Lucentio speaks in high romantic register — mythological references, breathless apostrophes, classical allusions. His speech immediately inflates whatever he's feeling to cosmic proportions. Watch for the gap between his lofty language and the fairly practical schemes that follow.
Tranio, since for the great desire I had
To see fair Padua, nursery of arts,
I am arriv’d for fruitful Lombardy,
The pleasant garden of great Italy,
And by my father’s love and leave am arm’d
With his good will and thy good company,
My trusty servant well approv’d in all,
Here let us breathe, and haply institute
A course of learning and ingenious studies.
Pisa, renowned for grave citizens,
Gave me my being and my father first,
A merchant of great traffic through the world,
Vincentio, come of the Bentivolii.
Vincentio’s son, brought up in Florence,
It shall become to serve all hopes conceiv’d,
To deck his fortune with his virtuous deeds:
And therefore, Tranio, for the time I study,
Virtue and that part of philosophy
Will I apply that treats of happiness
By virtue specially to be achiev’d.
Tell me thy mind; for I have Pisa left
And am to Padua come as he that leaves
A shallow plash to plunge him in the deep,
And with satiety seeks to quench his thirst.
Tranio, I came here because I've always wanted to see the famous city of Padua, center of learning and art. I've arrived in the fertile plains of Lombardy, the beautiful garden of Italy itself. My father's permission and your company gave me the courage to come. You're a trusted servant whose judgment I've always relied on. Let's catch our breath here and plan out a serious course of study and learning. My home, Pisa, is known for producing educated men. My father, a merchant with connections all over the world, Vincentio from the Bentivolii family, sent me here. Coming here from Florence, I want to make good on the potential my family sees in me, to build my future through virtuous actions. So, Tranio, while I'm studying, I'm going to focus on that kind of philosophy that teaches what truly makes someone happy—virtue is the path there. Tell me what you think. I've left Pisa behind, and I've come to Padua like someone leaving a shallow pond to dive into the ocean. I'm thirsty for knowledge and ready to drink deeply.
Look, Tranio, I came here because I'm desperate to see Padua—the place where all the smart people go. I showed up in Lombardy, right in the middle of this gorgeous Italian countryside. My dad gave me his blessing and you came with me, and honestly that's everything I need. You know me, you're solid, we're going to be fine. Let me just pause here a second and we'll get ourselves set up with some real classes and some serious study time. Pisa made me who I am, and my dad's been all over the world doing business—he's from one of the important families, named Vincentio. He raised me in Florence and now I'm out here to make him proud, you know? Build my reputation through doing the right things. So here's the deal: while I'm studying, I'm going to dive into the good stuff—the philosophy about what actually makes life worth living. What do you think? I came here straight from Pisa like I'm jumping from a puddle into the sea. I'm hungry for it.
tranio i came all this way bc padua is supposed to be THE place for learning i'm NOT here to waste time i want to actually GET somewhere you know? make my family proud tell me real talk are we doing this right
Tranio is the sensible voice in the room — he notices what Lucentio misses (Katherine's behavior), but he's also genuinely loyal and will go along with increasingly absurd plans. Watch for how he translates his master's romantic fever into workable logistics.
_Mi perdonato_, gentle master mine;
I am in all affected as yourself;
Glad that you thus continue your resolve
To suck the sweets of sweet philosophy.
Only, good master, while we do admire
This virtue and this moral discipline,
Let’s be no stoics nor no stocks, I pray;
Or so devote to Aristotle’s checks
As Ovid be an outcast quite abjur’d.
Balk logic with acquaintance that you have,
And practise rhetoric in your common talk;
With your permission, kind master. I feel exactly as you do. I'm happy you're committed to studying sweet philosophy. But while we're admiring this virtue and good judgment, let's not become humorless or rigid, I'm asking you. Don't be so devoted to following Aristotle's rules that you completely reject Ovid and the poets—they have something to teach too. Have your intellectual debates with the people you meet, practice making good arguments in everyday conversation.
