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Fair lovely maid, once more good day to thee:-
Hor. 'A will make the man mad, to make a woman of him.
Karh. Young budding virgin, fair, and fresh, and sweet, Whither away; or where is thy abode?1 Happy the parents of so fair a child; Happier the man, whom favourable stars Allot thee for his lovely bed-fellow!?
Pet. Why, how now, Kate! I hope thou art not mad:
Kath. Pardon, old father, my mistaking eyes,
to make a woman - ] The old copy reads the woman. Corrected by the editor of the second folio. Malone.
- where is thy abode?] Instead of where, the printer of the old copy inadvertently repeated whither. Corrected in the second folio. Malone. 2 Happy the parents of so fair a child; Happier the man, whom favourable stars
Allot thee for his lovel; bed-fellow.'] This is borrowed from Golding's translation of Ovid's Metamorphoses, Book IV, edit. 1587, p. 56:
- right happie folke are they “ By whome thou camst into this world; right happie is
(I say) “Thy mother and thy sister too (if anie be): good hap “ That woman had that was thy nurse, and
gave thy mouth hir pap. “But far above all other far, more blisse than these is
shee “Whome thou thy wife and bed-fellow, vouchsafest for
to bee." I should add, however, that Ovid borrowed his ideas from the sixth Book of the Odyssey, 154, &c.
«Τρισμάκαρες μεν σοί γε πατήρ και πότνια μήτηρ,
Τρισμάκαρες δε κασιγνετοι καλα πε &c.
« Ος κε σ' έέδιοισι βρίσας oικόνδ' αγάγηται.” Steevens. 3. That every thing I look on seemeth green :) Shakspeare's obser. vations on the phænomena of nature are very accurate. When one has sat long in the sunshine, the surrounding objects will of.
Now I perceive, thou art a reverend father;
Pet. Do, good old grandsire; and, withal, make known
Vin. Fair sir,-and you my merry mistress, 4-
Pet. What is his name?
Lucentio, gentle sir.
Vin. But is this true? or is it else your pleasure,
Hor. I do assure thee, father, so it is,
Pet. Come, go along, and see the truth hereof; For our first merriment hath made thee jealous.
(Exeunt PET. Kath, and VIN. Hor: Well, Petruchio, this hath put me in heart. Have to my widow; and if she be froward, Then hast thou taught Hortensio to be untoward; [Exit.
ten appear tinged with green. The reason is assigned by many of the writers on opticks. Blackstone.
mistress,] is here used as a trisyllable. Steevens.
ACT V..... SCENE I.
Padua. Before Lucentio's House. Enter on one side BIONDELLO, LUCENTIo, and BIANCA;
GREMIO walking on the other side. Bion. Softly and swiftly, sir; for the priest is ready.
Luc. I fly, Biondello: but they may chance to need thee at home, therefore leave us.
Bion. Nay, faith, I'll see the church o'your back; and then come back to my master as soon as I can.5
[Exeunt Luc. Bian. and Bion. Gre. I marvel Cambio comes not all this while. Enter PETRUCHIO, KATHARINA, VINCENTIO,
and Attendants. Pet. Sir, here's the door, this is Lucentio's house, My father's bears more toward the market-place; Thither must I, and here I leave you, sir.
Vin. You shall not choose but drink before you go; I think, I shall command your welcome here, And, by all likelihood, some cheer is toward. [Knocks. Gre. They're busy within, you were best knock louder.
Enter Pedant above, at a window. Ped. What 's he, that knocks as he would beat down the gate ?
Vin. Is signior Lucentio within, sir?
Vin. What if a man bring him a hundred pound or two, to make merry withal ?
and then come back to my master as soon as I can.] The editions all agree in reading mistress; but what mistress was Biondello to come back to? he must certainly mean—"Nay, faith, sir, I must see you in the church; and then for fear I should be wanted, I 'll run back to wait on Tranio, who at present personates you, and whom therefore I at present acknowledge for my master.”
