps call him half
a
    score knaves or so. Why, that's nothing; and he begin once,
he'll
    rail in his rope-tricks. I'll tell you what, sir: an she
stand
    him but a little, he will throw a figure in her face, and so
    disfigure her with it that she shall have no more eyes to see
    withal than a cat. You know him not, sir.
  HORTENSIO. Tarry, Petruchio, I must go with thee,
    For in Baptista's keep my treasure is.
    He hath the jewel of my life in hold,
    His youngest daughter, beautiful Bianca;
    And her withholds from me, and other more,
    Suitors to her and rivals in my love;
    Supposing it a thing impossible-
    For those defects I have before rehears'd-
    That ever Katherina will be woo'd.
    Therefore this order hath Baptista ta'en,
    That none shall have access unto Bianca
    Till Katherine the curst have got a husband.
  GRUMIO. Katherine the curst!
    A title for a maid of all titles the worst.
  HORTENSIO. Now shall my friend Petruchio do me grace,
    And offer me disguis'd in sober robes
    To old Baptista as a schoolmaster
    Well seen in music, to instruct Bianca;
    That so I may by this device at least
    Have leave and leisure to make love to her,
    And unsuspected court her by herself.

        Enter GREMIO with LUCENTIO disguised as CAMBIO

  GRUMIO. Here's no knavery! See, to beguile the old folks, how
the
    young folks lay their heads together! Master, master, look
about
    you. Who goes there, ha?
  HORTENSIO. Peace, Grumio! It is the rival of my love.
Petruchio,
    stand by awhile.
  GRUMIO. A proper stripling, and an amorous!
                                              [They stand aside]
  GREMIO. O, very well; I have perus'd the note.
    Hark you, sir; I'll have them very fairly bound-
    All books of love, see that at any hand;
    And see you read no other lectures to her.
    You understand me- over and beside
    Signior Baptista's liberality,
    I'll mend it with a largess. Take your paper too,
    And let me have them very well perfum'd;
    For she is sweeter than perfume itself
    To whom they go to. What will you read to her?
  LUCENTIO. Whate'er I read to her, I'll plead for you
    As for my patron, stand you so assur'd,
    As firmly as yourself were still in place;
    Yea, and perhaps with more successful words
    Than you, unless you were a scholar, sir.
  GREMIO. O this learning, what a thing it is!
  GRUMIO. O this woodcock, what an ass it is!
  PETRUCHIO. Peace, sirrah!
  HORTENSIO. Grumio, mum!                       [Coming forward]
    God save you, Signior Gremio!
  GREMIO. And you are well met, Signior Hortensio.
    Trow you whither I am going? To Baptista Minola.
    I promis'd to enquire carefully
    About a schoolmaster for the fair Bianca;
    And by good fortune I have lighted well
    On this young man; for learning and behaviour
    Fit for her turn, well read in poetry
    And other books- good ones, I warrant ye.
  HORTENSIO. 'Tis well; and I have met a gentleman
    Hath promis'd me to help me to another,
    A fine musician to instruct our mistress;
    So shall I no whit be behind in duty
    To fair Bianca, so beloved of me.
  GREMIO. Beloved of me- and that my deeds shall prove.
  GRUMIO. And that his bags shall prove.
  HORTENSIO. Gremio, 'tis now no time to vent our love.
    Listen to me, and if you speak me fair
    I'll tell you news indifferent good for either.
    Here is a gentleman whom by chance I met,
    Upon agreement from us to his liking,
    Will undertake to woo curst Katherine;
    Yea, and to marry her, if her dowry please.
  GREMIO. So said, so done, is well.
    Hortensio, have you told him all her faults?
  PETRUCHIO. I know she is an irksome brawling scold;
    If that be all, masters, I hear no harm.
  GREMIO. No, say'st me so, friend? What countryman?
  PETRUCHIO. Born in Verona, old Antonio's son.
    My father dead, my fortune lives for me;
    And I do hope good days and long to see.
  GREMIO. O Sir, such a life with such a wife were strange!
    But if you have a stomach, to't a God's name;
    You shall have me assisting you in all.
    But will you woo this wild-cat?
  PETRUCHIO. Will I live?
  GRUMIO. Will he woo her? Ay, or I'll hang her.
  PETRUCHIO. Why came I hither but to that intent?
    Think you a little din can daunt mine ears?
    Have I not in my time heard lions roar?
    Have I not heard the sea, puff'd up with winds,
    Rage like an angry boar chafed with sweat?
    Have I not heard great ordnance in the field,
    And heaven's artillery thunder in the skies?
    Have I not in a pitched battle heard
    Loud 'larums, neighing steeds, and trumpets' clang?
    And do you tell me of a woman's tongue,
    That gives not half so great a blow to hear
    As will a chestnut in a farmer's fire?
    Tush! tush! fear boys with bugs.
  GRUMIO. For he fears none.
  GREMIO. Hortensio, hark:
    This gentleman is happily arriv'd,
    My mind presumes, for his own good and ours.
  HORTENSIO. I promis'd we would be contributors
    And bear his charge of wooing, whatsoe'er.
  GREMIO. And so we will- provided that he win her.
  GRUMIO. I would I were as sure of a good dinner.

    Enter TRANIO, bravely apparelled as LUCENTIO, and BIONDELLO

  TRANIO. Gentlemen, God save you! If I may be bold,
    Tell me, I beseech you, which is the readiest way
    To the house of Signior Baptista Minola?
  BIONDELLO. He that has the two fair daughters; is't he you
mean?
  TRANIO. Even he, Biondello.
  GREMIO. Hark you, sir, you mean not her to-
  TRANIO. Perhaps him and her, sir; what have you to do?
  PETRUCHIO. Not her that chides, sir, at any hand, I pray.
  TRANIO. I love no chiders, sir. Biondello, let's away.
  LUCENTIO.  [Aside]  Well begun, Tranio.
  HORTENSIO. Sir, a word ere you go.
    Are you a suitor to the maid you talk of, yea or no?
  TRANIO. And if I be, sir, is it any offence?
  GREMIO. No; if without more words you will get you hence.
  TRANIO. Why, sir, I pray, are not the streets as free
    For me as for you?
  GREMIO. But so is not she.

  TRANIO. For what reason, I beseech you?
  GREMIO. For this reason, if you'll know,
    That she's the choice love of Signior Gremio.
  HORTENSIO. That she's the chosen of Signior Hortensio.
  TRANIO. Softly, my masters! If you be gentlemen,
    Do me this right- hear me with patience.
    Baptista is a noble gentleman,
    To whom my father is not all unknown,
    And, were his daughter fairer than she is,
    She may more suitors have, and me for one.
    Fair Leda's daughter had a thousand wooers;
    Then well one more may fair Bianca have;
    And so she shall: Lucentio shall make one,
    Though Paris came in hope to speed alone.
  GREMIO. What, this gentleman will out-talk us all!
  LUCENTIO. Sir, give him head; I know he'll prove a jade.
  PETRUCHIO. Hortensio, to what end are all these words?
  HORTENSIO. Sir, let me be so bold as ask you,
    Did you yet ever see Baptista's daughter?
  TRANIO. No, sir, but hear I do that he hath two:
    The one as famous for a scolding tongue
    As is the other for beauteous modesty.
  PETRUCHIO. Sir, sir, the first's for me; let her go by.
  GREMIO. Yea, leave that labour to great Hercules,
    And let it be more than Alcides' twelve.
  PETRUCHIO. Sir, understand you this of me, in sooth:
    The youngest daughter, whom you hearken for,
    Her father keeps from all access of suitors,
    And will not promise her to any man
    Until the elder sister first be wed.
    The younger then is free, and not before.
  TRANIO. If it be so, sir, that you are the man
    Must stead us all, and me amongst the rest;
    And if you break the ice, and do this feat,
    Achieve the elder, set the younger free
    For our access- whose hap shall be to have her
    Will not so graceless be to be ingrate.
  HORTENSIO. Sir, you say well, and well you do conceive;
    And since you do profess to be a suitor,
    You must, as we do, gratify this gentleman,
    To whom we all rest generally beholding.
  TRANIO. Sir, I shall not be slack; in sign whereof,
    Please ye we may contrive this afternoon,
    And quaff carouses to our mistress' health;
    And do as adversaries do in law-
    Strive mightily, but eat and drink as friends.
  GRUMIO, BIONDELLO. O excellent motion! Fellows, let's be gone.
  HORTENSIO. The motion's good indeed, and be it so.
    Petruchio, I shall be your ben venuto.                Exeunt

In a plush bedroom in the Lord's house, Sly demands a pot of "small ale." Sly is surrounded by servants who offer tasty snacks, expensive booze, and the coolest clothes, all of which Sly rejects on the grounds that he is Christopher Sly, the guy who eats discounted beef, drinks cheap beer, owns only one outfit, and often goes barefoot. When the Lord insists that Sly act like a nobleman, Sly objects again and identifies himself as "Old Sly's son," the guy who can barely hold down a series of low-level trade jobs . If they don't believe him they can go ask "Marian Hacket, the fat ale wife," who will confirm that Sly isn't some rich guy. Undaunted, the Lord and his servants apply even more pressure, insisting that this behavior is upsetting Sly's wife, his servants, and all his rich friends. They offer him more luxuries and tell him he can have anything he wants--music, mid-day naps, riding, hawking, hunting, pornography--all the things that the average Elizabethan nobleman adores. The final enticement is news that Sly has the hottest wife in town, and she really misses her man. Sly wonders if he's dreaming and decides that no, he is awake and therefore he must be a nobleman. His first command as a "nobleman" is something like this: "Bring me my woman...and another pitcher of Coors light!" As the Lords prepare Sly to see his "wife" by washing his hands and tidying up, they tell him he's been out of it for fifteen years. Sly is astonished. Fifteen years? Yep. They go on to tell him that he talked in his sleep a lot about being a beggar, arguing with the Hostess at a bar, and that kind of stuff. Sly thanks the Lord he's finally better. Bartholomew enters the room dressed like a woman and says all the things an obedient and loving noblewoman would say - "I'm obedient to you," and "not sleeping with you for the past fifteen years has been a real bummer." Sly orders everybody out of the room and tells Bart to take off her clothes and hop in the sack. Bart is in quite a fix, so he says Sly's doctor has put the kibosh on sex for at least 24 hours, because it might cause Sly to relapse. Sly responds with a lame pun on his erection and says he'll just have to wait a little longer. A messenger enters the room and announces that some actors want to perform for Sly as a "welcome back from your coma" gift. The messenger says that, according to the doctor, a play is just the right kind of medicine for a guy recovering from a fifteen-year-long nap. Sly tells his wife to slide her bootylicious self on over next to him so they can watch the play together.