Look, with respect, sir, I'm right there with you on this. I'm glad you want to buckle down and get into philosophy and all that beautiful thinking. But here's the thing—don't get so serious that you turn into a statue, okay? You'll drive yourself crazy if you only read Aristotle and decide everything else is garbage. Ovid's poetry has its place too. Talk to people when you meet them, argue a little bit, practice making your points stick in regular conversation.
look you're gonna study philosophy which is great but PLEASE don't become one of those people who's like poetry is bad keep yourself alive a little ok talk to people debate stuff
Gramercies, Tranio, well dost thou advise.
If, Biondello, thou wert come ashore,
We could at once put us in readiness,
And take a lodging fit to entertain
Such friends as time in Padua shall beget.
But stay awhile; what company is this?
Thank you, Tranio, that's good advice. If Biondello had arrived by now, we could get ourselves organized right away and find a place nice enough for entertaining the friends we'll make here in Padua. But wait—who are these people coming?
Thanks, Tranio—you're right about all that. If Biondello was here already, we could've gotten set up and found a decent place to live. But hold on a second—who's this coming our way?
thanks for that if biondello was here we'd be all set by now wait who's that?
Master, some show to welcome us to town.
Sir, looks like they're putting on some kind of show to welcome us to the city.
Looks like they're throwing us a welcome party, sir.
looks like a show for us
Baptista speaks like a man who has made a firm decision and is slightly embarrassed by it. His language is consistently businesslike and placating — he loves both daughters but has given up trying to manage Katherine directly. Watch for how he avoids ever truly confronting her.
Gentlemen, importune me no farther,
For how I firmly am resolv’d you know;
That is, not to bestow my youngest daughter
Before I have a husband for the elder.
If either of you both love Katherina,
Because I know you well and love you well,
Leave shall you have to court her at your pleasure.
Gentlemen, stop asking me. You know how determined I am. I'm not going to let my younger daughter marry until I've found a husband for the elder one. If you really care about Katherina, since I know and trust you both, you're welcome to court her whenever you want.
Gentlemen, I'm not changing my mind, so stop trying. You know exactly how serious I am about this. Bianca doesn't get married until Katherina does. If you actually want Katherina, fine—go ahead and court her. I'm okay with that.
gentlemen i'm NOT changing my mind katherina has to get married FIRST if you want her go for it i'm done talking about this
Gremio speaks in mercantile metaphors and blunt self-interest — he's the play's realist, dismissing idealism at every turn. Watch for how his speeches always boil down to cost-benefit analysis, even when discussing love.
To cart her rather: she’s too rough for me.
There, there, Hortensio, will you any wife?
I'd rather see her carted off to jail—she's too rough for me. Hey, Hortensio, you want a wife?
I'd rather cart her off to prison, honestly. She's too brutal. So Hortensio, you want to take a shot at her?
i'd rather have her taken away she's too harsh hey hortensio you want her
Katherine's speech is short, sharp, and laced with contempt. She weaponizes literal meaning — 'mates' as marriage partners vs. mates as inferiors — and turns every taunt back. Watch for how her wit is always reactive; she's responding to people who've already dismissed her.
To make a stale of me amongst these mates?
You want to make a spectacle of me in front of these people?
You're trying to show me off like I'm some kind of prize?
are you seriously trying to parade me around like i'm for sale
Hortensio is pragmatic and slightly pompous — he presents himself as reasonable while scheming constantly. Watch for how he always frames his self-interest as concern for others.
Mates, maid! How mean you that? No mates for you,
Unless you were of gentler, milder mould.
Mates? What do you mean, maid? You won't get mates like us unless you're much gentler and more pleasant.
Mates? What're you talking about? You're not going to get partners unless you're way nicer and softer.
mates? what do you mean you won't GET a mate acting like this be nicer
I’ faith, sir, you shall never need to fear;
I wis it is not half way to her heart;
But if it were, doubt not her care should be
To comb your noddle with a three-legg’d stool,
And paint your face, and use you like a fool.
I swear, sir, you'll never have to worry about that. I won't give you my love—it's nowhere near your heart anyway. But if it ever got there, don't doubt that I'd grab a three-legged stool and comb your head with it, paint your face with my hands, and treat you like a fool.
