She hung about my neck; and kiss on kiss A meacock wretch can make the curstest shrew. Bap. I know not what to say: but give me your hands; -God send you joy, Petruchio! 'tis a match. Gre. Tra. Amen, say we ; we will be witnesses. I will to Venice, Sunday comes apace:- [Exe. PET. and KATH. severally. Tra. 'Twas a commodity lay fretting by you: Tra. And I am one, that love Bianca more Gre. But thine doth fry.7 Skipper, stand back; 'tis age, that nourisheth. [6] i. e. a timorous dastardly creature. STEEVENS. [7] Old Gremio's notions are confirmed by Shadwell: But for the moment burns :-- It glows, and with a sullen heat, Like fire in logs, it burns, and warms us long; Bap.Content you,gentlemen; I'll compound this strife: 'Tis deeds must win the prize; and he, of both, That can assure my daughter greatest dower, Shall have Bianca's love. -Say, signior Gremio, what can you assure her? Basons, and ewers, to lave her dainty hands; 8 Fine linen, Turkey cushions boss'd with pearl, Tra. That only came well in.-Sir, list to me, I am my father's heir, and only son : Of fruitful land, all which shall be her jointure.- Gre. Two thousand ducats by the year, of land! Tra. Gremio, 'tis known, my father hath no less [8] Counterpoints were in ancient times extremely costly. In Wat Ty. ler's rebellion, Stowe informs us, when the insurgents broke into the wardrobe in the Savoy, they destroyed a coverlet, worth a thousand marks. MAL. [9] We may suppose that pewter was, even in the time of Queen Elizabeth, too costly to be used in common. STEEV. [1]A galeas or gelliass, is a heavy low-built vessel of burthen, with both sails and oars, partaking at once of the nature of a ship and a galley. STE. And twice as much, whate'er thou offer'st next. Tra. Why, then the maid is mine from all the world, Gre. And may not young men die, as well as old? I am thus resolv'd:-On Sunday next, you know, And so I take my leave, and thank you both. [Exit. Gre. Adieu, good neighbour.-Now I fear thee not; Sirrah, young gamester, your father were a fool To give thee all, and, in his waning age, Set foot under thy table: Tut! a toy! An old Italian fox is not so kind, my boy. [Exit. Tra. A vengeance on your crafty wither'd hide! [Exit. [2] This is a term at the old game of gleek. When one man was vied upon another, he was said to be out-vied. STEEV. Vye and revye were terms at cards, now superseded by the more modern word, brag. The words were frequently used in a sense somewhat remote from the original one. In the famous trial of the seven bishops, the chief justice says: "We must not permit vying and revying upon one another." FARMER. [3] That is, with the highest card, in the old simple games of our ancestors. So that this became a proverbial expression. WARBURTON. As we are on the subject of cards, it may not be amiss to take notice of a common blunder relative to their names. We call the king, queen, and knave, court-cards, whereas they were anciently denominated coats, or coat-. cards, from their coats or dresses. STEEV. ACT III. SCENE I-A Room in BAPTISTA's House. Enter LUCENTIO, HORTENSIO, and BIANCA. Lucentio. FIDDLER, forbear; you grow too forward, sir: Luc. Preposterous ass! that never read so far And, while I pause, serve in your harmony. Hor. Sirrah, I will not bear these braves of thine. Bian. 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 me down:Take you your instrument, play you the whiles; His lecture will be done, ere you have tun'd. Hor. You'll leave his lecture when I am in tune? [TO BIANCA.—HORTENSIO retires. Luc. That will be never ;-tune your instrument. Bian. Where left we last? Luc. Here, Madam: Hac ibat Simois; hic est Sigeia tellus; Luc. Hac 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. [4] The old cully in Italian farces. JOHNSON. Hor. Madam, my instrument's in tune. [Returning. [HORTENSIO plays. Bian. Let's hear; O fie! the treble jars. Luc. Spit in the hole, man, and tune again. Bian. Now let me see if I can construe it: Hac 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, despair not. Hor. Madam, 'tis now in tune. Luc. All but the bass. Hor. The bass 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. Bian. In time I may believe, yet I mistrust. acides Was Ajax,-call'd so from his grandfather. Bian. I must believe my master; else, I promise you, 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 deceiv'd, Our fine musician groweth amorous. [Aside. Hor. Madam, before you touch the instrument, To learn the order of my fingering, Than hath been taught by any of my trade: Bian. Why, I am past my gamut long ago. Bian. [reads.] Gamut I am, the ground of all accord, Call you this-gamut? tut! I like it not: |