1. What does Cambio recite to Bianca?
2. Assess Lucentio’s control of Latin.
3. What lesson does Hortensio give to Bianca?
4. Why does Hortensio lose interest so suddenly in Bianca?
5. Why is Kate upset on her wedding day?
6. Why does Petruchio arrive underdressed for his own marriage?
7. What happens during the ceremony?
8. Why does Petruchio insist that he must leave immediately?
9. To which poet does Shakespeare allude in Petruchio’s speech about a wife’s duty to her husband?
10. How do the guests react to the newlyweds’ early departure?
1. He recites a few lines from Ovid’s epistolary poem the Heroides.
2. We cannot judge his skill with Latin. Lucentio and Bianca don’t try to translate the lines they read.
3. As the musician Lito, Hortensio devises a message, much like that of Lucentio, based upon the arpeggios of the scales. But Bianca notices a minor error in its beginning and rejects it.
4. Bianca has just rejected him, and she begins to show favoritism to the younger schoolmaster.
5. Petruchio fails to show up at the appointed time.
6. He is presumably trying to humiliate Kate, whom he perceives to be spoiled.
7. We learn from Gremio that Petruchio has struck the priest for fumbling the Bible, and that he has given Kate a roaring kiss.
8. He never provides a full explanation.
9. By juxtaposing the words field and barn, Shakespeare alludes to Richard Barnfield, whose Affectionate Shephard had just been published the year of Shrew’s first known performance. His sonnets probably circulated among the nobility and close friends, who perhaps included Shakespeare.
10. After entreating Petruchio to stay for the banquet, they remain to enjoy the meal.
SCENE I. Padua. BAPTISTA'S house.
Enter LUCENTIO, HORTENSIO, and BIANCA
Fiddler, forbear; you grow too forward, sir:
Have you so soon forgot the entertainment
Her sister Katharina welcomed you withal?
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.
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.
Sirrah, I will not bear these braves of thine.
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 tuned.
You'll leave his lecture when I am in tune?
That will be never: tune your instrument.
Where left we last?
'Hic ibat Simois; hic est Sigeia tellus;
Hic steterat Priami regia celsa senis.'
'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.
Madam, my instrument's in tune.
Let's hear. O fie! the treble jars.
Spit in the hole, man, and tune again.
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,'
Madam, 'tis now in tune.
All but the base.
The base is right; 'tis the base knave that jars.
How fiery and forward our pedant is!
Now, for my life, the knave doth court my love:
Pedascule, I'll watch you better yet.
In time I may believe, yet I mistrust.
Mistrust it not: for, sure, AEacides
Was Ajax, call'd so from his grandfather.
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 masters, take it not unkindly, pray,
That I have been thus pleasant with you both.
You may go walk, and give me leave a while:
My lessons make no music in three parts.
Are you so formal, sir? well, I must wait,
And watch withal; for, but I be deceived,
Our fine musician groweth amorous.
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.
Why, I am past my gamut long ago.
Yet read the gamut of Hortensio.
[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 old inventions.
Enter a 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.
Farewell, sweet masters both; I must be gone.
Exeunt BIANCA and Servant
Faith, mistress, then I have no cause to stay.
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.