Look, sir, you're safe—you're never going to get my love. It's not anywhere near reaching your heart anyway. But if it somehow did, believe me, I'd take a stool and bash you with it, wreck your face, treat you like the idiot you're being.
don't worry you're never getting me like literally never but if you did try i would 100% beat your face in with whatever's closest and you'd deserve it
The Taming of the Shrew opens with an Induction — a prologue in which a lord plays a trick on a drunken tinker named Christopher Sly, convincing him he's a nobleman. The 'play' about Petruchio and Katherine is staged for Sly's entertainment. This framing device (which most modern productions quietly drop after Act 1) does something genuinely strange to the comedy: it places the entire story inside a deception, raising the question of what's real. If Sly is being manipulated into believing a fiction, what is the audience's relationship to the 'reality' of Katherine's taming? The frame was popular in the 1590s — a play-within-a-play was a mark of theatrical sophistication. But it also seeds the play with a nagging meta-question: who has the power to tell a story, and for whose benefit? Keep watching for moments where the comedy's cheerfulness feels strained against that framing question.
From all such devils, good Lord deliver us!
May the Lord protect us from all such devils!
God save us from women like that.
omg get me away from her please
And me, too, good Lord!
And me too, good Lord!
Me too, absolutely.
yes PLEASE
Husht, master! Here’s some good pastime toward:
That wench is stark mad or wonderful froward.
Hush, master! Look at this—there's entertainment happening. That woman is either completely insane or absolutely determined to be difficult and contrary.
Quiet, sir—this is good. That girl's either completely crazy or she's just committed to being a nightmare.
shhh look at this that girl is insane or she REALLY likes being awful either way this is a show
But in the other’s silence do I see
Maid’s mild behaviour and sobriety.
Peace, Tranio!
But in her sister's silence I can see gentleness and composure. Tranio, be quiet.
But watch the other sister—she's quiet, graceful, calm. Tranio, just let me look.
but look at bianca so quiet and graceful oh wow
Well said, master; mum! and gaze your fill.
Yes, sir, that's right—stay quiet and look your fill.
Right, sir—just keep your mouth shut and enjoy the view.
good idea just watch
Gentlemen, that I may soon make good
What I have said,—Bianca, get you in:
And let it not displease thee, good Bianca,
For I will love thee ne’er the less, my girl.
Gentlemen, let me do what I said I would do. Bianca, go inside. And don't be upset, sweetheart—I promise I'll love you just as much. You're still my girl.
Gentlemen, I'm following through on what I said. Bianca, go on inside now. And don't be sad about it, honey. I love you just as much as ever.
bianca go inside don't be upset i still love you this isn't your fault
A pretty peat! it is best put finger in the eye, and she knew why.
That's pretty clever! She might as well poke her own eye out, if that's what she actually felt.
Oh, that's clever. She'd better gouge out her own eye if she actually meant any of that.
sure bianca totally genuine she should just stab herself if she actually believed that
Bianca speaks in the language of perfect feminine virtue — humble, sweet, self-effacing. But there's always a faint edge: her 'content you in my discontent' is grammatically generous and emotionally cold. Watch for the moments when the sweetness becomes a performance.
Sister, content you in my discontent.
Sir, to your pleasure humbly I subscribe:
My books and instruments shall be my company,
On them to look, and practise by myself.
Sister, I'll be content in my unhappiness. Sir, I'll agree to whatever makes you happy. My books and my music—they'll be my only company. I'll study them and practice on my own.
Sister, I'll be happy being unhappy, I guess. Sir, whatever you want, I'm fine with it. I'll just spend time with my books and my instruments. That's my life now.
i'm fine with being sad if that's what you want i'll just study and practice alone
Hark, Tranio! thou mayst hear Minerva speak.
Tranio, listen—did you hear? That's Minerva speaking!
Tranio, you hearing this? That's like listening to a goddess.
tranio SHE'S SO PERFECT like she's a goddess
Signior Baptista, will you be so strange?
Sorry am I that our good will effects
Bianca’s grief.
