II. i. 207-9. 'buzzard' in this passage is a crux: its three senses are, I think, punned on by the speakers:—(i.) a simpleton (1. 207); (ii.) a mean hawk (11. 208, 209); in the latter case Petruchio interprets it as (iii.) ‘a buzzing insect, hence 'you wasp' (1. 210). Katharine's reply seems to mean:-' that, in calling her a turtle, he has mistaken a hawk for a dove'; underlying this retort there may be a suggestion of the proverbial blind buzzard.'

II. i. 296. 'morn'; cp. Troilus, I. iii. 229:—

'Modest as morning when she coldly eyes
The youthful Phœbus.'

II. i. 325. 'We will have rings and things,' probably a fragment of an old ballad. Collier quotes some lines bearing a very strong resemblance to these " from the recitation of an old lady' -a vague authority.

II. i. 377. 'Marseilles' road' Folio 1 and Quarto, Marcellus'; the other Folios 'Marsellis'; the word is obviously trisyllabic; the apostrophe is not needed, cp. 'Venice gold,' 'Pisa walls' in the previous speech.

III. i. 4. Theobald proposed 'she is a shrew, but, wrangling pedant, this is'; evidently some words are lost, but it is useless to attempt the restoration of the line, as there is no evidence.

III. ii. 16. ‘Make friends, invite, and proclaim the banns'; so Folio 1 and Quarto; Folios 2 and 3 insert 'yes' before 'and.' The more noteworthy suggestions are:-" Make friends invite, yes" (Singer); "make friends invite guests" (Dyce); "make feasts, invite friends" (Dyce, ed. 2).

IV. i. 135. 'Where is the life that late I led'; a line of an old song, quoted also by Pistol; cp. 2 Henry IV., V. iii. 147. Similarly 'It was the friar of orders grey,' etc., is a bit of an old ballad, now lost.

IV. i. 203. to kill a wife with kindness,' a proverbial expression. Heywood's play, A Woman Killed with Kindness, was first produced in 1602.

IV. ii. 45. ‘’longeth'; the Folios and Quartos, correctly, 'longeth, without apostrophe; 'to long' in the sense of 'to belong' is common in older English writings. Similarly 'pointed' in old eds., III. ii. 1.

IV. ii. 61. An ancient angel'; so the Folios and Quartos;

Theobald suggested 'engle' (a gull); other proposals have been ayeul, gentle, morsel, antick, etc., but no change is necessary. Cotgrave renders Angelot à la grosse escaille

66

by an old angell; and by metaphor, a fellow of the old, sound, honest and worthie stamp." IV. iii. 60. ' ruffling treasure'; Pope changed 'ruffling' to 'rustling'; perhaps we should read 'russling' (for rustling'), Cp. Lear, II. iv. 304, where the Quarto reading is 'russel,' while the Folios have 'ruffle.' Mrs. Quickly's 'rushling in silk and gold' (Merry Wives, II. ii. 68) seems to be an important piece of evidence in favour of ' rustling.'

IV. iii. 90. Here's snip and nip and cut.' A reference to fashionable slashed sleeves. (See illustration.)

IV. iv. 62. Cambio,' probably an error for 'Biondello,' as suggested by the Cambridge editors, and more satisfactory from a metrical point of view. Again, "the supposed Cambio was not acting as Baptista's servant, and moreover, had he been sent on such an errand, he would have flown on the wings of love' to perform it. We must suppose that Biondello apparently makes his exit, but really waits till the stage is clear for an interview with his disguised master." V. i. 29. his father has come from Padua,' so the Folios and Quartos; various changes have been proposed, e.g. 'to Padua,' 'from Pisa, etc., but the Pedant means that he has been staying at Padua.

Explanatory Notes.

The Explanatory Notes in this edition have been specially selected and adapted, with emendations after the latest and best authorities, from the most eminent Shakespearian scholars and commentators, including Johnson, Malone, Steevens, Singer, Dyce, Hudson, White, Furness, Dowden, and others. This method, here introduced for the first time, provides the best annotation of Shakespeare ever embraced in a single edition.

INDUCTION.
Scene I.

[Enter Hostess and Sly.] The opening of the old Taming of a Shrew is as follows:

Enter a Tapster, beating out of his doores Slie Droonken.
Tapster. You whorson droonken slaue, you had best be gone,
And empty your droonken panch some where else
For in this house thou shalt not rest to night.
Slie. Tilly, vally, by crisee Tapster Ile fese you anon.
Fils the tother pot and alls paid for, looke you

Exit Tapster.

