Induction.
The opening scenes of The Taming of the Shrew are often cut out, as the play itself is intelligible without them, the omitted part showing an inn, at the door of which the hostess reproaches Sly for not paying his debts, ere she departs in quest of a constable to arrest him. Too drunk to heed threats, Sly falls asleep near the door, in spite of the noise of an approaching hunting party.
A lord, dashing upon the scene, gives orders to the huntsmen for the care of his hounds, and, suddenly becoming aware of Sly's presence, is seized with a mad desire to play a practical joke upon him. He, therefore, bids his servants pick up the unconscious tinker, giving them elaborate directions to put him to bed in a luxurious chamber, pretending, when he awakes, that he is their beloved master, who has been insane for some time.
The servants, delighted with the idea, remove the unconscious man, just as strolling players arrive and are hired to perform that evening for Sly's benefit. These preparations completed, the lord directs that his page dress up like a lady, to play the part of Sly's wife, using an onion, if necessary, to produce artificial tears.
The next scene is played in the lord's house, where Sly awakens, surrounded by obsequious attendants, proffering garments, drink, and food. When the bewildered tinker insists that he never owned more than one suit of clothes at a time, the attendants pity his delusions, and reproach him for not inquiring for his devoted wife, who has mourned his sad state for the past fifteen years. It is while Sly is muttering in surprise, that the page enters, dressed as a lady, and weeping profusely, begins to lavish caresses upon him, while he, in his bewilderment, asks the servants how to address this woman.
Under pretence of preventing Sly's falling back into his sad state of melancholy, a play is proposed, and it is this "play within a play" which gives its title to this chapter. Although Sly shows so little appreciation for it that he wishes it were done at the close of the first scene, it has delighted the public for the past three hundred years.
Act I.
The rising curtain reveals the public square in Padua, where Lucentio is telling his servant Tranio he has come here to attend the university, hoping to make good use of the opportunities his father affords him to enlarge his mind. Sent not only to wait upon his young master, but also to watch over him, this servant gives Lucentio the wise advice to vary his studies, working hardest at what he likes best, adding sagely, "No profit grows where is no pleasure ta'en: in brief, sir, study what you most affect."
They are still talking, while awaiting Lucentio's second servant, when people arrive in the square. The newcomers are Baptista, a rich gentleman, accompanied by his two daughters, Katharine and Bianca, and the latter's two suitors, Gremio and Hortensio. Drawing aside, master and man comment on what is going on, thus overhearing Baptista's decision to allow Bianca to receive no further attentions until her elder sister has secured a husband; and his intimation that, should either of Bianca's suitors fancy Katharine, he is welcome to her. Neither gentleman, however, seems inclined to avail himself of this privilege, as Katharine is known for a temper so violent that none dare approach her.
Baptista's decision, and the evident reluctance of both men to sue for her hand, drive Katharine to rude remarks, which prove that her reputation for shrewishness is well deserved. This violence also attracts remarks from the eavesdroppers, the servant averring the lady must be mad, while his master opines her manners present a startling contrast to those of her sister, the most attractive woman he has ever seen.
While Lucentio is thus falling in love with Bianca, Baptista informs her he is going to banish her into the house where she can amuse herself studying, because, as long as she is visible, her sister will never be able to secure a mate. Although Bianca submits without murmur, her lovers protest so vehemently, that her father, who evidently prefers his younger child, offers to sweeten her captivity by supplying her with masters of all kinds, inquiring whether the suitors know of any good teachers in town.
Although Baptista bids Katharine remain behind while he conducts her sister into retirement, this contrary damsel follows them both, leaving the two pretenders to procure not only masters for Bianca, but, if possible, a suitor willing to overlook the shrew's temper in consideration of her large dowry.
Hortensio and Gremio having gone, the first-comers resume their interrupted conversation, Lucentio rhapsodising about Bianca until Tranio reminds him of her father's decree. The youth then boldly decides to become master of literature to the lady, his servant personating him, in the meantime, in town. Charmed to play such a part, the man suggests his companion in service can wait upon him, so he and his master immediately change clothes. They have barely done so when the second servant comes on the scene, whereupon Lucentio explains to him that, having killed a man in a duel, he is obliged to hide to avoid punishment, and that, while one of his servants represents him, the other must serve his comrade with all outward respect.
