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Bap. You mistake, sir; you mistake, sir: Pray, what do you think is his name?
Vin. His name? as if I knew not his name: I have brought him up ever since he was three years old, and his name is-Tranio.
Ped. Away, away, mad ass! his name is Lucentio; and he is mine only son, and heir to the lands of me, signior Vincentio.
Vin. Lucentio! O, he hath murdered his master!Lay hold on him, I charge you, in the duke's name:O, my son, my son !-tell me, thou villain, where is my son Lucentio?
Tra. Call forth an officer:1 [Enter one with an officer] carry this mad knave to the gaol ;-Father Baptista, I charge you see, that he be forth-coming.
Vin, Carry me to the gaol !
Bap. Talk not, signior Gremio; I say, he shall go to prison.
Gre. Take heed, signior Baptista, lest you be coneycatched in this business; I dare swear, this is the right Vincentio.
Ped. Swear, if thou darest.
«he draws the thread of his descent from Leda's distaff when 'tis well known his grandsire cried coney-skins in Sparta."
Steevens. 1 Call forth an officer : &c.] Here, in the original play, the Tinker speaks again:
“ Slie. I say weele have no sending to prison. “ Lord. My lord, this is but the play; they 're but in jest.
“ Slie. I tell thee Sim, weele have no sending “ To prison, that's flat; why Sim, am not I don Christo Vari? Therefore, I say, they shall not goe to prison.
“ Lord. No more they shall not, my lord: “They be runne away.
“ Slie. Are they run away, Sim? that's well: “ Then gis some more drinke, and let them play againe. “ Lord. 'Here, my lord.” Steevens.
Coney-catched -] i. e. deceived, cheated. Steevens.
Vin. Thus strangers may be haled and abus'd:O monstrous villain! Re-enter BIONDELLO, with LUCENTIO, and BIANCA.
Bion. O, we are spoiled, and-Yonder he is; deny him, forswear him, or else we are all undone. Luc. Pardon, sweet father.
Lives my sweetest son?
[Bion. TRA. and Ped. run out. 3 Bian. Pardon, dear father.
How hast thou offended
Gre. Here's packing,5 with a witness, to deceive us all!
run out.] The old copy says-as fast as may be. Ritson. 4 While counterfeit supposes blear'd thine eyne.) The modern editors read supposers, but wrongly. This is a plain allusion to Gascoigne's comedy, entitled Supposes, from which several of the incidents in this play are borrowed. Tyrwhitt.
This is highly probable; but yet supposes is a word often used in its common sense, which on the present occasion is sufficiently commodious. So, in Greene's Farewell to Folly, 1617:—" — - with Plato to build a commonwealth on supposes." Shakspeare uses the word in Troilus and Cressida: “ That we come short of our suppose so far,” &c. It appears likewise from the Preface to Greene's Metamorphoses, that supposes was a game of some kind: “ After supposes, and such ordinary sports were past, they fell to prattle," &c. Again, in Drayton's Epistle from King Fohn to Matilda :
“ And tells me those are shadows and supposes." To blear the eye, was an ancient phrase signifying to deceive. So, in Chaucer's Manciple's Tale, v. 17,202, Mr. Tyrwhitt's edition:
“For all thy waiting, blered is thin eye.” Again, in the 10th pageant of The Coventry Plays, in the British Museum, MS. Cott. Vesp. D. VIII:
“Shuld I now in age begynne to dote,
“ Blere mine ey, and pyke out a mote.” Steevens. The ingenious editor's explanation of blear the eye, is strongly supported by Milton, Comus, v. 155:
“Of power to cheat the eye with blear illusion.” H. White. 5 Here's packing,] i. e. plotting, underhand contrivance. So, in King Lear:
“Snuffs and packings of the dukes.” Steevens.
Vin. Where is that damned villain, Tranio,
Ban. Why, tell me, is not this my Cambio?
Luc. Love wrought these miracles. Bianca's love
Vin. I'll slit the villain's nose, that would have sent me to the gaol.
Bap. But do you hear, sir? (to Luc.) Have you married my daughter without asking my good-will?