Petruchio and his servant, Grumio, enter. Petruchio has come from Verona to Padua to seek his fortune. He arrives at his old friend Hortensio's house and fills Hortensio in on his financial situation. Hortensio jokingly asks Petruchio whether he would like a shrewish, yet rich, wife. Petruchio assures his friend that no woman could be too shrewish, too unattractive, or too hard to handle, as long as her dowry was sufficient and swears that day to make Katherine his. As Petruchio prepares to head to Minola's, Hortensio volunteers to accompany him because "in Baptista's keep treasure is" . Since Bianca's father refuses to let her have suitors, Hortensio asks Petruchio to offer him, "disguised in sober robes" , as a music instructor to Bianca so that he might court her secretly. Gremio arrives with Lucentio . In offering Lucentio as a tutor to Baptista's daughters, Gremio's real plan is to have the scholar sing his praises to Bianca. When all the men meet, Hortensio informs Gremio that he, too, has found a tutor to send to the Minola's. He also informs Gremio he has also found a man who "will undertake to woo curst Katherine, / Yea, and to marry her, if her dowry please" . Petruchio, undaunted by the horrific tales of Kate, assures the men she will be easily won. As the scene ends, Tranio appears with Biondello as they, too, head to Minola's house. Tranio informs Gremio and Hortensio that he, too, shall be considered as a suitor for Bianca.

Shakespeare, after carefully setting up his story through the Induction and the opening scene, finally allows us to have more than a momentary look at one of the story's protagonists -- however, it isn't Katherine Minola we see. Instead, Shakespeare shifts his focus away from the woman who will be at the heart of the comedy and directs our attention to Petruchio, a Veronese man who has come to Padua on a mission: to "wive it wealthily in Padua; / If wealthily, then happily in Padua" . Unlike Katherine, whom we learn about largely through the questionably biased perspectives of other characters , Petruchio appears and through his own account, we learn more about his motivation. The initial encounter with Petruchio reveals a young man of some means who is traveling through Padua with his servant, as if on a quest. Indeed, he does seek an elusive prize -- fortune. His witty banter reveals a quick mind and an even quicker tongue , both traits he'll need if he is to go against Baptista's shrewish daughter. Petruchio is not a tolerant man, though he is by no means an ogre. His quibble with Grumio rapidly escalates to physical confrontation, demonstrating he is not a man afraid to use force to get his point across. Petruchio is used to holding a dominant position, and his treatment of Gremio serves as a warning of that which he is capable. Upon meeting Hortensio, an old friend, Petruchio recounts his situation and what brings him to Padua. His status, we find, is not terribly unlike other sons. After his father's death, he has come into his inheritance. "Crowns in my purse I have, and goods at home," Petruchio declares , but we must not read too much into that confession. Just prior he has noted his overarching goal is "Happily to wive and thrive as best I may" . Some critics theorize that although Petruchio has come into his inheritance, it is not of considerable quantity, and therefore he needs the financial resources of a wealthy wife in order to secure his position as one of the up and coming gentry. Hortensio seems to be aware of his friend's precarious status because he immediately, albeit half-comically, offers to fix him up with someone who is assuredly rich, although she is also hard to handle and most likely not worth even the largest fortune. Petruchio's ears immediately perk up at Hortensio's offer, and he shows us just how ready he is to marry for money. Although Petruchio's motives may seem a bit mercenary to us today when we espouse marrying for love, at the time in which the play was written, marriage for reasons other than love was not at all unusual. Political alliances and family fortunes were often at the heart of marriages, especially in the upper classes from which people like Petruchio and Kate come. Petruchio is clearly interested in solidifying his net worth, and how better to do it than through marriage? Kate, the elder daughter of a wealthy man who has no sons  is a prime catch. She brings a generous dowry and stands to inherit half her father's worth upon his death. Her personality has kept suitors from capitalizing on her economic potential, but we must wonder, given what mercenary tactics may underlay marriage, perhaps Kate's behavior is merely a defense against men seeking her fortune rather than her company . Shakespeare has set up two distinctly volatile personalities in Petruchio and Katherine. Although what we know of Kate so far comes largely through what other's say of her, we know her well enough to know that if their accounts are even partially correct, the action will explode when she meets Petruchio. Just as the theme of marriage, its purposes and forms, expands in this scene, so too does the number of disguises. Hortensio, rejected as a suitor to Bianca, is determined to work his way into Baptista Minola's house. In disguising himself as a music tutor, he believes, as does Lucentio, that he can get the upper hand on the competition for Bianca's love. What he doesn't realize, of course, is that Lucentio has the same plan.  Shakespeare makes sure to let the audience in on the joke, allowing us to wait for comic moment when the two tutors are welcomed into Baptista's house. In Act I, Scene 2, we again meet Gremio, accompanied this time by Lucentio. At his second appearance in so many scenes, spectators again see Gremio's comic flatness. His lack of depth serves two distinct purposes. First it makes it impossible to identify with him and, in turn, makes Lucentio's plan to best him quite comic. Rather than doing Gremio's bidding as he is supposed to do when, disguised as a tutor, he enters the Minola household, we know Lucentio will be advancing his own case as Bianca's suitor. We have little sympathy for Gremio. Instead, we smile to see such a ridiculous old man exercising such poor judgment in his quest for a beautiful young girl. The comic flatness of Gremio also keeps spectators firmly aware that what is unfolding on the stage is, in fact, a comedy, not a slice of life . Glossary trow  to believe, think, suppose, etc. "Con tutto il cuore ben trovato"  "With all my heart, well met." "Alla nostra casa ben venuto, / Molto oronato signor mio Petruchio"  "Welcome to our house, my much honored Petruchio." compound  to settle by mutual agreement. pip  any of the suit-indicating figures on playing cards, or any of the dots on dice or dominoes. "come roundly"  "speak plainly." burden  a repeated, central idea; theme. Florentius  a knight in John Gower's Confessio Amantis who promises to marry an ugly old woman if she solves the riddle he must answer. After fulfilling the promise, she becomes young and beautiful. Sibyl  prophetess to whom Apollo gave as many years of life as she held grains of sand in her hand. Xanthippe  fifth century B.C.; wife of Socrates: the prototype of the quarrelsome, nagging wife. grace  goodwill; favor. "mend it with a largess"  "improve with a gift or gifts given in a generous, or sometimes showy, way." ordnance  cannon or artillery. @'larums  alarums; calls to arms. Leda's daughter  Helen of Troy. Paris  a son of Priam, king of Troy: his kidnapping of Helen, wife of Menelaus, causes the Trojan War. jade  a horse, especially a worn-out, worthless one. Alcides' twelve  reference to the twelve labors of Hercules . quaff carouses  drink toasts.


ACT II. SCENE I.
Padua. BAPTISTA'S house

Enter KATHERINA and BIANCA

  BIANCA. Good sister, wrong me not, nor wrong yourself,
    To make a bondmaid and a slave of me-
    That I disdain; but for these other gawds,
    Unbind my hands, I'll pull them off myself,
    Yea, all my raiment, to my petticoat;
    Or what you will command me will I do,
    So well I know my duty to my elders.
  KATHERINA. Of all thy suitors here I charge thee tell
    Whom thou lov'st best. See thou dissemble not.
  BIANCA. Believe me, sister, of all the men alive
    I never yet beheld that special face
    Which I could fancy more than any other.
  KATHERINA. Minion, thou liest. Is't not Hortensio?
  BIANCA. If you affect him, sister, here I swear
    I'll plead for you myself but you shall have him.
  KATHERINA. O then, belike, you fancy riches more:
    You will have Gremio to keep you fair.
  BIANCA. Is it for him you do envy me so?
    Nay, then you jest; and now I well perceive
    You have but jested with me all this while.
    I prithee, sister Kate, untie my hands.
  KATHERINA. [Strikes her]  If that be jest, then an the rest was
so.

                            Enter BAPTISTA

  BAPTISTA. Why, how now, dame! Whence grows this insolence?
    Bianca, stand aside- poor girl! she weeps.
                                                [He unbinds her]
    Go ply thy needle; meddle not with her.
    For shame, thou hilding of a devilish spirit,
    Why dost thou wrong her that did ne'er wrong thee?
    When did she cross thee with a bitter word?
  KATHERINA. Her silence flouts me, and I'll be reveng'd.
                                            [Flies after BIANCA]
  BAPTISTA. What, in my sight? Bianca, get thee in.
                                                     Exit BIANCA
  KATHERINA. What, will you not suffer me? Nay, now I see
    She is your treasure, she must have a husband;
    I must dance bare-foot on her wedding-day,
    And for your love to her lead apes in hell.
    Talk not to me; I will go sit and weep,
    Till I can find occasion of revenge.          Exit KATHERINA
  BAPTISTA. Was ever gentleman thus griev'd as I?
    But who comes here?

