Fie, fie on all tired jades, on all mad masters, and all foul ways! Was
ever man so beaten? Was ever man so ray’d? Was ever man so weary? I am
sent before to make a fire, and they are coming after to warm them.
Now, were not I a little pot and soon hot, my very lips might freeze to
my teeth, my tongue to the roof of my mouth, my heart in my belly, ere
I should come by a fire to thaw me. But I with blowing the fire shall
warm myself; for, considering the weather, a taller man than I will
take cold. Holla, ho! Curtis!
Curse all of you exhausted, broken-down horses and crazy masters and terrible roads! Was any man ever beaten so badly? Was any man ever scraped up so badly? Was any man ever so worn out? I was sent ahead to build a fire, and they're coming behind to get warm. Now, if I weren't quick to heat up and get angry, my lips might actually freeze to my teeth, my tongue to the roof of my mouth, my heart in my stomach, before I could get to a fire to warm myself. But I'll warm myself up by blowing the fire; because given this weather, a bigger man than me would catch cold. Hello there! Curtis!
Ugh, I'm so done with all these exhausted horses and crazy owners and horrible roads! Nobody's ever been beaten as hard as me, scraped up as much, or exhausted like this. I got sent ahead to make a fire, and everyone else is coming along later to warm up by it. Honestly, if I weren't someone who gets fired up quick, my lips would actually freeze to my teeth, my tongue to the roof of my mouth—I'd literally freeze solid before I got near a fire. But at least I can warm myself by blowing on the fire. With weather like this, even someone taller and bigger than me would get sick. Hey, Curtis!
curse these tired horses and insane masters and awful roads was any man ever beaten or scraped up or worn out this bad i was sent to make fire, they're following to warm up if i wasn't quick-heated my lips would freeze to my teeth my tongue to the roof of my mouth my heart in my stomach before i found fire but at least i can warm myself in weather like this anyone would freeze hey curtis!
Who is that calls so coldly?
Who is calling me in such a cold voice?
Who's calling me like that?
who's calling
A piece of ice: if thou doubt it, thou mayst slide from my shoulder to
my heel with no greater a run but my head and my neck. A fire, good
Curtis.
A piece of ice: if you doubt me, you could slide right off my shoulder down to my heel without any more of a drop than from my head and neck. Fire, good Curtis.
I'm a block of ice—seriously, if you don't believe me, you could literally slide off my shoulder all the way down to my heel. A fire, Curtis, come on!
i'm a literal piece of ice you could slide off my shoulder to my heel no drop at all just your head and neck fire curtis please
Is my master and his wife coming, Grumio?
Grumio, tell me—is your master and his new wife on their way here?
Are your master and his wife on their way, Grumio?
master and wife coming?
O, ay! Curtis, ay; and therefore fire, fire; cast on no water.
Oh yes! Curtis, yes; and that's why—fire, fire! Don't throw water on it.
Yes, Curtis, yes! So get the fire going—lots of it! Don't use water on it.
yes curtis yes fire fire fire no water
Is she so hot a shrew as she’s reported?
Is she as hot-tempered a shrew as people say?
Is she as much of a sharp-tongued shrew as everyone says?
is she really as much of a shrew as people say
She was, good Curtis, before this frost; but thou knowest winter tames
man, woman, and beast; for it hath tamed my old master, and my new
mistress, and myself, fellow Curtis.
She was, good Curtis, before this cold snap; but you know that winter tames man, woman, and beast; it's tamed my old master and my new mistress, and me too, fellow Curtis.
Yeah, she was, Curtis, before this frost hit. But the thing is, winter tames everyone and everything—men, women, animals. It's worn down my old master and his new wife, and it's gotten to me too.
she was curtis before this frost but winter tames everything man woman and beast tamed my master and mistress and me too
Away, you three-inch fool! I am no beast.
Get out of here, you three-inch fool! I'm not a beast.
Go away, you tiny fool! I'm not some animal.
get out tiny fool i'm not a beast
Am I but three inches? Why, thy horn is a foot; and so long am I at the
least. But wilt thou make a fire, or shall I complain on thee to our
mistress, whose hand,—she being now at hand,— thou shalt soon feel, to
thy cold comfort, for being slow in thy hot office?
Am I only three inches? Well, your horn is a foot long; and I'm at least that tall. But are you going to build a fire, or should I report you to our mistress, whose hand—she's close by now—you'll soon feel, for your own cold comfort, since you're slow in your hot job?