Vin. Fear not, Baptista; we will content you, go to: But I will in, to be revenged for this villainy. [Exit.
Bap. And I, to sound the depth of this knavery. [E.cit. Luc. Look not pale, Bianca; thy father will not frown.
[Exeunt Luc. and Bian. Gre. My cake is dough:6 But I 'll in among the rest; Out of hope of all,—but my share of the feast. (Exit.
PETRUCHIO and KATHARINA advance. Kath. Husband, let 's follow, to see the end of this ado. Pet. First kiss me, Kate, and we will. Kath. What, in the midst of the street? Pet. What, art thou ashamed of me? Kath. No, sir; God forbid :--but ashamed to kiss. Pet. Why, then, let 's home again :-Come, sirrah,
6 My cake is dough:) This is a proverbial expression, which also occurs in the old interlude.of Tom Tyler and his Wife:
“ Alas poor Tom, his cake is dough.” Again, in The Case is alter'd, 1609:
“ Steward, your cake is dough, as well as mine.” Steevens. It was generally used when any project miscarried. Malone.
Rather when any disappointment was sustained, contrary to every appearance or expectation. Howel, in one of his letters, mentioning the birth of Louis the Fourteenth, says—" The Queen is delivered of a Dauphin, the wonderfullest thing of this kind that any story can parallel, for this is the three-and-twentieth year since she was married, and hath continued childless all this while. So that now Monsieur's cake is dough." Reed.
Kath. Nay, I will give thee a kiss: now pray thee,
love, stay. Pet. Is not this well?_Come, my sweet Kate; Better once than never, for never too late. [Exeunt.
A Room in Lucentio's House.
A Banquet set out. Enter BAPTISTA, VINCENTIO, GRE
Mio, the Pedant, LUCENTIO, BIANCA, PETRUCHIO, KATHARINA, HORTENSIO, and Widow. TRANIO, BIONDELLO, GRUMIO, and Others attending.
Luc. At last, though long, our jarring notes agree:
Pet. Nothing but sit and sit, and eat and eat!
when raging war is done,] This is Mr. Rowe's emendation. The old copy has—when raging war is come, which cannot be right. Perhaps the author wrotem when raging war is calm, formerly spelt calme. So, in Othello:
" If after every tempest come such calms --." The word “overblown,” in the next line, adds some little support to this conjecture. Malone. Mr. Rowe's conjecture is justified by a passage in Othello:
“ News, lords' our wars are done.” Steevens. 8 My banquet-] banquet, or (as it is called in some of our old books) an afterpast, was a slight refection, like our modern dessert, consisting of cakes, sweetmeats, and fruit. See note on Romeo and Juliet, Act I, sc. v. Steevens.
fears his widow,] To fear, as has been already observed, meant in our author's time both to dread, and to intimidate. The
Wid. Then never trust me if I be afeard.
Pet. You are sensible, and yet you miss my sense;? I mean, Hortensio is afeard of you.
Wid. He that is giddy, thinks the world turns round.
Mistress, how mean you that?
dow. Kath. He that is giddy, thinks the world turns
Wid. Your husband, being troubled with a shrew,
Kath. A very mean meaning.
Right, I mean you.
office.s Pet. Spoke like an officer:
-Ha' to thee, lad.
(Drinks to Hon. Bap. How likes Gremio these quick-witted folks? Gre. Believe me, sir, they butt together well.
widow understands the word in the latter sense; and Petruchio tells her, he used it in the former. Malone.
1 You are sensible, and yet you miss my sense ;] The old copy redundantly reads-You are very sensible.” Steevens.
shrew, woe;] As this was meant for a rhyming cou. plet, it should be observed that anciently the wordshrew was pronounced as if it had been written--shrow. See the finale of the play. Steevens.
- put her down. Hor. That's my office.] This passage will be best explained by another, in Much Ado about Nothing : « Lady, you have put him down.-So I would not he should do mė, my lord, lest I should prove the mother of fools.” Steevens.
Ha’ to thee, lad.] The old copy has to the. Corrected by the editor of the second folio. Malone.