Signior Baptista, why are you being so harsh? I'm sorry our good intentions are causing Bianca so much pain.
Sir, why'd you have to be so strict? Look, we didn't mean to upset her—we're actually trying to help.
dude why the harsh rule we didn't want to hurt bianca we're trying to help
Why will you mew her up,
Signior Baptista, for this fiend of hell,
And make her bear the penance of her tongue?
Why are you locking her up, Signior Baptista? She's a demon from hell—why should she get to make Bianca suffer for her behavior?
Why are you keeping her locked up? She's a nightmare—why does Bianca have to be punished for her sister being a nightmare?
why is she locked up she's a demon bianca doesn't deserve to suffer for that
Gentlemen, content ye; I am resolv’d.
Go in, Bianca.
Gentlemen, I'm satisfied with my decision. Stop arguing. Come on, Bianca.
Gentlemen, I've made up my mind. That's it. Come on, Bianca.
stop i've decided bianca let's go
Katherine speaks fewer than thirty words in this entire scene, but every word is precision-engineered. 'Is it your will to make a stale of me amongst these mates?' — she takes Hortensio's word 'mates' and spins it into three simultaneous insults: a stale (decoy bird, laughingstock), mates (suitors who don't want her, inferiors who mock her). This is the play's first demonstration that Katherine's intelligence is as sharp as advertised. She doesn't rant — she cuts. The irony the scene establishes is that she's right: she is being used as a gate, an obstacle, a bureaucratic inconvenience to be cleared so everyone can get to Bianca. What would she be if the play were actually about her? That question — which Shakespeare never quite answers — is what makes the comedy so unresolved.
Why, and I trust I may go too, may I not? What! shall I be appointed
hours, as though, belike, I knew not what to take and what to leave?
Ha!
Why shouldn't I leave? Are you going to tell me when I can come and go? Like I don't know how to make my own decisions? That's insulting.
Wait, I'm just supposed to stay here? You're going to schedule my time for me? Like I can't figure things out myself? That's crazy.
wait am i not allowed to leave you're controlling my schedule now i can make decisions for myself you know
You may go to the devil’s dam: your gifts are so good here’s none will
hold you. Their love is not so great, Hortensio, but we may blow our
nails together, and fast it fairly out; our cake’s dough on both sides.
Farewell: yet, for the love I bear my sweet Bianca, if I can by any
means light on a fit man to teach her that wherein she delights, I will
wish him to her father.
You can go to hell for all I care. Your gifts are so terrible that nobody wants to stay around you anyway. Hortensio and I might as well sit here and wait for something better. Our plan isn't working—we're stuck. But look, I care about Bianca so much that if I could find any man talented enough to teach her music—something she loves—I'd send him straight to her father.
Look, go to the devil. Your personality's so bad that nobody's staying. We might as well sit back and wait this out. Our whole strategy's falling apart on both sides. But honestly, I love Bianca so much that if I found some guy who could teach her music and everything, I'd be like 'Go to her dad right now.'
whatever go away no one wants to be around you we're stuck here but if i found someone to teach bianca music i'd send them straight to her father bc that's her dream
So will I, Signior Gremio: but a word, I pray. Though the nature of our
quarrel yet never brooked parle, know now, upon advice, it toucheth us
both,—that we may yet again have access to our fair mistress, and be
happy rivals in Bianca’s love,—to labour and effect one thing
specially.
I agree with you, Signior Gremio. But I want to say something: even though we've been rivals who couldn't talk to each other before, now it makes sense that we cooperate. If we can find a husband for Katherina, we'll finally be able to approach Bianca again and compete for her properly. That's what we should focus on doing.
I'm with you, Gremio. But here's the thing—look, we've been enemies, right? But now I'm realizing we both want the same thing. If we can somehow get Katherina married off, we can both finally have a real shot at Bianca. We should team up on that one goal.
okay you're right but listen we've been enemies but if we team up to get katherina married we can BOTH have a shot at bianca that's what we should do
What’s that, I pray?
What do you mean?
What are you talking about?
what
Marry, sir, to get a husband for her sister.
To find a husband for her sister.
