The Taming of the Shrew: Act 3, Scene 1
Image Source: Chicago Critic
Enter LUCENTIO [disguised as Cambio],
HORTENSIO [disguised as Litio],
1Fiddler, forbear; you grow too forward, sir:
2Have you so soon forgot the entertainment
3Her sister Katharina welcomed you withal?
4But, wrangling pedant, this is
5The patroness of heavenly harmony:
6. to have prerogative: to go first.
6Then give me leave to have prerogative;
7And when in music we have spent an hour,
8. lecture: lesson.
8Your lecture shall have leisure for as much.
9. Preposterous: placing first what should be last.
9Preposterous ass, that never read so far
10. ordain'd: instituted.
10To know the cause why music was ordain'd!
11Was it not to refresh the mind of man
12. pain: labor, toil.
12After his studies or his usual pain?
13Then give me leave to read philosophy,
14And while I pause, serve in your harmony.
15. Sirrah: little sir. braves: impudent remarks.
15Sirrah, I will not bear these braves of thine.
16Why, gentlemen, you do me double wrong,
17To strive for that which resteth in my choice:
18. breeching scholar: schoolboy liable to be whipped or flogged. 19. 'pointed: appointed.
18I am no breeching scholar in the schools;
19I'll not be tied to hours nor 'pointed times,
20But learn my lessons as I please myself.
21And, to cut off all strife, here sit we down:
22. the whiles: meanwhile.
22Take you your instrument, play you the whiles;
23His lecture will be done ere you have tuned.
24. I am in tune: i.e., my instrument is in tune.
24You'll leave his lecture when I am in tune?
25. That will be never: i.e., you will never be in harmony with Bianca.
25That will be never: tune your instrument.
26. Where left we last? where did we leave off? Apparently Lucentio arrived a moment before Hortensio and started his "lecture" right away.
26Where left we last?
28-29. Hic . . . senis: "Here flowed the river Simois; here is the Sigeian land; here stood the lofty palace of old Priam" (Ovid, Heroides, 1.33-34).
28"Hic ibat Simois; hic est Sigeia tellus;
29Hic steterat Priami regia celsa senis."
30. Conster: construe (in the sense of "translate word-for-word").
31"Hic ibat," as I told you before, "Simois," I am
32Lucentio, "hic est," son unto Vincentio of Pisa,
33"Sigeia tellus," disguised thus to get your love;
34"Hic steterat," and that Lucentio that comes
35a-wooing, "Priami," is my man Tranio, "regia,"
36. bearing my port: taking my place in society.
36bearing my port, "celsa senis," that we might
37. pantaloon: foolish old man (Gremio).
37beguile the old pantaloon.
38Madam, my instrument's in tune.
39. jars: is out of tune.
39Let's hear. O fie! the treble jars.
40. Spit in the hole: Perhaps to tighten the peg so that the string would stay in tune longer, but the phrase may mean simply "get ready for a fresh try."
40Spit in the hole, man, and tune again.
41Now let me see if I can conster it: "Hic ibat
42Simois," I know you not, "hic est Sigeia tellus,"
43I trust you not; "Hic steterat Priami," take heed
44he hear us not, "regia," presume not, "celsa senis,"
46Madam, 'tis now in tune.
46All but the base.
47The base is right; 'tis the base knave that jars.
48How fiery and forward our pedant is!
49Now, for my life, the knave doth court my love:
50. Pedascule: you pedantic letter of the alaphabet (?). Shakespeare invented this word.
50Pedascule, I'll watch you better yet.
51In time I may believe, yet I mistrust.
52-53. Æacides / Was Ajax, call'd so from his grandfather: To mislead Hortensio, Lucentio pretends to be concerned with the next line of his Latin passage.
52Mistrust it not: for, sure, Æacides
53Was Ajax, call'd so from his grandfather.
54I must believe my master; else, I promise you,
55I should be arguing still upon that doubt:
56But let it rest. Now, Litio, to you:
57Good masters, take it not unkindly, pray,
58. pleasant: merry.
58That I have been thus pleasant with you both.
HORTENSIO [To Lucentio.]
59. give me leave: allow me opportunity.
59You may go walk, and give me leave a while:
60. in three parts: for three voices.
60My lessons make no music in three parts.
61. formal: precise.
61Are you so formal, sir? well, I must wait,
62. but: unless.
62And watch withal; for, but I be deceived,
63Our fine musician groweth amorous.
64Madam, before you touch the instrument,
65To learn the order of my fingering,
66I must begin with rudiments of art;
67. gamut: a musical scale. "Gamut" was the musical scale taught to beginners.
67To teach you gamut in a briefer sort,
68More pleasant, pithy and effectual,
69Than hath been taught by any of my trade:
70. there it is in writing: Hortensio hands Bianca a paper.
70And there it is in writing, fairly drawn.
71Why, I am past my gamut long ago.
72Yet read the gamut of Hortensio.
73. ground: basis, foundation. accord: harmony.
73"'Gamut' I am, the ground of all accord,
74'A re,' to Plead Hortensio's passion;
75'B mi,' Bianca, take him for thy lord,
76. ut: "Ut" has long since been superseded by "do." 77. clef: key.
76'C fa ut,' that loves with all affection:
77'D sol re,' one clef, two notes have I:
78'E la mi,' show pity, or I die."
79Call you this gamut? tut, I like it not:
80. nice: foolishly trendy.
80Old fashions please me best; I am not so nice,
80. change: exchange.
81To change true rules for odd inventions.
Enter a MESSENGER.
82Mistress, your father prays you leave your books
83And help to dress your sister's chamber up:
84You know tomorrow is the wedding-day.
85Farewell, sweet masters both; I must be gone.
[Exeunt Bianca and Messenger.]
86Faith, mistress, then I have no cause to stay.
87But I have cause to pry into this pedant:
88Methinks he looks as though he were in love:
89Yet if thy thoughts, Bianca, be so humble
90. stale: decoy, bait.
90To cast thy wandering eyes on every stale,
91. Seize thee that list: let him take you that will. ranging: playing the field. 92. be quit: get even. changing: i.e., loving another.
91Seize thee that list: if once I find thee ranging,
92Hortensio will be quit with thee by changing.