This matter has just been settled when Petruchio and his servant appear, the former remarking he has come to Padua to visit Hortensio, before whose house he now stands. He bids his man knock at the door, using the expressions, 'knock me, rap me,' etc., — terms the servant is too simple to interpret otherwise than literally, but dares not carry out. Angry at not being obeyed, Petruchio pulls his man's ears, thus attracting Hortensio, who explains the verbal misunderstanding. The servant now drawing aside, the friends converse confidentially, Petruchio revealing that, his father's death having made him a man of means, he has come to Padua to secure a rich wife. On hearing this, Hortensio eagerly suggests he espouse Katharine, warning him loyally that, however rich she may be, she has the reputation of a shrew. Attracted by the lady's large dowry, Petruchio, — who deems himself competent to cope with any woman's temper, — enthusiastically declares he will woo and win her.
The servant, perceiving Petruchio pays no heed to Hortensio's strictures, hints that when his master has once gotten an idea into his head, it can never be dislodged, adding that, having learned Katharine has money, Petruchio will marry her whether or no, and that, being a clever actor, he will doubtless scold harder than she, should occasion arise.
In reply to eager questions, Hortensio gradually reveals who the lady is, and Petruchio, learning their fathers were once friends, feels sure of a good reception. As he is determined not to sleep until he has met the lady whose dowry and temper fascinate him, Hortensio tells him of his love for her sister Bianca, suggesting that in return for the chance of securing so wealthy a bride, Petruchio should introduce him disguised to Baptista, as a master of music, fitted to teach all a lady cares to learn.
It is while they are discussing the details of this scheme that Lucentio comes on the scene, disguised as a master of languages, boastfully assuring Gremio, — whom he has secured as patron, — that he is an adept in his profession. Hoping to win Bianca's favour by providing her with an instructor who will also prove a friend at court, Gremio proudly announces he is bound for Baptista's house.
On learning that Petruchio is also going thither to woo Katharine, Gremio is overjoyed, feeling like Hortensio, that the elder sister once out of the way, Bianca can easily be won. It is, therefore, for the sake of disposing of Katharine, that he and Hortensio bury all rivalry for the present, and vie in giving Petruchio instructions, warning him, however, to prepare for the worst.
To all their cautions this bold suitor confidently replies a little noise will not daunt him, as he has heard lions roar, and sea-waves beat against the shore, and that the crash of thunder and the din of battle have so hardened his ears that a woman's tongue has no terrors for him.
They are about to set out for Baptista's house, when overtaken by Lucentio's servant, impersonating his master, and closely attended by his comrade. The false Lucentio pretends to have come to town to sue for Bianca's hand, and simulates great surprise when informed that he cannot press his suit until her sister is married. When he learns that Gremio and Hortensio are also candidates for her favour, he pettishly demurs; but finally consents to join them in furthering Petruchio's suit, feeling, like the rest, deeply indebted to the man whose wooing of Katharine is their only hope. All, therefore, agree to meet at a banquet that evening, where they will drink to Petruchio's success.
Act II
The second act opens in Baptista's house, where Bianca, hands bound behind her, is undergoing torture at her sister's hands. Although she is piteously begging to be set free, cruel Katharine vows she shall remain a prisoner until she has confessed which suitor she prefers. Thinking her sister covets the possession of one of these lovers, — and not caring for either, — Bianca shows suspicious readiness to abandon both, and thus so rouses Katharine's anger that she strikes her.
The father, appearing at this moment, chides his eldest daughter, who, instead of taking this reproof to heart, lets her sister escape, while she reviles him for his preference of his youngest child. Then, Katharine flounces out of the room, leaving Baptista alone to lament his ill-fortune at being plagued with such a daughter. His soliloquy is interrupted by the arrival of the suitors, and, no sooner have the usual courtesies been exchanged, than Petruchio makes himself known, declaring that, having heard of the beauty, wit, and affability of Baptista's e