To get Katherina married.
get katherina married
A husband! a devil.
A husband? More like a devil!
A husband? You mean the devil!
a husband right and i'm the queen of england
I say, a husband.
I'm saying—a husband.
A husband. That's what I'm saying.
husband
I say, a devil. Thinkest thou, Hortensio, though her father be very
rich, any man is so very a fool to be married to hell?
A devil! Do you really think, Hortensio, that any man—no matter how desperate or foolish—would marry her just because her father's rich? Who'd be stupid enough to marry into hell?
A devil! Come on, Hortensio. You really think some guy is going to marry her just for money? Who's dumb enough to sign up for that nightmare?
the devil no man is THAT desperate not even for money who would marry HELL
Tush, Gremio! Though it pass your patience and mine to endure her loud
alarums, why, man, there be good fellows in the world, and a man could
light on them, would take her with all faults, and money enough.
Look, Gremio, I know her voice is unbearable, but there are good men out there. If you found one, he'd take her with all her faults as long as the money was right. Money is a powerful incentive.
Okay, Gremio, yes, she's loud and awful. But there are decent guys out there who'd deal with it if there was enough money involved. You'd be surprised what guys will put up with for cash.
but there ARE guys who'd do it for the right price money is everything trust me
I cannot tell; but I had as lief take her dowry with this condition: to
be whipp’d at the high cross every morning.
I can't say for sure. I'd honestly prefer to take her dowry but accept a condition: having myself whipped every morning in the town square.
I don't know. I'd rather take her money and just get beaten publicly every day. That's preferable.
i'd rather get whipped daily than marry her seriously I'D RATHER BE TORTURED
Faith, as you say, there’s small choice in rotten apples. But come;
since this bar in law makes us friends, it shall be so far forth
friendly maintained, till by helping Baptista’s eldest daughter to a
husband, we set his youngest free for a husband, and then have to’t
afresh. Sweet Bianca! Happy man be his dole! He that runs fastest gets
the ring. How say you, Signior Gremio?
Fair point—there's not much good to choose from. But since this rule is making us allies, let's stay friendly until we get Katherina married. Once Baptista's eldest is off his hands, his youngest is free for anyone. Then we're back to being rivals. Bianca's lucky—whoever wins her. Whoever moves fastest wins the prize. What do you say, Gremio?
Fair point—all the good ones are gone. But look, since we're stuck together on this, let's work together until Katherina's married. Once that happens, Bianca's free and we're back to fighting it out. Whoever runs the fastest gets her. You with me?
okay you're right there's no good options but IF we get katherina married then bianca is free and we can both actually pursue her races on whoever's fastest wins what do you say
The disguise-as-tutor plot Lucentio hatches in this scene is straight from Italian commedia dell'arte and the Roman comedies of Terence and Plautus that Shakespeare studied in school. The young man who disguises himself to gain access to a girl whose father won't allow suitors is a stock plot going back to ancient Rome. Shakespeare knows his audience knows this — and he layers on extra complications (Tranio also has to pretend to be Lucentio, the real Vincentio will eventually arrive, another fake Vincentio will be recruited) until the original simple scheme has spawned a baroque structure of nested deceptions. The play's subtitle could be 'what happens when you build a lie that requires four more lies to sustain it.' The comedy of errors here is not accidental — it's the inevitable consequence of treating a woman as a gate rather than a person.
I am agreed; and would I had given him the best horse in Padua to begin
his wooing, that would thoroughly woo her, wed her, and bed her, and
rid the house of her. Come on.
I'm in. I'd give the best horse in Padua to whoever would really court her, marry her, and take her to bed. Anyone who gets her out of this house gets my support. Let's go.
I'm in. I'd give my best horse to whoever seriously marries her and gets her out of here. Anyone who removes her from our lives has my full backing. Let's do it.
yes i'm in whoever marries her and gets her OUT goes my best horse let's go
I pray, sir, tell me, is it possible
That love should of a sudden take such hold?
Sir, can love actually strike like that? Out of nowhere, taking hold so suddenly?