        Enter GREMIO, with LUCENTIO in the habit of a mean man;
         PETRUCHIO, with HORTENSIO as a musician; and TRANIO,
    as LUCENTIO, with his boy, BIONDELLO, bearing a lute and
books

  GREMIO. Good morrow, neighbour Baptista.
  BAPTISTA. Good morrow, neighbour Gremio.
    God save you, gentlemen!
  PETRUCHIO. And you, good sir! Pray, have you not a daughter
    Call'd Katherina, fair and virtuous?
  BAPTISTA. I have a daughter, sir, call'd Katherina.
  GREMIO. You are too blunt; go to it orderly.
  PETRUCHIO. You wrong me, Signior Gremio; give me leave.
    I am a gentleman of Verona, sir,
    That, hearing of her beauty and her wit,
    Her affability and bashful modesty,
    Her wondrous qualities and mild behaviour,
    Am bold to show myself a forward guest
    Within your house, to make mine eye the witness
    Of that report which I so oft have heard.
    And, for an entrance to my entertainment,
    I do present you with a man of mine,
                                          [Presenting HORTENSIO]
    Cunning in music and the mathematics,
    To instruct her fully in those sciences,
    Whereof I know she is not ignorant.
    Accept of him, or else you do me wrong-
    His name is Licio, born in Mantua.
  BAPTISTA. Y'are welcome, sir, and he for your good sake;
    But for my daughter Katherine, this I know,
    She is not for your turn, the more my grief.
  PETRUCHIO. I see you do not mean to part with her;
    Or else you like not of my company.
  BAPTISTA. Mistake me not; I speak but as I find.
    Whence are you, sir? What may I call your name?
  PETRUCHIO. Petruchio is my name, Antonio's son,
    A man well known throughout all Italy.
  BAPTISTA. I know him well; you are welcome for his sake.
  GREMIO. Saving your tale, Petruchio, I pray,
    Let us that are poor petitioners speak too.
    Bacare! you are marvellous forward.
  PETRUCHIO. O, pardon me, Signior Gremio! I would fain be doing.
  GREMIO. I doubt it not, sir; but you will curse your wooing.
    Neighbour, this is a gift very grateful, I am sure of it. To
    express the like kindness, myself, that have been more kindly
    beholding to you than any, freely give unto you this young
    scholar  [Presenting LUCENTIO]  that hath been long studying
at
    Rheims; as cunning in Greek, Latin, and other languages, as
the
    other in music and mathematics. His name is Cambio. Pray
accept
    his service.
  BAPTISTA. A thousand thanks, Signior Gremio. Welcome, good
Cambio.
    [To TRANIO]  But, gentle sir, methinks you walk like a
stranger.
    May I be so bold to know the cause of your coming?
  TRANIO. Pardon me, sir, the boldness is mine own
    That, being a stranger in this city here,
    Do make myself a suitor to your daughter,
    Unto Bianca, fair and virtuous.
    Nor is your firm resolve unknown to me
    In the preferment of the eldest sister.
    This liberty is all that I request-
    That, upon knowledge of my parentage,
    I may have welcome 'mongst the rest that woo,
    And free access and favour as the rest.
    And toward the education of your daughters
    I here bestow a simple instrument,
    And this small packet of Greek and Latin books.
    If you accept them, then their worth is great.
  BAPTISTA. Lucentio is your name? Of whence, I pray?
  TRANIO. Of Pisa, sir; son to Vincentio.
  BAPTISTA. A mighty man of Pisa. By report
    I know him well. You are very welcome, sir.
    Take you the lute, and you the set of books;
    You shall go see your pupils presently.
    Holla, within!

                         Enter a SERVANT

    Sirrah, lead these gentlemen
    To my daughters; and tell them both
    These are their tutors. Bid them use them well.

                Exit SERVANT leading HORTENSIO carrying the lute
                                     and LUCENTIO with the books

    We will go walk a little in the orchard,
    And then to dinner. You are passing welcome,
    And so I pray you all to think yourselves.
  PETRUCHIO. Signior Baptista, my business asketh haste,
    And every day I cannot come to woo.
    You knew my father well, and in him me,
    Left solely heir to all his lands and goods,
    Which I have bettered rather than decreas'd.
    Then tell me, if I get your daughter's love,
    What dowry shall I have with her to wife?
  BAPTISTA. After my death, the one half of my lands
    And, in possession, twenty thousand crowns.
  PETRUCHIO. And for that dowry, I'll assure her of
    Her widowhood, be it that she survive me,
    In all my lands and leases whatsoever.
    Let specialities be therefore drawn between us,
    That covenants may be kept on either hand.
  BAPTISTA. Ay, when the special thing is well obtain'd,
    That is, her love; for that is all in all.
  PETRUCHIO. Why, that is nothing; for I tell you, father,
    I am as peremptory as she proud-minded;
    And where two raging fires meet together,
    They do consume the thing that feeds their fury.
    Though little fire grows great with little wind,
    Yet extreme gusts will blow out fire and all.
    So I to her, and so she yields to me;
    For I am rough, and woo not like a babe.
  BAPTISTA. Well mayst thou woo, and happy be thy speed
    But be thou arm'd for some unhappy words.
  PETRUCHIO. Ay, to the proof, as mountains are for winds,
    That shake not though they blow perpetually.

             Re-enter HORTENSIO, with his head broke

  BAPTISTA. How now, my friend! Why dost thou look so pale?
  HORTENSIO. For fear, I promise you, if I look pale.
  BAPTISTA. What, will my daughter prove a good musician?
  HORTENSIO. I think she'll sooner prove a soldier:
    Iron may hold with her, but never lutes.
  BAPTISTA. Why, then thou canst not break her to the lute?
  HORTENSIO. Why, no; for she hath broke the lute to me.
    I did but tell her she mistook her frets,
    And bow'd her hand to teach her fingering,
    When, with a most impatient devilish spirit,
    'Frets, call you these?' quoth she 'I'll fume with them.'
    And with that word she struck me on the head,
    And through the instrument my pate made way;
    And there I stood amazed for a while,
    As on a pillory, looking through the lute,
    While she did call me rascal fiddler
    And twangling Jack, with twenty such vile terms,
    As she had studied to misuse me so.
  PETRUCHIO. Now, by the world, it is a lusty wench;
    I love her ten times more than e'er I did.
    O, how I long to have some chat with her!
  BAPTISTA. Well, go with me, and be not so discomfited;
    Proceed in practice with my younger daughter;
    She's apt to learn, and thankful for good turns.
    Signior Petruchio, will you go with us,
    Or shall I send my daughter Kate to you?
  PETRUCHIO. I pray you do.             Exeunt all but PETRUCHIO
    I'll attend her here,
    And woo her with some spirit when she comes.
    Say that she rail; why, then I'll tell her plain
    She sings as sweetly as a nightingale.
    Say that she frown; I'll say she looks as clear
    As morning roses newly wash'd with dew.
    Say she be mute, and will not speak a word;
    Then I'll commend her volubility,
    And say she uttereth piercing eloquence.
    If she do bid me pack, I'll give her thanks,
    As though she bid me stay by her a week;
    If she deny to wed, I'll crave the day
    When I shall ask the banns, and when be married.
    But here she comes; and now, Petruchio, speak.

                        Enter KATHERINA

    Good morrow, Kate- for that's your name, I hear.
  KATHERINA. Well have you heard, but something hard of hearing:
    They call me Katherine that do talk of me.
  PETRUCHIO. You lie, in faith, for you are call'd plain Kate,
    And bonny Kate, and sometimes Kate the curst;
    But, Kate, the prettiest Kate in Christendom,
    Kate of Kate Hall, my super-dainty Kate,
    For dainties are all Kates, and therefore, Kate,
    Take this of me, Kate of my consolation-
    Hearing thy mildness prais'd in every town,
    Thy virtues spoke of, and thy beauty sounded,
    Yet not so deeply as to thee belongs,
    Myself am mov'd to woo thee for my wife.
  KATHERINA. Mov'd! in good time! Let him that mov'd you hither
    Remove you hence. I knew you at the first
    You were a moveable.
  PETRUCHIO. Why, what's a moveable?
  KATHERINA. A join'd-stool.
  PETRUCHIO. Thou hast hit it. Come, sit on me.
  KATHERINA. Asses are made to bear, and so are you.
  PETRUCHIO. Women are made to bear, and so are you.
  KATHERINA. No such jade as you, if me you mean.
  PETRUCHIO. Alas, good Kate, I will not burden thee!
    For, knowing thee to be but young and light-
  KATHERINA. Too light for such a swain as you to catch;
    And yet as heavy as my weight should be.
  PETRUCHIO. Should be! should- buzz!
  KATHERINA. Well ta'en, and like a buzzard.
  PETRUCHIO. O, slow-wing'd turtle, shall a buzzard take thee?
  KATHERINA. Ay, for a turtle, as he takes a buzzard.
  PETRUCHIO. Come, come, you wasp; i' faith, you are too angry.
  KATHERINA. If I be waspish, best beware my sting.
  PETRUCHIO. My remedy is then to pluck it out.
  KATHERINA. Ay, if the fool could find it where it lies.
  PETRUCHIO. Who knows not where a wasp does wear his sting?
    In his tail.
  KATHERINA. In his tongue.
  PETRUCHIO. Whose tongue?
  KATHERINA. Yours, if you talk of tales; and so farewell.
  PETRUCHIO. What, with my tongue in your tail? Nay, come again,
    Good Kate; I am a gentleman.
  KATHERINA. That I'll try.                    [She strikes him]
  PETRUCHIO. I swear I'll cuff you, if you strike again.
  KATHERINA. So may you lose your arms.
    If you strike me, you are no gentleman;
    And if no gentleman, why then no arms.
  PETRUCHIO. A herald, Kate? O, put me in thy books!
  KATHERINA. What is your crest- a coxcomb?
  PETRUCHIO. A combless cock, so Kate will be my hen.
  KATHERINA. No cock of mine: you crow too like a craven.
  PETRUCHIO. Nay, come, Kate, come; you must not look so sour.
  KATHERINA. It is my fashion, when I see a crab.
  PETRUCHIO. Why, here's no crab; and therefore look not sour.
  KATHERINA. There is, there is.
  PETRUCHIO. Then show it me.
  KATHERINA. Had I a glass I would.
  PETRUCHIO. What, you mean my face?
  KATHERINA. Well aim'd of such a young one.
  PETRUCHIO. Now, by Saint George, I am too young for you.
  KATHERINA. Yet you are wither'd.
  PETRUCHIO. 'Tis with cares.
  KATHERINA. I care not.
  PETRUCHIO. Nay, hear you, Kate- in sooth, you scape not so.
  KATHERINA. I chafe you, if I tarry; let me go.
  PETRUCHIO. No, not a whit; I find you passing gentle.
    'Twas told me you were rough, and coy, and sullen,
    And now I find report a very liar;
    For thou art pleasant, gamesome, passing courteous,
    But slow in speech, yet sweet as springtime flowers.
    Thou canst not frown, thou canst not look askance,
    Nor bite the lip, as angry wenches will,
    Nor hast thou pleasure to be cross in talk;
    But thou with mildness entertain'st thy wooers;
    With gentle conference, soft and affable.
    Why does the world report that Kate doth limp?
    O sland'rous world! Kate like the hazel-twig
    Is straight and slender, and as brown in hue
    As hazel-nuts, and sweeter than the kernels.
    O, let me see thee walk. Thou dost not halt.
  KATHERINA. Go, fool, and whom thou keep'st command.
  PETRUCHIO. Did ever Dian so become a grove
    As Kate this chamber with her princely gait?
    O, be thou Dian, and let her be Kate;
    And then let Kate be chaste, and Dian sportful!
  KATHERINA. Where did you study all this goodly speech?
  PETRUCHIO. It is extempore, from my mother wit.
  KATHERINA. A witty mother! witless else her son.
  PETRUCHIO. Am I not wise?
  KATHERINA. Yes, keep you warm.
  PETRUCHIO. Marry, so I mean, sweet Katherine, in thy bed.
    And therefore, setting all this chat aside,
    Thus in plain terms: your father hath consented
    That you shall be my wife your dowry greed on;
    And will you, nill you, I will marry you.
    Now, Kate, I am a husband for your turn;
    For, by this light, whereby I see thy beauty,
    Thy beauty that doth make me like thee well,
    Thou must be married to no man but me;
    For I am he am born to tame you, Kate,
    And bring you from a wild Kate to a Kate
    Conformable as other household Kates.

