by Gurley, Jan
Skipper, stand back; 'tis age that nourisheth.
TRANIO.
But youth in ladies' eyes that flourisheth.
BAPTISTA.
Content you, gentlemen; I'll 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 belong
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!
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 offer'st next.
GREMIO.
Nay, I have offer'd 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 wither'd 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.]
ACT III.
SCENE I. Padua. A room in BAPTISTA'S house.
[Enter LUCENTIO, HORTENSIO, 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?
[Retires.]
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. {Returning.]
Madam, my instrument's in tune.
BIANCA.
Let's hear.--
[HORTENSIO plays.]
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 base.
HORTENSIO.
The base is right; 'tis the base knave that jars.
How fiery and forward our pedant is!
[Aside] 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.
&
nbsp; 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?
[Aside] Well, I must wait,
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.
'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.]
SCENE II. The same. Before BAPTISTA'S house.
[Enter BAPTISTA, GREMIO, TRANIO, KATHERINA, BIANCA, LUCENTIO, 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! old news, and such 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 turned; a pair of boots that have been candle-cases, one buckled, another laced; an old rusty sword ta'en out of the town armoury, with a broken hilt, and chapeless; with two broken points: his horse hipped with an old mothy saddle and stirrups of no kindred; besides, possessed 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 spoiled with the staggers, begnawn with the bots, swayed in the back and shoulder-shotten; near-legged before, and with a half-checked 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 pieced, and a woman's crupper of velure, which hath two letters for her name fairly set down in studs, and here and there pieced with pack-thread.
BAPTISTA.
Who comes with him?
BIONDELLO.
O, sir! his lackey, for all the world caparisoned like the horse; with a linen stock on one leg and a kersey boot-hose on the other, gartered 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 is 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.