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hear us not ;-regia, presume not ;-celsa senis, despair
Hor. Madam, 'tis now in tune.
Hor. The base is right; 'tis the
How fiery and forward our pedant is!
Now, for my life, the knave doth court my love.
Bian. In time I may believe, yet I mistrust.
Bian. I must believe my master; else, I promise
All but the base. base knave that
I should be arguing still upon that doubt.
Hor. You may go walk, [To LUCENTIO.] and give me leave awhile;
My lessons make no music in three parts.
Luc. Are you so formal, sir? Well, I must wait, And watch withal; for, but I be deceived, Our fine musician groweth amorous.
Hor. Madam, before you touch the instrument,
Bian. Why, I am past my gamut long ago.
2 “This is only said to deceive Hortensio, who is supposed to be listening. The pedigree of Ajax, however, is properly made out, and might have been taken from Golding's Version of Ovid's Metamorphoses, book xiii." or, it may be added, from any historical and poetical dictionary, such as is appended to Cooper's Latin Dictionary, and others of that time. 3 But is here used in its exceptive sense of be-out, without.
Bian. [Reads.] Gamut I am, the ground of all accord.
A re, to plead Hortensio's passion;
C faut, that loves with all affection;
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.
Serv. Mistress, your father prays you leave your books,
And help to dress your sister's chamber up;
Bian. Farewell, sweet masters both; I must be [Exeunt BIANCA and Servant. Luc. 'Faith, mistress, then I have no cause to stay.
Hor. 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 wandering 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, KATHARINA, BIANCA, LUCENTIO, and Attendants.
Bap. Seignior Lucentio, [To TRANIO.] this is the 'pointed day,
That Katharine and Petruchio should be married,
1 A stale was a decoy or bait. Stale here may, however, only mean every common object.
And yet we hear not of our son-in-law.
Kath. No shame but mine. I must, forsooth, be forced
To give my hand, opposed against my heart,
Hiding his bitter jests in blunt behavior;
He'll woo a thousand, 'point the day of marriage,
Tra. Patience, good Katharine, and Baptista too.
[Exit, weeping, followed by BIANCA and others. Bap. 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 humor.
Bion. Master, master! news, old news,3 and such news as you never heard of!
1 Humor, caprice, inconstancy.
2 Them is not in the old copy; it was supplied by Malone: the second folio reads-yes.
3 Old news. These words were added by Rowe, and necessarily, as appears by the reply of Baptista. Old, in the sense of abundant, as, “old turning the key," &c. occurs elsewhere in Shakspeare.
Bap. Is it new and old too? How may that be? Bion. Why, is it not news to hear of Petruchio's coming?
Bap. Is he come ?
Bap. What then?
Bion. He is coming.
Bap. When will he be here?
Bion. When he stands where I am, and sees you
Tra. But, say, what.-To thine old news.
Bion. 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 armory, with a broken hilt and chapeless; with two broken points.' His horse hipped with an old mothy saddle, the 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, raied with the yellows, past cure of the fives,3 stark spoiled with the staggers, begnawn with the bots; swayed in the back, and shoulder-shotten; ne'er 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 girt 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 packthread.
Bap. Who comes with him?
Bion. 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
1 Points were tagged laces used in fastening different parts of the dress.
2 i. e. the farcy, called fashions in the west of England.
3 Vives; a distemper in horses, little differing from the strangles
blue list; an old hat, and The humor of forty fancies,' pricked in't for a feather: a monster, a very monster in apparel; and not like a Christian footboy, or a gentleman's lackey.
Tra. 'Tis some odd humor pricks him to this fashion!
Yet oftentimes he goes but mean apparelled.
Bap. I am glad he is come, howsoever he comes. Bion. Why, sir, he comes not.
Bap. Didst thou not say, he comes?
Bion. Who? that Petruchio came?
Bap. Ay, that Petruchio came.
Bion. No, sir; I say, his horse comes with him on his back.
Bap. Why, that's all one.
Bion. Nay, by Saint Jamy, I hold you a penny, A horse and a man is more than one, and yet not
Enter PETRUCHIO and GRUMIO.
Pet. Come, where be these gallants? Who is at home?
Bap. You are welcome, sir.
Bap. And yet you halt not.
And yet I come not well.
Not so well apparelled
As I wish you were.
Pet. Were it better, 1 should rush in thus.
As if they saw some wondrous monument,
Bap. Why, sir, you know, this is your wedding day.
1 Warburton's supposition, that Shakspeare ridicules some popular, cheap book of this title, by making Petruchio prick it up in his footboy's hat instead of a feather, has been well supported by Steevens; he observes that "a penny book, containing forty short poems, would, properly managed, furnish no unapt plume of feathers for the hat of a humorist's servant."