               Re-enter BAPTISTA, GREMIO, and TRANIO

    Here comes your father. Never make denial;
    I must and will have Katherine to my wife.
  BAPTISTA. Now, Signior Petruchio, how speed you with my
daughter?
  PETRUCHIO. How but well, sir? how but well?
    It were impossible I should speed amiss.
  BAPTISTA. Why, how now, daughter Katherine, in your dumps?
  KATHERINA. Call you me daughter? Now I promise you
    You have show'd a tender fatherly regard
    To wish me wed to one half lunatic,
    A mad-cap ruffian and a swearing Jack,
    That thinks with oaths to face the matter out.
  PETRUCHIO. Father, 'tis thus: yourself and all the world
    That talk'd of her have talk'd amiss of her.
    If she be curst, it is for policy,
    For,she's not froward, but modest as the dove;
    She is not hot, but temperate as the morn;
    For patience she will prove a second Grissel,
    And Roman Lucrece for her chastity.
    And, to conclude, we have 'greed so well together
    That upon Sunday is the wedding-day.
  KATHERINA. I'll see thee hang'd on Sunday first.
  GREMIO. Hark, Petruchio; she says she'll see thee hang'd first.
  TRANIO. Is this your speeding? Nay, then good-night our part!
  PETRUCHIO. Be patient, gentlemen. I choose her for myself;
    If she and I be pleas'd, what's that to you?
    'Tis bargain'd 'twixt us twain, being alone,
    That she shall still be curst in company.
    I tell you 'tis incredible to believe.
    How much she loves me- O, the kindest Kate!
    She hung about my neck, and kiss on kiss
    She vied so fast, protesting oath on oath,
    That in a twink she won me to her love.
    O, you are novices! 'Tis a world to see,
    How tame, when men and women are alone,
    A meacock wretch can make the curstest shrew.
    Give me thy hand, Kate; I will unto Venice,
    To buy apparel 'gainst the wedding-day.
    Provide the feast, father, and bid the guests;
    I will be sure my Katherine shall be fine.
  BAPTISTA. I know not what to say; but give me your hands.
    God send you joy, Petruchio! 'Tis a match.
  GREMIO, TRANIO. Amen, say we; we will be witnesses.
  PETRUCHIO. Father, and wife, and gentlemen, adieu.
    I will to Venice; Sunday comes apace;
    We will have rings and things, and fine array;
    And kiss me, Kate; we will be married a Sunday.
                        Exeunt PETRUCHIO and KATHERINA severally
  GREMIO. Was ever match clapp'd up so suddenly?
  BAPTISTA. Faith, gentlemen, now I play a merchant's part,
    And venture madly on a desperate mart.
  TRANIO. 'Twas a commodity lay fretting by you;
    'Twill bring you gain, or perish on the seas.
  BAPTISTA. The gain I seek is quiet in the match.
  GREMIO. No doubt but he hath got a quiet catch.
    But now, Baptista, to your younger daughter:
    Now is the day we long have looked for;
    I am your neighbour, and was suitor first.
  TRANIO. And I am one that love Bianca more
    Than words can witness or your thoughts can guess.
  GREMIO. Youngling, thou canst not love so dear as I.
  TRANIO. Greybeard, thy love doth freeze.
  GREMIO. But thine doth fry.
    Skipper, stand back; 'tis age that nourisheth.
  TRANIO. But youth in ladies' eyes that flourisheth.
  BAPTISTA. Content you, gentlemen; I will compound this strife.
    'Tis deeds must win the prize, and he of both
    That can assure my daughter greatest dower
    Shall have my Bianca's love.
    Say, Signior Gremio, what can you assure her?
  GREMIO. First, as you know, my house within the city
    Is richly furnished with plate and gold,
    Basins and ewers to lave her dainty hands;
    My hangings all of Tyrian tapestry;
    In ivory coffers I have stuff'd my crowns;
    In cypress chests my arras counterpoints,
    Costly apparel, tents, and canopies,
    Fine linen, Turkey cushions boss'd with pearl,
    Valance of Venice gold in needle-work;
    Pewter and brass, and all things that belongs
    To house or housekeeping. Then at my farm
    I have a hundred milch-kine to the pail,
    Six score fat oxen standing in my stalls,
    And all things answerable to this portion.
    Myself am struck in years, I must confess;
    And if I die to-morrow this is hers,
    If whilst I live she will be only mine.
  TRANIO. That 'only' came well in. Sir, list to me:
    I am my father's heir and only son;
    If I may have your daughter to my wife,
    I'll leave her houses three or four as good
    Within rich Pisa's walls as any one
    Old Signior Gremio has in Padua;
    Besides two thousand ducats by the year
    Of fruitful land, all which shall be her jointure.
    What, have I pinch'd you, Signior Gremio?
  GREMIO. Two thousand ducats by the year of land!
    [Aside]  My land amounts not to so much in all.-
    That she shall have, besides an argosy
    That now is lying in Marseilles road.
    What, have I chok'd you with an argosy?
  TRANIO. Gremio, 'tis known my father hath no less
    Than three great argosies, besides two galliasses,
    And twelve tight galleys. These I will assure her,
    And twice as much whate'er thou off'rest next.
  GREMIO. Nay, I have off'red all; I have no more;
    And she can have no more than all I have;
    If you like me, she shall have me and mine.
  TRANIO. Why, then the maid is mine from all the world
    By your firm promise; Gremio is out-vied.
  BAPTISTA. I must confess your offer is the best;
    And let your father make her the assurance,
    She is your own. Else, you must pardon me;
    If you should die before him, where's her dower?
  TRANIO. That's but a cavil; he is old, I young.
  GREMIO. And may not young men die as well as old?
  BAPTISTA. Well, gentlemen,
    I am thus resolv'd: on Sunday next you know
    My daughter Katherine is to be married;
    Now, on the Sunday following shall Bianca
    Be bride to you, if you make this assurance;
    If not, to Signior Gremio.
    And so I take my leave, and thank you both.
  GREMIO. Adieu, good neighbour.                   Exit BAPTISTA
    Now, I fear thee not.
    Sirrah young gamester, your father were a fool
    To give thee all, and in his waning age
    Set foot under thy table. Tut, a toy!
    An old Italian fox is not so kind, my boy.              Exit
  TRANIO. A vengeance on your crafty withered hide!
    Yet I have fac'd it with a card of ten.
    'Tis in my head to do my master good:
    I see no reason but suppos'd Lucentio
    Must get a father, call'd suppos'd Vincentio;
    And that's a wonder- fathers commonly
    Do get their children; but in this case of wooing
    A child shall get a sire, if I fail not of my cunning.
 Exit

At Baptista's house, Kate has tied up Bianca, who begs her sister to let her go. Bianca says she'll do whatever Kate wants because she knows how to be obedient to her "elders." Translation: "You're an old maid." When Kate demands that Bianca tell her about her favorite boyfriend, Bianca doesn't answer the question. Instead, she tells Kate that she can have all of her suitors, if that will make her happy. Kate slaps Bianca. Baptista walks in and scolds Kate for being so mean to her little sis. Kate complains that Bianca refuses to dish about her boyfriends and she runs after Bianca to slap her around some more and pull out all her hair. When Baptista steps in to protect Bianca, Kate complains that her dad loves Bianca more than her and she runs off crying. Gremio, Lucentio , Petruchio, Hortensio , Tranio , and Biondello enter Baptista's house. Petruchio the smart alec steps up and lays out his plan to Baptista. He wants to marry Kate, who he hears is a delightful young lady. He presents Licio the tutor as a gift to Baptista. Baptista accepts the bribe, welcomes Petruchio, and then warns him that his eldest daughter is a total pain, but he's welcome to woo her if that's what he really wants. Gremio butts in and says he has a present for Baptista too--a schoolteacher named Cambio . Tranio says he wants in on the action also and he too has a gift for Baptista--a lute and a little bundle of books for Baptista's daughters. Baptista thanks the guys for the great presents and lets the "tutors" into his house. That being settled, Petruchio says he's a busy man and wants to get down to business with Baptista. "OK," says Baptista, "Kate comes with twenty thousand crowns, plus she gets half my lands and money when I die." Sounds good to Petruchio, who promises Baptista that if he dies before Kate does, she gets a widow's share of his estate. Petruchio is ready to draw up the contract but Baptista says Kate needs to agree first. Just then, Hortensio runs into the room crying about how Kate broke a lute over his head when he was only trying to teach her how to play. Petruchio is really turned on by this and says Kate sounds hotter than ever--he can't wait to talk to her. Left alone, Petruchio tells us how he plans to deal with Kate--he'll contradict everything she says. If she says something snobby, he'll say she sings like a bird. If she refuses to speak to him, he'll say she speaks eloquently. When our girl enters the room and Petruchio greets her as "Kate," she insists that her name is "Katherine." Petruchio retorts that her name is "plain Kate" or "bonny Kate" or "Kate the curst" and so on. Kate and Petruchio go at it for a few rounds. Here's how it works: Kate insults Petruchio, then Petruchio contradicts her and twists her words, then she twists his words around, and then he twists her words around again until they become a dirty joke. At one point, Kate smacks Petruchio after he makes a reference to his "tongue" in her "tail" . Petruchio threatens to beat her if she slaps him again. They continue on this way until Petruchio decides they've had enough chit-chat. He informs Kate that Baptista has agreed to a marriage, the dowry has been set, and whether Kate likes it or not, he will have her as his wife. He's also going to whip her into shape because her whole shrew bit isn't going to fly when they're married. Baptista enters to ask how things are going, and Kate yells at her dad for agreeing to let her marry a maniac. Petruchio lies and tells everyone that Kate is as gentle as a pussycat, loves him, and has agreed to marry him on Sunday. Kate grumbles that she'd sooner see him hanged. The others are skeptical of Petruchio's claims, but he tells them that it's true: they're in love. They've just decided it's best if she pretends to hate him in public. But when they were alone? Kate was all over him. Kate says nothing in response to this. Petruchio announces that he's off to Venice, but will be back in Padua to marry Kate on Sunday. Petruchio skips out of the room and Kate storms out separately. Baptista turns his attention to the business of marrying off Bianca and compares himself to a merchant who is embarking on a precarious venture. Gremio and Tranio try to outbid each other and Tranio wins because he's the richest. There's a catch though: Tranio has to get his father to vouch for his wealth. Gremio thinks he's golden since he can't imagine Lucentio's dad has really given him his inheritance already. When he leaves, Tranio gets an idea. Since he's posing as Lucentio, all he has to do now is find someone to pose as Vincentio . Problem solved. Baptista makes Tranio promise that his father will vouch for him and verify his cash flow.