Am I just three inches? Well, your horn is a foot long, so I'm at least that big. Look, are you gonna make a fire or do I need to complain to our mistress? She's almost here, and when she finds out you're moving slow with this fire, you're gonna feel the back of her hand real quick.
am i three inches? your horn is a foot i'm at least that tall are you making fire or should i tell mistress she's almost here you'll feel her hand when she hears you're slow
I prithee, good Grumio, tell me, how goes the world?
I ask you, good Grumio, tell me how things are going in the world.
Come on, Grumio, tell me what's going on.
grumio what's the news
A cold world, Curtis, in every office but thine; and therefore fire. Do
thy duty, and have thy duty, for my master and mistress are almost
frozen to death.
A cold world, Curtis, in every way except for your job; and that's why—fire. Do your duty and get your reward, because my master and mistress are almost frozen to death.
It's a freezing world out there, Curtis, except for the fire you're supposed to make. So get on it. My master and mistress are practically freezing to death.
cold world curtis every office but yours do your job master and mistress almost frozen
There’s fire ready; and therefore, good Grumio, the news.
There's a fire ready already; and so, good Grumio, tell us the news.
The fire's already going; so come on, Grumio, what's the news?
fire's ready now tell us news
Why, ‘Jack boy! ho, boy!’ and as much news as wilt thou.
Well, 'Jack boy! ho, boy!' and as much news as you want.
Well, 'Jack boy! ho, boy!'—and that's all the news you get.
jack boy ho boy that's the news
Come, you are so full of cony-catching.
Come on, you're full of tricks and con games.
Seriously, you're full of it with all your games and tricks.
you're full of con games
Why, therefore, fire; for I have caught extreme cold. Where’s the cook?
Is supper ready, the house trimmed, rushes strewed, cobwebs swept, the
servingmen in their new fustian, their white stockings, and every
officer his wedding-garment on? Be the Jacks fair within, the Jills
fair without, and carpets laid, and everything in order?
Well, that's why—fire; I've caught a bad cold. Where's the cook? Is supper ready, the house cleaned, reeds scattered on the floor, cobwebs swept away, the servants in their new cloth clothing, white stockings on, and everyone in their fancy dress? Are all the drinking cups clean inside, the bowls clean outside, and carpets laid out, and everything in proper order?
That's why I need fire—I'm freezing! Where's the cook? Is dinner ready? Is the house cleaned up, with fresh reeds on the floor, no cobwebs, servants dressed in their new outfits and white stockings? Everyone looking sharp in formal clothes? Are the cups and bowls all clean, carpets laid out, everything perfect?
fire i'm freezing where's cook supper ready house cleaned floor swept no cobwebs servants in new clothes white stockings every officer in wedding clothes cups and bowls clean carpets laid everything ready
All ready; and therefore, I pray thee, news.
All ready; and so I'm asking you, please, what's the news.
Everything's ready; so please, what's the big news?
all ready so what's the news
First, know my horse is tired; my master and mistress fallen out.
First, know that my horse is worn out; my master and mistress have gotten into a quarrel.
First of all, my horse is exhausted. And the master and mistress had a fight.
my horse is tired master and mistress fought
How?
How?
How?
How?
Out of their saddles into the dirt; and thereby hangs a tale.
Fell out of their saddles into the dirt; and there's a story attached to that.
They fell off their horses right into the mud. That's a story.
fell out of saddles into dirt and there's a tale
Let’s ha’t, good Grumio.
Let's hear it, good Grumio.
Come on, tell us, Grumio.
tell us grumio
Lend thine ear.
Give me your ear.
Listen up.
listen
Here.
Here.
Here.
Here.
[_Striking him._] There.
There.
There.
there
This ’tis to feel a tale, not to hear a tale.
That's what it means to feel a story, not just hear it.
That's what you get for experiencing the story instead of just listening.
that's what you get for feeling not hearing a tale
And therefore ’tis called a sensible tale; and this cuff was but to
knock at your ear and beseech listening. Now I begin: _Imprimis_, we
came down a foul hill, my master riding behind my mistress,—
That's why it's called a sensible tale—literally a tale you can feel! That cuff was just to knock on your ear and beg you to listen. Now I'll start my story. First of all, we came down a muddy hill, with my master riding behind my mistress.
