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Confounds thy fame as whirlwinds shake fair buds,
And in no sense is meet or amiable. !!
A woman moved is like a fountain troubled,
Muddy, ill-seeming, thick, bereft of beauty;
And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it.

140

145

Thy husband is thy lord, thy life, thy keeper,

Thy head, thy sovereign; one that cares for thee,

And for thy maintenance commits his body

To painful labour both by sea and land,

To watch the night in storms, the day in cold,

150

Whilst thou liest warm at home, secure and safe;
And craves no other tribute at thy hands.

But love, fair looks and true obedience;
Too little payment for so great a debt.
Such duty as the subject owes the prince
Even such a woman oweth to her husband;
And when she is froward, peevish, sullen, sour,
And not obedient to his honest will,
What is she but a foul contending rebel,
And graceless traitor to her loving lord?
I am ashamed that women are so simple
To offer war where they should kneel for peace;
Or seek for rule, supremacy and sway,
When they are bound to serve, love and obey.
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?

140 fame] frame Grey conj.

as] om. F3F4.

145 one] a Rowe (ed. 2).

148 maintenance commits] Edd. main

tenance. Commits Ff Q.
151 Whilst] While Rowe (ed. 2).
157 she is] she's Pope.

155

160

165

Come, come, you froward and unable worms!
My mind hath been as big as one of yours,
My heart as great, my reason haply more,

To bandy word for word and frown for frown;
But now I see our lances are but straws,

170

Our strength as weak, our weakness past compare,
That seeming to be most which we indeed least are. 175
Then vail your stomachs, for it is no boot,

And place your hands below your husband's foot:
In token of which duty, if he please,

My hand is ready, may it do him ease.

Pet. Why, there's a wench! Come on, and kiss me, Kate.

180

Luc. Well, go thy ways, old lad; for thou shalt ha't. Vin. 'Tis a good hearing, when children are toward. Luc. But a harsh hearing, when women are froward. Pet. Come, Kate, we'll to bed. We three are married, but you two are sped. 'Twas I won the wager, though you hit the white; [To Lucentio.

And, being a winner, God give you good night!

185

[Exeunt Petruchio and Katharina. Hor. Now, go thy ways; thou hast tamed a curst shrew. Luc. 'Tis a wonder, by your leave, she will be tamed so.

[blocks in formation]

[Exeunt.

186 won] one Capell (corrected in Errata).

[To Lucentio.] Malone.

187 [...and Katharina.] ...and Kath.
Rowe. Exit Petruchio. Ff Q.
188 shrew] Rowe. Shrow Ff Q.
189 be] om. Q.

[Exeunt.] Rowe.

om. Ff Q.

NOTES.

NOTE I.

IND. The Folios and the Quarto have here Actus Primus. Scana Prima, making no separation between the play and the Induction. The play is divided into Acts, but not into Scenes. The second Act, however, is not marked in any of the old copies. The arrangement which we have followed is that of Steevens, which all subsequent editors have adopted, and which is therefore the most convenient for purposes of reference.

NOTE II.

IND. I. 7. The phrase 'Go by, Jeronimy,' quoted from Kyd's 'Spanish Tragedy,' was used in popular 'slang,' derisively. It occurs frequently in the dramatic literature of the time, for example, in Beaumont and Fletcher's Captain, Act III. Sc. 5. The 'S' of the Folios may have been derived from a note of exclamation in the MS., written, as it is usually printed, like a note of interrogation.

NOTE III.

IND. 1. 62. Mr Lettsom's suggestion that a line has been lost between 61 and 62 seems the most probable solution of the difficulties presented by this passage in its present form.

NOTE IV.

IND. 1. 86. 'Sincklo,' the stage direction of the first Folio, was the name of an actor in Shakespeare's company, not mentioned in the list of 'Principal Actors' at the beginning of the first Folio. He was one of the actors in the Second Part of Henry IV., as appears from the

4to. edition of that play, published in 1600, where the stage direction to Act v. Scene 4 is, "Enter Sincklo and three or foure officers," and the part taken by Sincklo is that usually assigned to the 'Officer.' In the Third Part of Henry VI. Act III. Scene 1, the stage direction in the first Folio is, 'Enter Sinklo, and Humfrey, with crosse-bowes in their hands.' Sinklo also appears as an actor in the Induction to Marston's play of The Malcontent. In the present play he probably took the part of Lucentio.

In III. 1. 80, 'Nicke.' is supposed by Steevens to mean Nicholas Tooley, who at a later period became one of the 'Principall Actors.'

NOTE V.

IND. I. 99. Pope inserts here the following speech from the old play:

2 Player. [to the other.] Go get a dishclout to make clean your shoes, and I'll speak for the properties. [Exit Player.] My lord, we must have a shoulder of mutton for a property, and a little vinegar to make our devil roar.'

For 'vinegar' Theobald suggested 'wooden dagger.'

This insertion is repeated by all subsequent editors, till Capell struck it out of the text and Steevens placed it in a note.

NOTE VI.

IND. 2. 96. The following speeches are here inserted by Pope from the same source:

'Sly. By th' mass I think I am a lord indeed.

What is thy name?

Man. Simon, an't please your honour.

Sly. Sim? that's as much as to say Simeon or Simon; put forth thy

hand and fill the pot.'

Capell was the first to strike it out of the text.

NOTE VII.

IND. 2. 110. Pope prefixed to Sly's speech the following words from the old play, without giving any indication that they were not Shakespeare's: 'Come sit down on my knee. Sim, drink to her.' They are repeated in all subsequent editions, till Capell restored the true text. After line 115, Pope again added, 'Sim, drink to her.'

1

I. 1. 32.

NOTE VIII.

The old play (Q) after the Induction, commences thus: 'Polidor. Welcome to Athens, my beloved friend,

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To Plato's school and Aristotle's walks...'

but this affords us no hint as to the true reading of the passage in question, whether checks' or 'ethics.' When Mr Halliwell conjectured that we should read 'works' for 'walks,' he had not observed that the allusion was to the gardens of the Lyceum, the favourite haunt of the Peripatetics.

NOTE IX.

I. 1. 57. We have often observed that as in this line and in III. 1. 4, and Ind. 2. 110, the metre may be completed by pronouncing the name of the speaker at the beginning. This is one indication among many, of the haste with which parts of Shakespeare's plays were thrown off.

NOTE X.

I. 2. 147. Considering the carelessness with which a plural demonstrative pronoun was used with reference to a singular noun and vice versa, we have not altered the reading of the old editions in order to accommodate the construction to modern rule. See note (IV) to Love's Labour's Lost. Mr Daniel (Notes, p. 22) considers 'paper' to be the note of the 'books' and 'them' the books.

=

NOTE XI.

I. 2. 259. The misprint in Rowe's second edition remained uncorrected by Pope, Theobald, Hanmer, Warburton, and Johnson. Capell in correcting the error made another by writing 'her' for 'the.' He printed his edition not from any former text, but from a manuscript of his own writing.

Another instance of the facility with which a misprint which makes sense escapes correction is found in 11. 1. 4, where 'put,' a misprint for 'pull' in the Variorum of 1821, was retained by many subsequent editors, Mr Collier, Mr Singer, &c.

NOTE XII.

1. 2. 278. Mr Grant White believes the whole of the foregoing scene to be by some other hand than Shakespeare's. Coleridge and Sidney

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