The action shifts back to Baptista Minola and his daughters. Katherine enters, dragging her sister behind her, and proceeds to question Bianca about which man she loves. Bianca, a bit frightened by her sister's actions, offers to give Kate whichever man she wants. Their father enters and tries to placate the fighting sisters. He chastises Kate cruelly and rescues Bianca, wondering why he is plagued by such an unruly daughter. Gremio, Lucentio , Petruchio, Hortensio , Tranio , and Biondello enter. Petruchio announces his intent to court Kate and presents Hortensio as a music tutor to the two women. Seeing Baptista's easy acceptance of Litio's services, Gremio quickly advances his man, Cambio , as a scholar for Baptista's daughters. He, too, is welcomed into the house. Tranio announces himself as a suitor for Bianca; then the two tutors are taken inside to begin their work. Petruchio claims he is ready to draw up the marriage contract, but Baptista insists he must first get Kate's love. As Petruchio and Baptista discuss the likelihood of Petruchio's wooing successfully, Hortensio re-enters with his lute hanging around his head, courtesy of Kate. When Petruchio and Kate are finally left alone, Petruchio insists Kate is the most demure, lovely woman on earth, but she is not drawn in by his rhetoric. They banter and exchange quips until Kate, having had enough, hits Petruchio. He does not strike her back but threatens he will do so, if need be. Petruchio remains undaunted in his quest for a wealthy wife, though, and vows to marry her despite her obvious objections. When the men return to check on Petruchio's progress, he announces the wedding will be on Sunday. Kate raises her voice in protest, which leads Petruchio to make up a story about how in private Kate is coy and gentle but they have come to an agreement that "she shall be curst in company" . Baptista agrees to the match and Petruchio exits. Baptista then turns his attention to Bianca's suitors. Gremio and Tranio vie for her by outlining for Baptista all they can offer her. Whatever Gremio offers, Tranio offers more, until Baptista has no choice but to accept Tranio's dower, provided he can provide proof that he does, in fact, possess the riches he claims. Tranio now realizes that he must get someone to impersonate Vincentio, Lucentio's father, in order to continue the masquerade and win Bianca for his master. Act II, Scene 1 is the longest scene in all of The Taming of the Shrew. In fact, it comprises the entire act. It is, as its size alone would dictate, an important scene and does much to advance both the story's action and the characterizations of the principle players. In it both daughters are betrothed , and the primary disguises are set in place. The first person we learn more of is Kate. In fact, this is our first real opportunity to see her for ourselves, and, once we are able to judge for ourselves, we see that, although she may behave rudely, even viciously at places, there is an obvious reason for her behavior. Her confrontation with Bianca in the scene's opening lines makes clear two important elements of her character. First, we see that Kate does, quite likely, want to be wed. Her attack on Bianca is essentially precipitated because Bianca has an abundance of suitors while Kate has none. Compounded on top of this is Baptista's clear preference for Bianca. He calls Kate a "hilding of a devilish spirit" and wonders what he has ever done to be "thus grieved as I" . Is it any wonder Kate rebels against her father? Together they seem to be caught in an endless cycle of dysfunction; the more he favors Bianca, the more Kate acts defiantly, causing him to favor Bianca. Kate even goes so far as to call her father on his favoritism and seethingly waits until she can "find occasion of revenge" . Kate and Petruchio's private exchange also gives us a clearer indication of what each of these characters is like. Katherine, to be sure, has never met up with a man like Petruchio before. She insults him, and he speaks sweetly. She goads him, and he offers clever replies. She belittles him, and still she is treated with patience and kind words . Kate is used to throwing a tantrum and either being punished and spoken harshly to, or getting her own way. How unusual that someone would treat her differently. It is only when she strikes Petruchio that she is able to vary his response. He does not strike out at her but warns if she hits him again he will strike back. Apparently the warning is enough, for she does not resort to physical violence again in this scene. Just as Kate gains more depth, Petruchio's character is also developed more in this scene. Petruchio, anxious to secure his wealthy wife, is willing to draw up the marriage contracts -- or "specialties" -- before having even seen Katherine. He is obviously confident in his ability to withstand Kate's purported wrath. What we see, though, when the two do actually come into contact with each other, is that, despite his original intention to marry purely for the money, there is an underlying attraction between the two. Before he even meets her, in fact, he's beginning to like her unconventional ways. When Hortensio enters, broken lute about his head, Petruchio remarks "it is a lusty wench! / I love her ten time more than e'er I did. / O, how I long to have some chat with her!" . Of course, the claim could be made that he's trying too hard to make a good impression on the men , but it seems more likely that he is inwardly pleased to see Kate is a woman of high spirits. Later in the scene, after being rejoined by Baptista, Gremio, and Tranio, Petruchio again shows us he is a quick and clever thinker. His highly comic lie about how, in private Kate "hung about neck" but in public she's agreed she'll be "curst" brings the story's key theme of public behavior and private behavior to the forefront. Although in reality, he's merely concocting a story of what has just happened, placing himself in a good light, there's more truth in what he says than we may realize. The distinction between what denotes proper public behavior and how that may or may not differ from private behavior will drive the play, especially Act V. Petruchio's lie, too, makes it readily apparent he's the only man in the story so far who has the wit to compete with Kate. Just as Petruchio and Kate become more dimensional in this scene, so too, does Baptista gain more depth. We know he's a good provider for his family, although not, perhaps, the most fair of fathers. He seems quite realistic about the difficulties Petruchio will have courting Kate but is willing to let him try. To Baptista's credit, though, he seems to be willing to reject Kate's only suitor if that suitor cannot earn her love . Although this speaks well for Baptista, later in the scene, we see that his concern was not really with his daughter; he agrees to the wedding despite Kate's vocal protestations. With Bianca, too, he sets aside any notion of love, entrusting his favorite daughter to the man who can offer the best dower. Baptista may like to think he is above regarding marriage as a commercial enterprise, but his actions suggest a different view. The claim could be advanced that Baptista is merely looking for the best provider for his daughter, but the fact remains that he, too, will benefit, politically and especially economically, by the allegiance his daughter makes. Gremio and Tranio's bidding war is, in fact, Shakespeare's way of poking fun at an age-old system that is really very much like an auction where the desired object, in this case Bianca, goes to the highest bidder. Part of what makes the bidding so laughable is, of course, that Tranio, a servant, is offering up riches he does not possess. Of course, before the marriage transaction can take place, Baptista will want verification of the riches Tranio offers. But in the meantime, we must smile at the wily servant who continually ups the ante in the bidding war. Eventually, Gremio's riches are exhausted, and so Bianca is promised to Tranio, "if make assurance" or provide proof of what he offers. If not, Gremio shall have Bianca a week after Katherine is wed. Once again we see Baptista is not much different than a merchant wishing to conduct a business transaction. He is eager to marry Bianca to one of her suitors, and, if the man who appears richest turns out not to be so, well then, the next richest will do. Glossary affect love. belike perhaps. hilding a low, contemptible person. "suffer me" "let me have my way." orderly in regular or proper order; methodically. "Bacare!" "stand back!" grateful pleasing. orchard garden. "in possession" "in immediate possession." specialties a special contract, obligation, agreement, etc. "happy be thy speed" "may it turn out well for you." to the proof in armor. lusty full of vigor; strong, robust, hearty, etc. clear serene and calm. banns the proclamation, generally made in church on three successive Sundays, of an intended marriage. movable one easily changed or dissuaded; also a piece of furniture. joint-stool a well-fitted stool made by an expert craftsman. arms coat of arms. craven a thorough coward. crab crab apple. passing surpassing; extreme; very. "whom thou keep'st command" "whom you employ"; that is, servants. Dian Diana, the virgin goddess of the moon and of hunting: identified with the Greek Artemis. Grissel Griselda; the heroine of various medieval tales, famous for her meek, long-suffering patience. Lucrece Lucrecia; Roman lady who took her own life after her chastity had been violated. vied bet; wagered. meacock cowardly. "desperate mart" "risky venture." jointure an arrangement by which a husband grants real property to his wife for her use after his death; also, the property thus settled, widow's portion. argosy a large ship, especially a merchant ship. outvied outbid. cavil to object when there is little reason to do so; resort to trivial fault-finding; carp; quibble. Now that Katherine is to be married, our attention shifts to Bianca. Lucentio, disguised as the school teacher Cambio, and Hortensio, disguised as the musician Litio, both vie for Bianca's attention. Knowing nothing of the other man's love for Bianca, each suitor tries to get Bianca for his own. Lucentio and Hortensio quarrel over who should spend time alone with Bianca first. Bianca herself steps in and resolves the dispute, telling Hortensio that while he tunes his instrument, she shall study with Lucentio. While pretending to study a Latin text, Lucentio confesses his love for Bianca. She gently rebukes him. When Hortensio gets his chance to be alone with Bianca, she is far less receptive to his advances than she was to Lucentio's. When Bianca is called away to help prepare for Kate's wedding, Lucentio accompanies her. Hortensio begins to realize Cambio is in love with Bianca. He vows that if, in fact, Bianca redirects her love to Cambio, he will get even with her by withdrawing his affection of her and placing it on another woman.