Sir, is that actually how love works? Just hits you out of nowhere all at once?
wait can love just happen that fast like one look and you're done
O Tranio! till I found it to be true,
I never thought it possible or likely;
But see, while idly I stood looking on,
I found the effect of love in idleness;
And now in plainness do confess to thee,
That art to me as secret and as dear
As Anna to the Queen of Carthage was,
Tranio, I burn, I pine, I perish, Tranio,
If I achieve not this young modest girl.
Counsel me, Tranio, for I know thou canst:
Assist me, Tranio, for I know thou wilt.
Tranio! I never thought this could happen to me until it actually did. It seemed impossible. But I just watched her and suddenly I felt it—love created by doing nothing but looking. I have to tell you the truth now: I'm burning, I'm pining, I'm dying, Tranio. I will literally die if I don't have this girl. Advise me, Tranio—I know you're smart enough. Help me—I know you will.
Tranio! I swear I never believed this could happen until it just did. It seemed crazy. But I was just standing there looking at her and suddenly—I felt it hit me. I'm burning up, Tranio. I'm serious. I can't live without her. You have to help me figure this out. I know you will.
tranio i'm NOT joking i saw her and i just BROKE i'm burning inside i will literally die if i don't get her help me please
Master, it is no time to chide you now;
Affection is not rated from the heart:
If love have touch’d you, nought remains but so:
_Redime te captum quam queas minimo._
Sir, there's no point in criticizing you right now. Love doesn't come from the head—it comes from the heart. If love has touched you, there's only one path forward. The Latin says: ransom yourself from capture as cheaply as you can.
Sir, I'm not going to lecture you. Love isn't something you can think your way out of. It comes from inside. If you're feeling this, there's only one thing to do. The saying goes: make the best of being captured.
look there's no point lecturing you love doesn't work like logic if you're hit you're hit just accept it and move forward
Gramercies, lad; go forward; this contents;
The rest will comfort, for thy counsel’s sound.
Thank you, Tranio. That's what I need to hear. Everything else will follow from your good advice.
Thanks, buddy. That's exactly what I needed. The rest will work out.
thanks that's what i needed to hear let's keep going
Master, you look’d so longly on the maid.
Perhaps you mark’d not what’s the pith of all.
Sir, you were staring at her for so long. Did you miss the point of what was happening? Did you notice anything about her sister?
Sir, you were watching her way too hard. Did you miss what was actually going on? Did you see her sister at all?
you were staring so hard you didn't see the problem katherina
O, yes, I saw sweet beauty in her face,
Such as the daughter of Agenor had,
That made great Jove to humble him to her hand,
When with his knees he kiss’d the Cretan strand.
I saw her coral lips moving, and the way she breathed—it perfumed the air. Everything about her was sacred and sweet.
I saw her lips, the way she breathed. Everything about her was beautiful and pure.
she was perfect everything about her so beautiful
Saw you no more? mark’d you not how her sister
Began to scold and raise up such a storm
That mortal ears might hardly endure the din?
You didn't see anything else? You didn't notice her sister starting to yell and scream so loudly that it was hard to even hear? That whole storm of noise?
You really didn't see any of that? You didn't notice her sister literally screaming and yelling so loud it was insane?
you didn't notice katherina screaming so loud it was impossible to ignore
Tranio, I saw her coral lips to move,
And with her breath she did perfume the air;
Sacred and sweet was all I saw in her.
I only saw her lips, the way she breathed. The air around her seemed sacred because of her. She was perfect.
All I saw was her. Everything else was background.
she was all i could see everything else disappeared
Nay, then, ’tis time to stir him from his trance.
I pray, awake, sir: if you love the maid,
Bend thoughts and wits to achieve her. Thus it stands:
Her elder sister is so curst and shrewd,
That till the father rid his hands of her,
Master, your love must live a maid at home;
And therefore has he closely mew’d her up,
Because she will not be annoy’d with suitors.
Okay, wake up, sir. This is serious. If you love her, you need to think about how to actually achieve it. Here's the situation: her older sister is so cruel and mean that until her father gets her married, Bianca's stuck at home. She's locked away because the father doesn't want suitors to bother her.