That's why it's called a sensible story—you feel it! That hit was just to get your attention. Okay, here's how it starts: First, we came down this muddy hill, with my master riding behind my mistress.
sensible tale means you feel it thats why i hit you first we came down a muddy hill master riding behind mistress
Both of one horse?
Both of them riding on the same horse?
They were both on the same horse?
same horse for both
What’s that to thee?
What's that to you?
Why does that matter to you?
why does it matter
Petruchio's falcon soliloquy draws on a practice that would have been immediately recognizable to Shakespeare's audience: falconry. Training a hawk involved precisely the techniques Petruchio describes — keeping the bird 'sharp' (hungry but alert), watching it constantly to prevent sleep, teaching it to return to the keeper's lure. A hawk that was never hungry would never hunt; a hawk that was never tired would never rest on the glove. The training method was called 'manning' — making the wild bird accustomed to human company. What Shakespeare does with this metaphor is give it an ambiguity the play never resolves: a falcon is not a domestic animal. It is a wild predator that has been taught to cooperate. It chooses, within certain constraints, to return. The question of whether Katherine's final obedience is a tamed falcon returning to the glove — or a bird too exhausted and hungry to fly — is the question the play poses and refuses to answer.
Why, a horse.
Why, a horse.
Why, a horse.
Why, a horse.
Tell thou the tale: but hadst thou not crossed me, thou shouldst have
heard how her horse fell, and she under her horse; thou shouldst have
heard in how miry a place, how she was bemoiled; how he left her with
the horse upon her; how he beat me because her horse stumbled; how she
waded through the dirt to pluck him off me: how he swore; how she
prayed, that never prayed before; how I cried; how the horses ran away;
how her bridle was burst; how I lost my crupper; with many things of
worthy memory, which now shall die in oblivion, and thou return
unexperienced to thy grave.
Go ahead and tell it yourself: but if you hadn't interrupted me, you would have heard how her horse fell and she went down under it; you would have heard how muddy it was, how covered in muck she was; how he left her trapped under the horse; how he beat me because her horse stumbled; how she waded through the dirt to drag him off me: how he swore; how she prayed, something she'd never done before; how I cried out; how the horses ran away; how her bridle was broken; how I lost my saddle pad; all these remarkable things, which now will be forgotten, and you'll go to your grave never knowing what happened.
Fine, go ahead and tell it, but if you hadn't cut me off, you would've heard all about how her horse went down with her under it, how much mud there was and how filthy she got, how he left her trapped under the horse, how he hit me because her horse tripped, how she dragged herself through all the mud to get him off me, how much he was swearing, how she actually prayed—which was new for her, how I was yelling, how the horses bolted, how her bridle snapped, how I lost my saddle cloth—all these amazing things that you'll never hear now and you'll die without ever knowing.
you want the story go ahead but if you hadn't stopped me you'd hear how her horse fell and she went under in all that mud how dirty she got how he left her trapped how he beat me how she prayed for first time how i cried how horses ran how her bridle broke all of it gone now you die not knowing
By this reckoning he is more shrew than she.
By that account he's more of a shrew than she is.
By your story, he sounds like the shrew, not her.
sounds like he's the shrew not her
Ay; and that thou and the proudest of you all shall find when he comes
home. But what talk I of this? Call forth Nathaniel, Joseph, Nicholas,
Philip, Walter, Sugarsop, and the rest; let their heads be sleekly
combed, their blue coats brush’d and their garters of an indifferent
knit; let them curtsy with their left legs, and not presume to touch a
hair of my master’s horse-tail till they kiss their hands. Are they all
ready?
Yes; and that you and the proudest of you all will discover when he comes home. But why do I waste time talking about this? Call forth Nathaniel, Joseph, Nicholas, Philip, Walter, Sugarsop, and the rest; make sure their heads are neatly combed, their blue coats brushed and their garters properly tied; have them bow with their left legs, and don't let any of them dare to touch a hair of my master's horse's tail before they kiss their own hands in respect. Are they all ready?
Yeah, and when he gets home, you and everyone else here is gonna see that. But why am I wasting time? Get Nathaniel, Joseph, Nicholas, Philip, Walter, Sugarsop, all of them. Make their heads look good, brush their blue coats, tie their garters neat. Have them bow with the left leg, and nobody—and I mean nobody—touches one hair on my master's horse's tail until they've kissed their own hands first. Everyone ready?
yeah you'll all see when he gets home call nathaniel joseph nicholas philip walter sugarsop neat hair combed blue coats brushed curtsy with left leg no touching horse tail kiss your hands first everyone ready
They are.