The same mistake has happened again in this scene: “ Didst thou never see thy mistress' father, Vincentio?” The present emendation was made by Mr. Theobald, who observes rightly, that by “master,” Biondello means his pretended master, Tra. nio. Malone
Ped. Keep your hundred pounds to yourself; he shall need none, so long as I live.
Pet. Nay, I told you, your son was beloved in Pa. dua.-Do you hear, sir?-to leave frivolous circumstances,-I pray you, tell signior Lucentio, that his father is come from Pisa, and is here at the door to speak with him.
Ped. Thou liest; his father is come from Pisa, 6 and here looking out at the window.
Vin, Art thou his father?
believe her. Pet. Why, how now, gentleman! [io Vin.] why, this is flat knavery, to take upon you another man's
Ped. Lay hands on the villain; I believe, 'a means to çozen somebody in this city under my countenance.
Re-enter BIONDELLO. Bion. I have seen them in the church together; God send 'em good shipping! - But who is here? mine old master, Vincentio? now we are undone, and brought to nothing Vin, Come hither, crack-hemp.
[Seeing Bion. Bion. I hope, I may choose, sir. Vin. Come hither, you rogue; What, have you for
Bion. Forgot you? no, sir: I could not forget you, for I never saw you before in all iny life.
Vin. What, you notorious villain, didst thou never see thy master's father, Vincentio ??
- from Pisa,] The reading of the old copies is from Padua, which is certainly wrong. The editors have made it to Padua; but it should rather be from Pisa. Both parties agree that Lucentio's father is come from Pisa, as indeed they necessarily must; the point in dispute is, whether he be at the door, or looking out of the zvindow. Tyrwhitt.
I suspect we should read from Mantua, from whence the Pe. dant himself came, and which he would naturally name, sup. posing he forgot, as might well happen, that the real Vincentio was of Pisa." In The Two Gentlemen of Verona, Padua and Verona occur in two different scenes, instead of Milan. Malone.
thy master's father, Vincentio?] Old copy--thy mistresso father. Corrected by the editor of the second folio. Malone.
Bion. What, my old, worshipful old master? yes, marry, sir; see where he looks out of the window, Vin. Is 't so, indeed?
[Beats Bion. Bion. Help, help, help! here's a madman will mur
[Exit. Ped. Help, son! help, signior Baptista!
[Exit, from the window. Pet. Pr’ythee, Kate, let's stand aside, and see the end of this controversy.
[They retire. Re-enter Pedant below; BAPTISTA, TRANIO, and Servants.
Tra. Sir, what are you, that offer to beat my servant?
Vin. What am I, sir? nay, what are you, sir?-0 immortal gods! O fine villain! A silken doublet! a velvet hose! a scarlet cloak! and a copatain hat!8-0, I am undone! I am undone! while I play the good husband at home, my son and my servant spend all at the university.
Tra. How now! what's the matter?
Tra. Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman: Why, sir, what concerns it you, if I wear pearl and gold; I thank my good father, I am able to maintain it.
Vin. Thy father? O, villain! he is a sail-maker in Bergamo."
8-a copatain hat.'] is, I believe, a hat with a conical crown, such as was anciently worn by well-dressed men. Johnson.
This kind of hat is twice mentioned by Gascoigne. See Hearbes,
“ A coptankt hat made on a Flemish block.” And again, in his Epilogue, p. 216:
“ With high copt hats, and feathers faunt a faunt." In Stubbs's Anatomie of Abuses, printed 1595, there is an entire chapter, “on the lattes of England,” beginning thus:
“Sometimes they use them sharpe on the crowne, pearking up like the speare or shaft of a steeple, standing a quarter of a yard above the crowne of their heads," @c. Steevens.
a sail-maker in Bergamo.] Ben Jonson has a parallel passage in his Alchemist :
you do resemble
“ Face. Very like:
“ Her father was an Irish costarmonger.". Again, Chapman, in his Widow's Tears, a comedy, 1612:1:1