Shakespeare moves his audience from the frantic and furious wooing style of Petruchio and Kate to the more traditional  wooing practiced by Lucentio and Hortensio. Just as the two sisters contrast in personalities, so too do these two wooing scenes contrast each other. As Lucentio  and Hortensio  vie for Bianca's attention, they continually demonstrate their shallowness and petty jealousies. Because they cannot come to a compromise over who shall be alone with Bianca first, Bianca must step in and resolve the situation. When they do get time alone with her, each attempts to advance his case, only to find it is Bianca who really holds the reigns. In keeping with the notion of courtly love, the woman must reject her suitors' advances. Bianca does so, but for Lucentio, her rebuke is merely protocol, whereas her rebuke of Hortensio is more earnest in nature. Whereas Lucentio and Hortensio come off as comic lovers in this scene, Bianca shows more signs of strength than we have seen up to this point. She resolves the dispute over whom she will work with first and, as she is having her lessons, appears to be entirely cognizant of the situation unfolding before her. Lucentio's advances, interspersed between Latin phrases, do not escape her attention. Although she clearly prefers Lucentio to Hortensio, she carefully instructs him to "presume not," but softens her admonition with the instruction "despair not" . When Hortensio makes his advances under the pretense of teaching her the "gamut," she quickly rebukes him. From this simple act, we see that she is decidedly capable of passing judgment and satisfying her own whims and desires -- two traits which, although they give her personality dimension and make her more life-like, would not have been seen as favorable in women of the time. At scene's end, Hortensio is beginning to realize he may not become Bianca's chosen suitor and vows revenge if she prove fickle. His declaration is interesting because it demonstrates that perhaps he is the fickle one -- as evidenced by his willingness to seek revenge by transferring his affections to another woman. If his love were genuine, transference would not be so likely. Glossary "Hic ibat Simois; hic est Sigeia tellus; / Hic steterat Priami regia celsa senis"  "Here flowed the river Simois; here is the Sigeian land; here stood the lofty palace of old Priam" . conster  construe. Pedascule  a word of contempt coined by Hortensio based on the Latin "pedasculus," or "little pedant." Aeacides  descendant of Aeacus, King of Aegina and grandfather of Ajax. gamut  any complete musical scale, especially the major scale. nice  ignorant; foolish. stale  decoy, bait.


ACT III. SCENE I.
Padua. BAPTISTA'S house

Enter LUCENTIO as CAMBIO, HORTENSIO as LICIO, and BIANCA

  LUCENTIO. Fiddler, forbear; you grow too forward, sir.
    Have you so soon forgot the entertainment
    Her sister Katherine welcome'd you withal?
  HORTENSIO. But, wrangling pedant, this is
    The patroness of heavenly harmony.
    Then give me leave to have prerogative;
    And when in music we have spent an hour,
    Your lecture shall have leisure for as much.
  LUCENTIO. Preposterous ass, that never read so far
    To know the cause why music was ordain'd!
    Was it not to refresh the mind of man
    After his studies or his usual pain?
    Then give me leave to read philosophy,
    And while I pause serve in your harmony.
  HORTENSIO. Sirrah, I will not bear these braves of thine.
  BIANCA. Why, gentlemen, you do me double wrong
    To strive for that which resteth in my choice.
    I am no breeching scholar in the schools,
    I'll not be tied to hours nor 'pointed times,
    But learn my lessons as I please myself.
    And to cut off all strife: here sit we down;
    Take you your instrument, play you the whiles!
    His lecture will be done ere you have tun'd.
  HORTENSIO. You'll leave his lecture when I am in tune?
  LUCENTIO. That will be never- tune your instrument.
  BIANCA. Where left we last?
  LUCENTIO. Here, madam:
    'Hic ibat Simois, hic est Sigeia tellus,
    Hic steterat Priami regia celsa senis.'
  BIANCA. Construe them.
  LUCENTIO. 'Hic ibat' as I told you before- 'Simois' I am
Lucentio-
    'hic est' son unto Vincentio of Pisa- 'Sigeia tellus'
disguised
    thus to get your love- 'Hic steterat' and that Lucentio that
    comes a-wooing- 'Priami' is my man Tranio- 'regia' bearing my
    port- 'celsa senis' that we might beguile the old pantaloon.
  HORTENSIO. Madam, my instrument's in tune.
  BIANCA. Let's hear. O fie! the treble jars.
  LUCENTIO. Spit in the hole, man, and tune again.
  BIANCA. Now let me see if I can construe it: 'Hic ibat Simois'
I
    know you not- 'hic est Sigeia tellus' I trust you not- 'Hic
    steterat Priami' take heed he hear us not- 'regia' presume
not-
   'celsa senis' despair not.
  HORTENSIO. Madam, 'tis now in tune.
  LUCENTIO. All but the bass.
  HORTENSIO. The bass is right; 'tis the base knave that jars.
    [Aside]  How fiery and forward our pedant is!
    Now, for my life, the knave doth court my love.
    Pedascule, I'll watch you better yet.
  BIANCA. In time I may believe, yet I mistrust.
  LUCENTIO. Mistrust it not- for sure, AEacides
    Was Ajax, call'd so from his grandfather.
  BIANCA. I must believe my master; else, I promise you,
    I should be arguing still upon that doubt;
    But let it rest. Now, Licio, to you.
    Good master, take it not unkindly, pray,
    That I have been thus pleasant with you both.
  HORTENSIO.  [To LUCENTIO]  You may go walk and give me leave
      awhile;
    My lessons make no music in three Parts.
  LUCENTIO. Are you so formal, sir? Well, I must wait,
    [Aside]  And watch withal; for, but I be deceiv'd,
    Our fine musician groweth amorous.
  HORTENSIO. Madam, before you touch the instrument
    To learn the order of my fingering,
    I must begin with rudiments of art,
    To teach you gamut in a briefer sort,
    More pleasant, pithy, and effectual,
    Than hath been taught by any of my trade;
    And there it is in writing fairly drawn.
  BIANCA. Why, I am past my gamut long ago.
  HORTENSIO. Yet read the gamut of Hortensio.
  BIANCA.  [Reads]
         '"Gamut" I am, the ground of all accord-
         "A re" to plead Hortensio's passion-
         "B mi" Bianca, take him for thy lord-
         "C fa ut" that loves with all affection-
         "D sol re" one clef, two notes have I-
         "E la mi" show pity or I die.'
    Call you this gamut? Tut, I like it not!
    Old fashions please me best; I am not so nice
    To change true rules for odd inventions.

                       Enter a SERVANT

  SERVANT. Mistress, your father prays you leave your books
    And help to dress your sister's chamber up.
    You know to-morrow is the wedding-day.
  BIANCA. Farewell, sweet masters, both; I must be gone.
                                       Exeunt BIANCA and SERVANT
  LUCENTIO. Faith, mistress, then I have no cause to stay.
 Exit
  HORTENSIO. But I have cause to pry into this pedant;
    Methinks he looks as though he were in love.
    Yet if thy thoughts, Bianca, be so humble
    To cast thy wand'ring eyes on every stale-
    Seize thee that list. If once I find thee ranging,
  HORTENSIO will be quit with thee by changing.             Exit

At Baptista's place, Hortensio and Lucentio bicker over who gets to tutor Bianca first. Bianca interjects and tells the men that she, not them, decides when, what, and how she will learn. Licio will tune his instrument while Cambio finishes his Latin language lesson. During the Latin lesson, Lucentio reads from a Latin text and pretends to translate the words into English. He reveals his true identity and his plan to win Bianca. Instead of telling on Lucentio, Bianca plays coy and says she can't promise him anything because she doesn't yet trust him. Hortensio takes over and begins his fake music lesson. He gives Bianca a love letter while Lucentio watches and worries that Bianca will like the music tutor instead of him. Bianca, however, doesn't seem to play along with Hortensio quite as coquettishly as she did with Cambio/Lucentio. A messenger arrives with news that Bianca has to help Kate prepare for the wedding, so she leaves.

The wedding day arrives, and everyone is in place -- except for Petruchio. As the wedding party waits for the tardy groom, they become more and more uneasy. Katherine, believing she is being stood up at the altar, refuses to be humiliated publicly and leaves. Biondello approaches and announces Petruchio is on his way, dressed in worn, mismatched clothes and riding an old, diseased horse. Grumio travels with him in much the same attire. When Petruchio arrives, he insists he will not change to more appropriate clothing. Kate, he reasons, will be married to him, not his clothes. The principals go to the church, while Lucentio and Tranio remain behind, discussing their need for someone willing to assume the role of Vincentio, Lucentio's father, and confirm the availability of the riches Tranio has promised Baptista in order to win Bianca. Gremio enters with news of the commotion at the church. The wedding has taken place, but not without a struggle . At the wedding reception, Petruchio declares the wedding feast shall take place but without the bride and groom. Kate, furious, demands they stay, but Petruchio will not hear of it. He will leave, he says, and he will take all of his possessions with him -- Kate included. The couple leaves, and the remaining wedding guests marvel at what they have just witnessed.