They are.
They are.
They are.
Call them forth.
Call them forth.
Call them forth.
Call them forth.
Do you hear? ho! You must meet my master to countenance my mistress.
Do you hear? Listen up! You must go meet my master to show respect to my mistress.
Hey, you hear me? You all need to go meet my master and show respect to the mistress.
listen go meet master show respect to mistress
Why, she hath a face of her own.
Well, she has a face of her own.
Well, she's got her own face; that's enough.
she has her own face
Who knows not that?
Who doesn't know that?
Yeah, everyone knows that.
obviously
Thou, it seems, that calls for company to countenance her.
You, apparently, since you're asking people to come show respect to her.
You do, since you're the one asking everyone to come out and give her respect.
you do since you're asking for company to respect her
I call them forth to credit her.
I'm asking them to come to give her respect.
I want them to come show their respect for her.
i'm asking them to respect her
Why, she comes to borrow nothing of them.
Well, she doesn't come to borrow anything from them.
Well, she's not coming to ask them for anything.
she's not borrowing from them
Welcome home, Grumio!
Welcome home, Grumio!
Welcome home, Grumio!
Welcome home, Grumio!
How now, Grumio!
Hello, Grumio! How are you?
Hey, Grumio!
hey grumio
What, Grumio!
Well, what do you say, Grumio!
What's up, Grumio!
whats up grumio
Fellow Grumio!
Hello, fellow Grumio!
Grumio, my friend!
grumio
How now, old lad!
Welcome home, old friend!
Welcome back, old guy!
welcome home old lad
Welcome, you; how now, you; what, you; fellow, you; and thus much for
greeting. Now, my spruce companions, is all ready, and all things neat?
Welcome to all of you; how are you; what's up with you; hello to you; and that's enough greeting for now. Now, my smart-looking friends, is everything ready and all things neat?
Welcome, welcome, welcome! How's everyone? What's going on? Hello! Okay, that's enough saying hi. Now, you sharp-looking guys, is everything set up and looking good?
welcome welcome welcome how now you what you fellow you thats the greeting so spruce companions everything ready and neat
All things is ready. How near is our master?
Everything is ready. How close is our master?
All set. How far away is the master?
all ready how close is master
E’en at hand, alighted by this; and therefore be not,—
Cock’s passion, silence! I hear my master.
Right nearby, probably already dismounted; and that's why—for goodness sake, quiet! I hear my master.
He's basically here, probably just getting down from his horse. That's why—oh for crying out loud, shut up! I hear him coming.
basically here now hear him
Where be these knaves? What! no man at door
To hold my stirrup nor to take my horse?
Where is Nathaniel, Gregory, Philip?—
Where are these servants? What! no one at the door to hold my stirrup or take my horse? Where is Nathaniel, Gregory, Philip?—
Where are all these guys? What! nobody at the door to hold my stirrup or take my horse? Where's Nathaniel, Gregory, Philip?—
where are the servants no one at the door no one holding stirrup no one taking horse where's nathaniel gregory philip
Here, here, sir; here, sir.
We're right here, sir; we're right here!
We're here, sir; we're present!
yeah we're here sir we showed up
Here, sir! here, sir! here, sir! here, sir!
You logger-headed and unpolish’d grooms!
What, no attendance? no regard? no duty?
Where is the foolish knave I sent before?
Here, sir! here, sir! here, sir! here, sir! You dumb and badly trained servants! What, no attention? no respect? no duty? Where is the stupid servant I sent on ahead?
Here, sir! here, sir! here, sir! here, sir! You thick-headed and badly trained servants! What, you're not paying attention? no respect? not doing your jobs? Where is the fool I sent to get things ready?
here here here here you stupid untrained servants no attention no respect no duty where's the fool i sent ahead
Here, sir; as foolish as I was before.
I'm standing right here, sir; no less foolish than when I left.
I'm here, sir; still just as stupid as I was.
i'm here sir still as foolish as before
You peasant swain! you whoreson malt-horse drudge!
Did I not bid thee meet me in the park,
And bring along these rascal knaves with thee?