I doo drinke it of mine owne Instegation, Omne bene
Heere Ile lie awhile, why Tapster I say,

Fils a fresh cushen heere.

Heigh ho, heers good warme lying.

He fals asleepe

Enter a Noble man and his men from hunting.

Lord. Now that the gloomie shaddow of the night,
Longing to view Orions drisling lookes,

Leapes from th' antarticke world vnto the skie,
And dims the Welkin with her pitchie breath,
And darkesome night oreshades the christall heauens,
Here breake we off our hunting for to night;
Cupple vppe the hounds and let vs hie vs home,
And bid the huntsman see them meated well,
For they haue all derseru'd it well to daie,
But soft, what sleepie fellow is this lies heere?
Or is he dead, see one what he dooth lacke?
Seruingman. My lord, tis nothing but a drunken sleepe,
His head is too heauie for his bodie,

And he hath drunke so much that he can go no furder.

Lord. Fie, how the slauish villaine stinkes of drinke.
Ho, sirha arise. What so sound asleepe?
Go take him vppe and beare him to my house,
And beare him easilie for feare he wake,
And in my fairest chamber make a fire,
And set a sumptuous banquet on the boord,
And put my richest garmentes on his backe,
Then set him at the Table in a chaire:
When that is doone against he shall awake,
Let heauenlie musicke play about him still,
Go two of you awaie and bear him hence,
And then Ile tell you what I haue deuisde,

But see in any case you wake him not. Exeunt two with Slie.

77, 78. An't please your honour, etc. :-It was in old times customary for players to travel in companies and offer their services at great houses. See Hamlet, II. ii.

102. buttery-Pope remarks that "the top of the profession were then mere players, not gentlemen of the stage; they were led into the buttery, not placed at the lord's table, or the lady's toilette."

Scene II.

[Enter aloft, etc.] According to the original stage direction, Sly and the other persons of the Induction were to be exhibited here, and during the representation of the comedy, in a balcony, where, at the performance of a play within a play the mimic spectators sometimes sat, while the action was carried on at the front of the stage. In the middle of the deep stage, according to Tieck, rose two wooden pillars, eight or ten feet high, which supported the balcony. Three broad steps led from the front stage to the inner alcove under the balcony, which was sometimes open, sometimes curtained off. It represented, according to circumstances, a cave, a room, a summer-house, a family vault, and so forth. It was here that, in Macbeth, the ghost of Banquo appeared seated at the table. Here stood the bed on which Desdemona was smothered. Here, in Hamlet, the play within a play was acted. Here Gloucester's eyes were put out. On the balcony above, Juliet waited for her Romeo, and Sly took his place to see The Taming of the Shrew. When the siege of a town had to be represented, the defenders of the walls stood and parleyed on this

balcony, while the assailants were grouped in the foreground.

In the old play this is the beginning of the Scene:

Enter two with a table and a banquet on it, and two other with Slie asleepe in a chaire, richlie apparelled, and the musicke plaieng.

One. So: sirha now go call my Lord,

And tell him that all things is ready as he wild it. Another. Set thou some wine vpon the boord

And then Ile go fetch my Lord presentlie.

Enter the Lord and his men.

Lord. How now, what is all thinges readie?

One. I my Lord.

Lord. Then sound the musick, and Ile wake him straight,
And see you doo as earst I gaue in charge.

My lord, My lord, he sleepes soundlie: My Lord.

Slie. Tapster, gis a little small ale. Heigh ho.
Lord. Heers wine my lord, the purest of the grape.

Slie. For which Lord?

Lord. For your honour my Lord.

Slie. Who I, am I a Lord? Jesus what fine apparell haue I got. Lord. More richer farre your honour hath to weare,

And if it please you I will fetch them straight.

Wil. And if your honour please to ride abroad,
Ile fetch you lustie steedes more swift of pace
Then winged Pegasus in all his pride,
That ran so swiftlie ouer the Persian plaines.
Tom. And if your honour please to hunt the deere,
Your hounds stands readie cuppeld at the doore.
Who in running will oretake the Row,

And make the long breathde Tygre broken winded.
Slie. By the masse I thinke I am a Lord indeed.

ACT FIRST.

Scene I.

2. fair Padua, nursery of arts:-" During the ages," says Knight, "when books were scarce and seminaries of learning few, men of accomplishment in literature, science, and art crowded