Marriage ceremonies generally mark the end of Shakespearean comedy -- but in this case the ceremony is only the beginning! In Act III, Scene 2, roughly the play's mid-point, Shakespeare gives us one of the most unusual  weddings in literary history. As the scene opens, all the preparations have been made, the guests have arrived, and Baptista and his household are ready for the ceremony to take place. The only thing missing, however, is the groom. Right away we know that something unusual is about to happen. We know Petruchio is eager to wed and make his fortune, so it does not follow that he would not show for the wedding . For him to back out at this point would bring great public shame, as well as a more immediate loss of riches. Both Katherine and Baptista are painfully aware of the repercussions for Petruchio's breaking of the banns. Baptista declares it will be a "mockery"  if Petruchio doesn't show. Kate sees things even more clearly and worries about what effect being left at the altar would have on her. In fact, she trivializes her father's apparent fear of public humiliation, declaring it shall be "No shame but mine" . She reasons that not only is she being cornered into marriage against her heart, but she is being forced to marry an indecisive, cowardly madman in addition. Interestingly it is Tranio who comes to Petruchio's defense, declaring he knows the man well and is sure he will arrive shortly. Tranio's response is curious on two accounts. First, Tranio appears in this scene as Baptista's right hand man and advisor. The audience is in on the joke, of course, that the man providing council is, in fact, a servant. So much for Baptista's socially discriminating judgment. On another level, Tranio's response is curious because he and Petruchio have had only minimal contact with each other . In fact, Tranio knows Petruchio no better than Baptista himself. In addition, Tranio and Petruchio's brief contact could not allow Tranio to judge Petruchio's character as well as he suggests. His line is, in fact, just another of his many fabrications -- and why not? It is entirely in Tranio's best interest  to see Katherine married. His remark, then, becomes a way to buy time for the intended groom. The groom does, indeed, arrive, but before he even reaches the church, people are talking about him. There is no denying Petruchio knows what is considered proper behavior for a wedding -- especially his own -- yet he purposely flouts convention at every turn. He is savvy enough to realize the distinction between how one acts in private and how one acts in public, as well as what is appropriate for a gentleman and what is appropriate for a beggar. Much to his credit, though, he purposely upends all custom. His purpose, of course, is to dish up to Katherine exactly what she has been serving to those around her. Part of her headstrong behavior is really a lack of understanding  the rules and regulations which regulate society. She is unable to see from anyone's perspective other than her own and, in so doing, seriously handicaps her ability to impact the world around her in any way other than the most juvenile. Petruchio's lateness, his completely inappropriate dress, his disease ridden horse, his attack on the priest, and his insistence at leaving his own wedding feast are all carefully calculated measures meant to signal that his reign has begun. Part of Petruchio's plan for besting Kate rests on providing her with a mirror image of herself in order that she may recognize her own infantile behavior. He works hard in this scene  to disorientate his bride and wear down her resistance. He deliberately enacts egregiously inappropriate public behavior, such as leaving the wedding feast, likely hoping that Kate will not miss the message he is sending her. While she may miss a more subtle text, his overt, outlandish, and inappropriate action will, in time, show Kate the error of her own actions. As if to say "See how ridiculously demanding your own way can be?" Petruchio places his own reputation on the line, temporarily  acting outrageously in order to drive home a point. As we move out of Act III, Scene 2, it is important to remember that in the time of Shakespeare, marriage ceremonies had three parts: the reading of the banns, the ceremony proper, and the consummation. Until all three parts had been completed, the marriage was considered incomplete. Here, it would be reasonable to infer the banns have been read from the few passing comments; in addition, the priest's willingness to conduct the ceremony suggests, with some degree of certainty, that the banns have been read. However, reading the banns  and conducting the ceremony  comprise only two-thirds of the wedding. Until the consummation, the marriage isn't considered complete. Glossary rudesby  unmannered fellow. "fortune stays him from his word"  "misfortune keeps him from fulfilling his promise." turned  turned inside out in order to get more wear from the material. candle-cases  discarded boots, used only as a receptacle for candle ends. chapeless  without the chape, the metal plate or mounting on a scabbard, especially that which covers the point. hipped  wounded in the hip. glanders , chine , lampass , spavins , fives , staggers  diseases that afflict horses. windgalls  soft swellings of the fetlock joint of a horse. yellows  jaundice. bots  the larvas of the botfly. near-legged  with knock-kneed forelegs. half-cheeked bit  one in which the bridle is attached halfway up the cheek, thus not giving the rider sufficient control over the horse. crupper  a padded leather strap passed around the base of a horse's tail and attached to the saddle or harness to keep it from moving forward. kersey boot-hose  coarse, lightweight woolen cloth for wearing under boots. list  a strip of cloth. prodigy  an extraordinary happening, though to presage good or evil fortune. "steal our marriage"  "elope." "took him such a cuff"  "gave him such a blow." list  choose. forwhy  because. rout  a group of people; company . jolly  arrogant; overbearing. "stay my leisure"  "wait until I'm ready." action  legal action by which one seeks to have a wrong put right; lawsuit. "wants no junkets"  "lacks no sweetmeats."


SCENE II.
Padua. Before BAPTISTA'So house

Enter BAPTISTA, GREMIO, TRANIO as LUCENTIO, KATHERINA, BIANCA,
LUCENTIO as CAMBIO, and ATTENDANTS

  BAPTISTA.  [To TRANIO]  Signior Lucentio, this is the 'pointed
day
    That Katherine and Petruchio should be married,
    And yet we hear not of our son-in-law.
    What will be said? What mockery will it be
    To want the bridegroom when the priest attends
    To speak the ceremonial rites of marriage!
    What says Lucentio to this shame of ours?
  KATHERINA. No shame but mine; I must, forsooth, be forc'd
    To give my hand, oppos'd against my heart,
    Unto a mad-brain rudesby, full of spleen,
    Who woo'd in haste and means to wed at leisure.
    I told you, I, he was a frantic fool,
    Hiding his bitter jests in blunt behaviour;
    And, to be noted for a merry man,
    He'll woo a thousand, 'point the day of marriage,
    Make friends invited, and proclaim the banns;
    Yet never means to wed where he hath woo'd.
    Now must the world point at poor Katherine,
    And say 'Lo, there is mad Petruchio's wife,
    If it would please him come and marry her!'
  TRANIO. Patience, good Katherine, and Baptista too.
    Upon my life, Petruchio means but well,
    Whatever fortune stays him from his word.
    Though he be blunt, I know him passing wise;
    Though he be merry, yet withal he's honest.
  KATHERINA. Would Katherine had never seen him though!
                    Exit, weeping, followed by BIANCA and others
  BAPTISTA. Go, girl, I cannot blame thee now to weep,
    For such an injury would vex a very saint;
    Much more a shrew of thy impatient humour.

                           Enter BIONDELLO

    Master, master! News, and such old news as you never heard
of!
  BAPTISTA. Is it new and old too? How may that be?
  BIONDELLO. Why, is it not news to hear of Petruchio's coming?
  BAPTISTA. Is he come?
  BIONDELLO. Why, no, sir.
  BAPTISTA. What then?
  BIONDELLO. He is coming.
  BAPTISTA. When will he be here?
  BIONDELLO. When he stands where I am and sees you there.
  TRANIO. But, say, what to thine old news?
  BIONDELLO. Why, Petruchio is coming- in a new hat and an old
    jerkin; a pair of old breeches thrice turn'd; a pair of boots
    that have been candle-cases, one buckled, another lac'd; an
old
    rusty sword ta'en out of the town armoury, with a broken
hilt,
    and chapeless; with two broken points; his horse hipp'd, with
an
    old motley saddle and stirrups of no kindred; besides,
possess'd
    with the glanders and like to mose in the chine, troubled
with
    the lampass, infected with the fashions, full of windgalls,
sped
    with spavins, rayed with the yellows, past cure of the fives,
    stark spoil'd with the staggers, begnawn with the bots,
sway'd in
    the back and shoulder-shotten, near-legg'd before, and with a
    half-cheek'd bit, and a head-stall of sheep's leather which,
    being restrained to keep him from stumbling, hath been often
    burst, and now repaired with knots; one girth six times
piec'd,
    and a woman's crupper of velure, which hath two letters for
her
    name fairly set down in studs, and here and there piec'd with
    pack-thread.
  BAPTISTA. Who comes with him?
  BIONDELLO. O, sir, his lackey, for all the world caparison'd
like
    the horse- with a linen stock on one leg and a kersey
boot-hose
    on the other, gart'red with a red and blue list; an old hat,
and
    the humour of forty fancies prick'd in't for a feather; a
    monster, a very monster in apparel, and not like a Christian
    footboy or a gentleman's lackey.
  TRANIO. 'Tis some odd humour pricks him to this fashion;
    Yet oftentimes lie goes but mean-apparell'd.
  BAPTISTA. I am glad he's come, howsoe'er he comes.
  BIONDELLO. Why, sir, he comes not.
  BAPTISTA. Didst thou not say he comes?
  BIONDELLO. Who? that Petruchio came?
  BAPTISTA. Ay, that Petruchio came.
  BIONDELLO. No, sir; I say his horse comes with him on his back.
  BAPTISTA. Why, that's all one.
  BIONDELLO. Nay, by Saint Jamy,
             I hold you a penny,
             A horse and a man
             Is more than one,
             And yet not many.

                  Enter PETRUCHIO and GRUMIO

  PETRUCHIO. Come, where be these gallants? Who's at home?
  BAPTISTA. You are welcome, sir.
  PETRUCHIO. And yet I come not well.
  BAPTISTA. And yet you halt not.
  TRANIO. Not so well apparell'd
    As I wish you were.
  PETRUCHIO. Were it better, I should rush in thus.
    But where is Kate? Where is my lovely bride?
    How does my father? Gentles, methinks you frown;
    And wherefore gaze this goodly company
    As if they saw some wondrous monument,
    Some comet or unusual prodigy?
  BAPTISTA. Why, sir, you know this is your wedding-day.
    First were we sad, fearing you would not come;
    Now sadder, that you come so unprovided.
    Fie, doff this habit, shame to your estate,
    An eye-sore to our solemn festival!
  TRANIO. And tell us what occasion of import
    Hath all so long detain'd you from your wife,
    And sent you hither so unlike yourself?
  PETRUCHIO. Tedious it were to tell, and harsh to hear;
    Sufficeth I am come to keep my word,
    Though in some part enforced to digress,
    Which at more leisure I will so excuse
    As you shall well be satisfied withal.
    But where is Kate? I stay too long from her;
    The morning wears, 'tis time we were at church.
  TRANIO. See not your bride in these unreverent robes;
    Go to my chamber, put on clothes of mine.
  PETRUCHIO. Not I, believe me; thus I'll visit her.
  BAPTISTA. But thus, I trust, you will not marry her.
  PETRUCHIO. Good sooth, even thus; therefore ha' done with
words;
    To me she's married, not unto my clothes.
    Could I repair what she will wear in me
    As I can change these poor accoutrements,
    'Twere well for Kate and better for myself.
    But what a fool am I to chat with you,
    When I should bid good-morrow to my bride
    And seal the title with a lovely kiss!
                                  Exeunt PETRUCHIO and PETRUCHIO
  TRANIO. He hath some meaning in his mad attire.
    We will persuade him, be it possible,
    To put on better ere he go to church.
  BAPTISTA. I'll after him and see the event of this.
              Exeunt BAPTISTA, GREMIO, BIONDELLO, and ATTENDENTS
  TRANIO. But to her love concerneth us to add
    Her father's liking; which to bring to pass,
    As I before imparted to your worship,
    I am to get a man- whate'er he be
    It skills not much; we'll fit him to our turn-
    And he shall be Vincentio of Pisa,
    And make assurance here in Padua
    Of greater sums than I have promised.
    So shall you quietly enjoy your hope
    And marry sweet Bianca with consent.
  LUCENTIO. Were it not that my fellow schoolmaster
    Doth watch Bianca's steps so narrowly,
    'Twere good, methinks, to steal our marriage;
    Which once perform'd, let all the world say no,
    I'll keep mine own despite of all the world.
  TRANIO. That by degrees we mean to look into
    And watch our vantage in this business;
    We'll over-reach the greybeard, Gremio,
    The narrow-prying father, Minola,
    The quaint musician, amorous Licio-
    All for my master's sake, Lucentio.