You worthless farm hand! you contemptible farm work horse! Didn't I tell you to meet me in the park, and bring all these scoundrel servants with you?
You useless farmhand! you pathetic work horse! Didn't I tell you to meet me at the park, and bring all these worthless servants along?
you worthless farmhand you contemptible work horse did i not tell you meet me in park bring these rascals
Nathaniel’s coat, sir, was not fully made,
And Gabriel’s pumps were all unpink’d i’ the heel;
There was no link to colour Peter’s hat,
And Walter’s dagger was not come from sheathing;
There was none fine but Adam, Ralph, and Gregory;
The rest were ragged, old, and beggarly;
Yet, as they are, here are they come to meet you.
Nathaniel's coat, sir, wasn't finished yet, and Gabriel's shoes still didn't have holes punched in them at the heel; There was no marking to stain Peter's hat, and Walter's sword was still being sheathed; None of them looked good except Adam, Ralph, and Gregory; The rest were ragged, old, and dressed poorly; Yet, as they are, they've come here to greet you.
Nathaniel's coat, sir, isn't done yet, and Gabriel's shoes haven't been punched with holes at the heels; We didn't have anything to color Peter's hat, and Walter's sword was still at the blacksmith; Only Adam, Ralph, and Gregory look decent; Everyone else looks ragged, old, and shabby; But they're all here to meet you anyway.
nathaniel's coat not done gabriel's shoes not punched no dye for peter's hat walter's sword still sheathing only adam ralph gregory look good rest ragged old shabby but here to greet you
Go, rascals, go and fetch my supper in.
Go on, servants, go get my dinner prepared.
Go on, get out of here and get my supper ready.
go servants fetch my supper
One of the most interesting structural choices in 4-1 is that Shakespeare gives a brief commentary scene to the servants after Petruchio's rage peaks. Nathaniel, Peter, and the others watch their master's behavior and offer the scene's most honest verdict: 'He kills her in her own humor.' The servants are the play's most reliable interpreters — they have no stake in the taming ideology, no need to flatter either party. Their judgment is simple: Petruchio is doing to Katherine exactly what she did to everyone around her, turned back on her. The scene then cuts immediately to Curtis's report that Katherine 'sits as one new risen from a dream' — disoriented, uncertain. The servants see both the method and the effect without approving or condemning either. Their functional compassion ('poor soul') is the closest thing to a moral register the scene has.
Where is the life that late I led?
Where are those—? Sit down, Kate, and welcome.
Food, food, food, food!
Where is the life I used to live? Where are those— ? Sit down, Kate, and be welcome. Food, food, food, food!
What happened to my old life? Where are those— ? Sit down, Kate, welcome here. I want food, food, food, food!
where was my old life sit down kate welcome food food food
Why, when, I say?—Nay, good sweet Kate, be merry.—
Off with my boots, you rogues! you villains! when?
It was the friar of orders grey,
As he forth walked on his way:
Out, you rogue! you pluck my foot awry:
Why, when, I say?—Now, good sweet Kate, be happy.— Off with my boots, you scoundrels! you villains! when? It was the friar dressed in grey, as he walked along on his way: Out, you scoundrel! you're pulling my foot wrong:
Why, when, I say?—Come on, good Kate, cheer up.— Take off my boots, you jerks! you villains! when? There was this friar in grey robes, walking on his way: Get out of here, you jerk! you're twisting my foot:
why when i say be happy kate off with boots jerks stop pulling my foot
Take that, and mend the plucking off the other.
Be merry, Kate. Some water, here; what, ho!
Where’s my spaniel Troilus? Sirrah, get you hence
And bid my cousin Ferdinand come hither:
Take that, and fix pulling off the other one. Be happy, Kate. Bring water here; what, hello! Where's my dog Troilus? Hey you, get out of here and tell my cousin Ferdinand to come here:
Take that, and fix pulling off the other boot. Cheer up, Kate. Get me some water; hey! Where's my dog Troilus? You, go tell my cousin Ferdinand to get over here:
fix the other boot be happy kate get me water call my dog troilus tell cousin ferdinand 2 come
One, Kate, that you must kiss and be acquainted with.
Where are my slippers? Shall I have some water?