Dude, you need to wake up. This is real. If you want her, you need to actually figure out how to get her. Here's the problem: Katherina's so terrible that Baptista won't let anyone near Bianca until Katherina gets married. She's basically in lockdown.
okay sir wake up bianca is LOCKED UP until katherina gets married the father doesn't want suitors bothering her that's your problem
Ah, Tranio, what a cruel father’s he!
But art thou not advis’d he took some care
To get her cunning schoolmasters to instruct her?
What a cruel father! But did you know he hired tutors to teach her? To improve her education?
That's harsh. But wait—didn't he hire teachers for her? To help her learn?
that's so mean but he hired teachers for her right to teach her stuff
Ay, marry, am I, sir, and now ’tis plotted.
Yes, and now I see the plan.
Yes, and I see where this is going.
yes and i have an idea
I have it, Tranio.
I've got it, Tranio.
I've figured it out.
i got it
Master, for my hand,
Both our inventions meet and jump in one.
Sir, for my part, both our ideas are the same. We're on the same wavelength.
Sir, I think we're both thinking the same thing.
we're thinking the same thing
Tell me thine first.
Tell me your idea first.
You first.
say it
You will be schoolmaster,
And undertake the teaching of the maid:
That’s your device.
You'll become her tutor, teaching her yourself. That's your plan, isn't it?
You're going to be her tutor. You'll teach her yourself.
you're gonna teach her that's the plan
It is: may it be done?
That's the plan. But can it actually work?
Yeah. But how does it actually happen?
how do we make that work
Everyone in this scene is loud except Bianca. Katherine rants, Gremio complains, Hortensio protests, Lucentio rhapsodizes. Bianca says four lines: she tells Katherine she'll strip off her jewels, she humbly defers to her father, she says she'll practice her books alone. This is the behavior of someone who has learned exactly what earns approval in her household. The irony — and it's a deep one — is that Bianca is not actually the passive gentle creature the scene presents. In 3-1 she takes charge of her own lessons with confidence. In 5-2 she refuses to come when summoned by her husband and makes an acerbic quip about it. Bianca's sweetness is a mask worn as expertly as any of the actual disguises in the play. Whether Shakespeare intends this as critique or comedy or both is one of the play's most interesting open questions.
Not possible; for who shall bear your part
And be in Padua here Vincentio’s son;
Keep house and ply his book, welcome his friends;
Visit his countrymen, and banquet them?
It's impossible. Who would take your place here in Padua as Vincentio's son? Who'd maintain your household, keep up your studies, receive your friends, hang out with your countrymen, entertain them at meals?
It's not possible. Who's going to be you here? Who's going to act like Vincentio's son, run your house, keep studying, meet your friends, do all the stuff you're supposed to be doing?
wait who's gonna be you like someone has to pretend to be vincentio's son who does that
_Basta_, content thee, for I have it full.
We have not yet been seen in any house,
Nor can we be distinguish’d by our faces
For man or master: then it follows thus:
Thou shalt be master, Tranio, in my stead,
Keep house and port and servants, as I should;
I will some other be; some Florentine,
Some Neapolitan, or meaner man of Pisa.
’Tis hatch’d, and shall be so: Tranio, at once
Uncase thee; take my colour’d hat and cloak.
When Biondello comes, he waits on thee;
But I will charm him first to keep his tongue.
I'm working on it. My servant Tranio will take my place.
I've thought of that. My servant—you—you could do it.
you could do it you're smart enough
So had you need.
In brief, sir, sith it your pleasure is,
And I am tied to be obedient;
For so your father charg’d me at our parting,
‘Be serviceable to my son,’ quoth he,
Although I think ’twas in another sense:
I am content to be Lucentio,
Because so well I love Lucentio.
Me, sir? I'll try. But what if I'm recognized or discovered?
Me? I don't know if I can pull that off, sir.
me? i don't think i can do that
Tranio, be so, because Lucentio loves;
And let me be a slave, to achieve that maid
Whose sudden sight hath thrall’d my wounded eye.