                           Re-enter GREMIO

    Signior Gremio, came you from the church?
  GREMIO. As willingly as e'er I came from school.
  TRANIO. And is the bride and bridegroom coming home?
  GREMIO. A bridegroom, say you? 'Tis a groom indeed,
    A grumbling groom, and that the girl shall find.
  TRANIO. Curster than she? Why, 'tis impossible.
  GREMIO. Why, he's a devil, a devil, a very fiend.
  TRANIO. Why, she's a devil, a devil, the devil's dam.
  GREMIO. Tut, she's a lamb, a dove, a fool, to him!
    I'll tell you, Sir Lucentio: when the priest
    Should ask if Katherine should be his wife,
    'Ay, by gogs-wouns' quoth he, and swore so loud
    That, all amaz'd, the priest let fall the book;
    And as he stoop'd again to take it up,
    This mad-brain'd bridegroom took him such a cuff
    That down fell priest and book, and book and priest.
    'Now take them up,' quoth he 'if any list.'
  TRANIO. What said the wench, when he rose again?
  GREMIO. Trembled and shook, for why he stamp'd and swore
    As if the vicar meant to cozen him.
    But after many ceremonies done
    He calls for wine: 'A health!' quoth he, as if
    He had been abroad, carousing to his mates
    After a storm; quaff'd off the muscadel,
    And threw the sops all in the sexton's face,
    Having no other reason
    But that his beard grew thin and hungerly
    And seem'd to ask him sops as he was drinking.
    This done, he took the bride about the neck,
    And kiss'd her lips with such a clamorous smack
    That at the parting all the church did echo.
    And I, seeing this, came thence for very shame;
    And after me, I know, the rout is coming.
    Such a mad marriage never was before.
    Hark, hark! I hear the minstrels play.         [Music plays]

       Enter PETRUCHIO, KATHERINA, BIANCA, BAPTISTA, HORTENSIO,
                         GRUMIO, and train

  PETRUCHIO. Gentlemen and friends, I thank you for your pains.
    I know you think to dine with me to-day,
    And have prepar'd great store of wedding cheer
    But so it is- my haste doth call me hence,
    And therefore here I mean to take my leave.
  BAPTISTA. Is't possible you will away to-night?
  PETRUCHIO. I must away to-day before night come.
    Make it no wonder; if you knew my business,
    You would entreat me rather go than stay.
    And, honest company, I thank you all
    That have beheld me give away myself
    To this most patient, sweet, and virtuous wife.
    Dine with my father, drink a health to me.
    For I must hence; and farewell to you all.
  TRANIO. Let us entreat you stay till after dinner.
  PETRUCHIO. It may not be.
  GREMIO. Let me entreat you.
  PETRUCHIO. It cannot be.
  KATHERINA. Let me entreat you.
  PETRUCHIO. I am content.
  KATHERINA. Are you content to stay?
  PETRUCHIO. I am content you shall entreat me stay;
    But yet not stay, entreat me how you can.
  KATHERINA. Now, if you love me, stay.
  PETRUCHIO. Grumio, my horse.
  GRUMIO. Ay, sir, they be ready; the oats have eaten the horses.
  KATHERINA. Nay, then,
    Do what thou canst, I will not go to-day;
    No, nor to-morrow, not till I please myself.
    The door is open, sir; there lies your way;
    You may be jogging whiles your boots are green;
    For me, I'll not be gone till I please myself.
    'Tis like you'll prove a jolly surly groom
    That take it on you at the first so roundly.
  PETRUCHIO. O Kate, content thee; prithee be not angry.
  KATHERINA. I will be angry; what hast thou to do?
    Father, be quiet; he shall stay my leisure.
  GREMIO. Ay, marry, sir, now it begins to work.
  KATHERINA. Gentlemen, forward to the bridal dinner.
    I see a woman may be made a fool
    If she had not a spirit to resist.
  PETRUCHIO. They shall go forward, Kate, at thy command.
    Obey the bride, you that attend on her;
    Go to the feast, revel and domineer,
    Carouse full measure to her maidenhead;
    Be mad and merry, or go hang yourselves.
    But for my bonny Kate, she must with me.
    Nay, look not big, nor stamp, nor stare, nor fret;
    I will be master of what is mine own-
    She is my goods, my chattels, she is my house,
    My household stuff, my field, my barn,
    My horse, my ox, my ass, my any thing,
    And here she stands; touch her whoever dare;
    I'll bring mine action on the proudest he
    That stops my way in Padua. Grumio,
    Draw forth thy weapon; we are beset with thieves;
    Rescue thy mistress, if thou be a man.
    Fear not, sweet wench; they shall not touch thee, Kate;
    I'll buckler thee against a million.
                         Exeunt PETRUCHIO, KATHERINA, and GRUMIO
  BAPTISTA. Nay, let them go, a couple of quiet ones.
  GREMIO. Went they not quickly, I should die with laughing.
  TRANIO. Of all mad matches, never was the like.
  LUCENTIO. Mistress, what's your opinion of your sister?
  BIANCA. That, being mad herself, she's madly mated.
  GREMIO. I warrant him, Petruchio is Kated.
  BAPTISTA. Neighbours and friends, though bride and bridegroom
wants
    For to supply the places at the table,
    You know there wants no junkets at the feast.
    Lucentio, you shall supply the bridegroom's place;
    And let Bianca take her sister's room.
  TRANIO. Shall sweet Bianca practise how to bride it?
  BAPTISTA. She shall, Lucentio. Come, gentlemen, let's go.
                                                          Exeunt

Fast forward to the wedding day. Baptista and Katherine are ticked off because Petruchio is very late. Both worry about looking like a couple of idiots if he blows them off. Kate runs from the room in tears and Baptista says he gets why she's so upset. Even an incredibly patient person would be put off by Petruchio's lateness, so of course someone as shrewish as Kate is going to freak out. Biondello enters and says that Petruchio is on his way over. He then describes Petruchio's little procession to Baptista's house: Petruchio is dressed in some crazy costume and looks like a bum. He's also riding in on a lame old horse that appears to be ready for the glue factory. Petruchio enters looking exactly as Biondello described and pretends that he didn't just roll up to his wedding looking like a Technicolor hobo. Baptista is shocked and asks him to change clothes, but Petruchio blows him off and says Kate isn't getting married to his clothes. Then Petruchio jokes with Baptista about how he's going to have sex with his daughter that night and says he's going to find Kate right now so he can get a little preview. Meanwhile, Tranio and Lucentio scheme about how to seal the deal with Baptista. They need to find an old man to pretend to be Lucentio's dad so Baptista will sign the dowry contracts. Lucentio says he and Bianca just want to elope, but they can't because Hortensio is always watching. Apparently, Lucentio's "tutoring" lessons have paid off and Bianca is just as into him as he is into her. Gremio enters and says he's just come from the church, where he watched Kate and Petruchio's wedding. Gremio says that Petruchio acted like a jerk--he swore at and then back-handed the priest during the ceremony and then stuck his tongue down Kate's throat when the ceremony ended. The make-out session was just a tad noisy. Petruchio also pounded all the wine instead of sharing it with his guests. The wedding party enters just then and Petruchio announces that he and Kate have to run, but the guests should go ahead and party at the wedding reception without them. Baptista and Kate beg Petruchio to stay, he refuses, and Kate says that's fine but she's not going anywhere. Grumio tells us in an "aside" that Petruchio's taming plan is about to begin. Petruchio repeats that everyone should enjoy the party, as his wife has commanded--he'll see to it that they obey her. His beautiful Kate, however, is going home with him because she's his wife and therefore his property, along with his house, his barn, his horse, his ox, and he'll protect her to the end. He warns the guests not to touch his bride, and tells Grumio to draw his sword and help save Kate from all the vultures that wish to steal her away from him. Then Petruchio, Kate, and Grumio all run off. The wedding guests laugh at this big production and joke that crazy old Kate has married someone just as crazy as she is. Baptista shrugs his shoulders--Kate's no longer his problem--and tells Bianca and Tranio to sit at the bride and groom's places. They'll just pretend all that unpleasantness didn't happen and will try to enjoy the celebration without them.

Now that Katherine is to be married, our attention shifts to Bianca. Lucentio, disguised as the school teacher Cambio, and Hortensio, disguised as the musician Litio, both vie for Bianca's attention. Knowing nothing of the other man's love for Bianca, each suitor tries to get Bianca for his own. Lucentio and Hortensio quarrel over who should spend time alone with Bianca first. Bianca herself steps in and resolves the dispute, telling Hortensio that while he tunes his instrument, she shall study with Lucentio. While pretending to study a Latin text, Lucentio confesses his love for Bianca. She gently rebukes him. When Hortensio gets his chance to be alone with Bianca, she is far less receptive to his advances than she was to Lucentio's. When Bianca is called away to help prepare for Kate's wedding, Lucentio accompanies her. Hortensio begins to realize Cambio is in love with Bianca. He vows that if, in fact, Bianca redirects her love to Cambio, he will get even with her by withdrawing his affection of her and placing it on another woman.