'Tis ten to one it maim'd you two outright Bap. Now, in good sadness, son Petruchio, I think thou hast the veriest shrew of all. Pet. Well, I say-no: and therefore, for assurance, Let's each one send unto his wife; And he, whose wife is most obedient To come at first when he doth send for her, Pet. Twenty crowns! I'll venture so much on my hawk, or hound, Luc. A hundred then. Hor. Content. Pet. A match; 'tis done. Hor. Who shall begin? Luc. That will I.-Go, Biondello, bid your mistress come to me. Bion. I go. Bap. Son, I will be your half, Bianca comes. Re-enter BIOndello. -How now! what news? Bion. Sir, my mistress sends you word That she is busy, and she cannot come. Pet. How! she is busy, and she cannot come! Is that an answer? Gre. Ay, and a kind one too: Pray God, sir, your wife send you not a worse. Pet. I hope, better. Hor. Sirrah, Biondello, go, and entreat my To come to me forthwith. Pet. O, ho! entreat her! Nay, then she must needs come. Hor. I am afraid, sir, wife [Exit. [Exit BIONDELLO Do what you can, your's will not be entreated. Re-enter BIOndello. Now where's my wife? Bion. She says, you have some goodly jest in hand; She will not come; she bids you come to her. Pet. Worse and worse; she will not come! O vile, Intolerable, not to be endur'd!— [Exit GRUM. Hor. I know her answer. Pet. What? Hor. She will not come. Pet. The fouler fortune mine, and there an end. Bap. Now, by my holidame, here comes Katharina! [Exit KATHARINA Luc. Here is a wonder, if you talk of a wonder. And, to be short, what not, that's sweet and happy. Re-enter KATHARINA, with BIANCA and Widow. Katharine, that cap of your's becomes you not; [KATH. pulls off her cap, and throws it down Wid. Lord, let me never have a cause to sigh, Till I be brought to such a silly pass! Bian. Fye! what a foolish duty call you this? Pet. Katharine, I charge thee, tell these headstrong women What duty they do owe their lords and husbands. Wid. Come, come, you're mocking; we will have no telling. Pet. Come on, I say; and first begin with her. Wid. She shall not. Pet. I say, she shall ;-and first begin with her. A woman mov'd is like a fountain troubled, To offer war, where they should kneel for peace; My heart as great; my reason, haply, more, Our strength as weak, our weakness past compare,― My hand is ready, may it do him ease. Pet. Why, there's a wench!-Come on, and kiss me, Luc. Well, go thy ways, old lad; for thou shalt ha't. We three are married, but you two are sped." .7 [TO LUCENTIO. And, being a winner, God give you good-night! [Exe. PETRUCHIO and KATHARINA. Hor. Now go thy ways, thou hast tam'd a curst shrew. Luc. 'Tis a wonder, by your leave, she will be tam'd so. [Exeunt. [5] i. e. abate your pride, your spirit. STEEVENS. [6] i. e. the fate of you both is decided; for you have wives who exhibit early proofs of disobedience. STEEVENS. [7] To hit the white is a phrase borrowed from archery: the mark was commonly white. Here it alludes to the name, Bianca, or white. "JOHNSON. [8] As this was meant for a rhyming couplet, it should be observed that anciently the word-shrew was pronounced as if it had been written-shrow. Thus, in Mr. Lodge's Illustrations of English History, Vol. II. p. 164, Burghley calls Lord Shrewsbury-Shrowsbury. See, also, the same work, Vol. II. p. 168-9. STEEVENS. [9] At the conclusion of this piece, Mr. Pope continued his insertions from the old play, as follows: • Enter two Servants, bearing Sly in his own apparel, and leaving him on the stage. Then enter a Tapster. "Sly. [awaking.] Sim, give's some more wine.-What, all the players gone? Am I not a lord? "Tap. A lord, with a murrain ?-Come, art thou drunk still? "Sly. Who's this? Tapster!-Oh, I have had the bravest dream that ever thou heard'st in all thy life. "Tap. Yea, marry, but thou hadst best get thee home, for your wife will curse you for dreaming here all night. "Sly. Will she? I know how to tame a shrew. I dreamt upon it all this night, and thou hast wak'd me out of the best dream that ever I had. But I'll to my wife, and tame her too, if she anger me." These passages, which have been hitherto printed as part of the work of Shakesbeare, I have sunk into the notes, that they may be preserved, as they seem be necessary to the integrity of the piece, though they really compose no part of it, being not published in the folio, 1623. Mr. Pope, however, has quoted them with a degree of inaccuracy which would have deserved censure, had they been of greater consequence than they are. The players delivered down this comedy, among the rest, as one of Shakespeare's own; and its intrinsic merit bears sufficient evidence to the propriety of their decision. May I add a few reasons why I neither believe the former comedy of The Taming of the Shrew, 1607, nor the old play of King John, in two Parts, to have been the work of Shakespeare? He generally followed every novel or history from whence he took his plots, as closely as he could; and is so often indebted to these originals for his very thoughts and expressions, that we may fairly pronounce him not to have been above borrowing, to spare himself the labour of invention. It is therefore probable, that both these plays, (like that of King Henry V. in which Oldcastle is introduced,) were the unsuccessful performances of contemporary players. Shakespeare saw they were meanly written, and yet that their plans were such as would furnish incidents for a better dramatist. He therefore might lazily adopt the order of their scenes, still writing the dialogue anew, and inserting little more from either piece, than a few lines which he might think worth pre serving, or was too much in haste to alter. It is no uncommon thing in the literary world, to see the track of others followed by those who would never have given themselves the trouble to mark out one of their own. STEEVENS. |