You'll be fine. Be confident. Nobody knows us here. You've always copied my manners perfectly, and I'll help you. You can learn whatever you need to learn. You'll pull it off.
You'll be fine. Nobody here knows us. You're smart enough to figure out how I act, and I'll help you. You can do this.
you can do it no one knows us here you're smart you'll figure it out
Biondello is quick-witted and cheerfully opportunistic — he absorbs information fast and rarely loses his cool. Watch for how he transforms instructions into cheeky observations.
Where have I been? Nay, how now! where are you?
Master, has my fellow Tranio stol’n your clothes?
Or you stol’n his? or both? Pray, what’s the news?
Well, sir, you're the boss. Whatever you need.
Yeah, sir, whatever you say.
yes sir whatever
Sirrah, come hither: ’tis no time to jest,
And therefore frame your manners to the time.
Your fellow Tranio here, to save my life,
Puts my apparel and my count’nance on,
And I for my escape have put on his;
For in a quarrel since I came ashore
I kill’d a man, and fear I was descried.
Wait you on him, I charge you, as becomes,
While I make way from hence to save my life.
You understand me?
Tranio, you take his clothes. Biondello, you take mine. And we'll exchange everything about our appearance.
Tranio, you take his outfit. Biondello, you get mine. We're switching everything.
switch clothes tranio you're now my guy and i'm the tutor
I, sir! Ne’er a whit.
What's my name now, sir?
What do I call myself?
who am i now
And not a jot of Tranio in your mouth:
Tranio is changed to Lucentio.
You're Cambio now. You're a schoolteacher's servant.
Cambio. You're a tutor's servant.
cambio you're my servant
The better for him: would I were so too!
I understand, sir. I'm Cambio.
Got it.
got it
So could I, faith, boy, to have the next wish after,
That Lucentio indeed had Baptista’s youngest daughter.
But, sirrah, not for my sake but your master’s, I advise
You use your manners discreetly in all kind of companies:
When I am alone, why, then I am Tranio;
But in all places else your master, Lucentio.
I'll be Lucentio from now on. I'll do my best to be convincing as your father's son.
I'll be you. I'll make it work.
i'm you now i'll handle it
Tranio, let’s go.
One thing more rests, that thyself execute,
To make one among these wooers: if thou ask me why,
Sufficeth my reasons are both good and weighty.
Perfect. Now let's go meet this Baptista and his daughters. Time to get to work.
Let's go find Baptista. Time to start this.
let's go it's time
My lord, you nod; you do not mind the play.
Sir, here's what the house needs. All these things are here for you.
Everything you need is ready, sir.
it's all set up
Yes, by Saint Anne, I do. A good matter, surely: comes there any more
of it?
I'm drunk. How did I get here? Where am I? Who are these people?
What's going on? Where am I? This isn't right.
where am i what is this place
My lord, ’tis but begun.
Sir, you're home. You've been confused for a while, but you're fine now. You're safe.
You're home, sir. You're fine now.
you're home you're safe
’Tis a very excellent piece of work, madam lady: would ’twere done!
I'm not sure. This doesn't look like my place. Who are all these people?
This doesn't feel right. Who are they?
this isn't my place who are these people
The Reckoning
This scene does everything an opening scene should: it establishes the stakes, introduces every major player, and reveals the central machinery of the plot. But what lingers is Katherine — the way every man in the scene treats her like a problem to be solved, a door to be opened so they can get to Bianca. She has barely spoken and she's already been dismissed, mocked, and offered as a challenge prize. The audience is left with a question that will haunt the whole play: what would she be like if anyone actually listened to her?
If this happened today…
Imagine two sisters at a family reunion being openly discussed by a group of guys who want to date the younger one. The older sister, notoriously blunt and difficult, is basically treated as a bureaucratic obstacle — 'someone has to date her first, then we can all pursue the nice one.' Meanwhile a new guy at the party, Lucentio, catches one glimpse of the younger sister across the room and completely loses his mind. He starts texting his buddy: 'I need to get close to her. Can you pretend to be me for a few months?' His buddy, slightly exasperated, says okay — because that's what loyal friends do.