Come, Kate, and wash, and welcome heartily.—
One, Kate, that you have to kiss and get to know. Where are my slippers? Should I have some water? Come, Kate, and wash up, and be truly welcome.—
One, Kate, that you gotta kiss and meet. Where are my slippers? Can I get some water? Come on, Kate, wash up, and be really welcome.—
kiss n meet my cousin wheres my slippers water plz wash up kate ur welcome
You whoreson villain! will you let it fall?
You scoundrel villain! will you let it drop?
You dirty villain! are you gonna drop it?
u gonna drop it
Patience, I pray you; ’twas a fault unwilling.
Please, I'm asking you; it was a mistake I didn't mean to make.
Please, I'm begging you; I didn't mean to mess up.
please i didn't mean to mess up
A whoreson, beetle-headed, flap-ear’d knave!
Come, Kate, sit down; I know you have a stomach.
Will you give thanks, sweet Kate, or else shall I?—
What’s this? Mutton?
You dumb, stupid, flap-eared idiot! Come, Kate, sit down; I know you're hungry. Will you say grace, sweet Kate, or should I?— What's this? Mutton?
You thick, beetle-brained, floppy-eared jerk! Come on, Kate, sit down; I know you're starving. You gonna say thanks, or do I have to?— What's this? Sheep meat?
you stupid idiot come kate sit down i know you're hungry will you thank or should i what's this mutton
Ay.
Yes.
Yeah.
yeah
Who brought it?
Who brought it?
Who brought it?
Who brought it?
I.
Here.
Here.
here
’Tis burnt; and so is all the meat.
What dogs are these! Where is the rascal cook?
How durst you, villains, bring it from the dresser,
And serve it thus to me that love it not?
It's burnt, and so is all the meat. What kind of dogs are you! Where is that rascal of a cook? How dare you bring this from the kitchen and serve it to me like this when I don't even like it?
This is burnt! Everything's burnt! What's wrong with you people! Where's that worthless cook? How dare you bring burnt meat from the kitchen and serve it to me when you know I don't like it!
its burnt everything is burnt where is the cook you shouldnt serve me this i dont like it
There, take it to you, trenchers, cups, and all.
You heedless joltheads and unmanner’d slaves!
What! do you grumble? I’ll be with you straight.
There, take all of it—plates, cups, and everything. You thoughtless blockheads and rude servants! What! are you complaining? I'll be right back to deal with you.
Here, take it all—the dishes, cups, everything. You mindless jerks and you rude servants! What! you complaining? I'll be right back at you.
take all the dishes n cups u dumb rude servants stop complaining im coming back for u
I pray you, husband, be not so disquiet;
The meat was well, if you were so contented.
I'm asking you, husband, don't be so upset; The food was good, if you were satisfied with it.
I'm begging you, husband, calm down; The meat was fine, if you were just okay with it.
please husband don't be mad meat was good if you liked it
I tell thee, Kate, ’twas burnt and dried away,
And I expressly am forbid to touch it;
For it engenders choler, planteth anger;
And better ’twere that both of us did fast,
Since, of ourselves, ourselves are choleric,
Than feed it with such over-roasted flesh.
Be patient; tomorrow ’t shall be mended.
And for this night we’ll fast for company:
Come, I will bring thee to thy bridal chamber.
I'm telling you, Kate, it was burnt and dried up, and I'm specifically told not to eat it; Because it causes anger, creates irritation; And it would be better if we both didn't eat, Since we both get angry easily, Than to feed that anger with burnt meat like this. Be patient; by tomorrow it will be fixed. And for tonight we'll skip eating together: Come, I'll take you to your bedroom.
Look, Kate, it was burnt and shriveled, and I'm literally forbidden to touch it; Because it makes you angry, creates arguments; And it's better if we both skip eating, Since we both have quick tempers, Than to feed that temper with ruined meat. Be patient; tomorrow it'll be better. Tonight we'll just skip food altogether: Come on, I'll take you upstairs to bed.
it's burnt and dried i'm forbidden to touch it causes anger plants irritation better we both skip eating since we both choleric than feed it with burnt meat patient tomorrow better tonight we fast come to bridal chamber
Peter, didst ever see the like?
Peter, have you ever witnessed such a thing?
Peter, have you ever seen anyone do something like that?
peter ever see anything like this
He kills her in her own humour.
He's destroying her by matching her own attitude.
He's beating her at her own game—using her own temper against her.
he's killing her in her own mood
Where is he?
Where is he?
Where is he?
Where is he?
In her chamber, making a sermon of continency to her;
And rails, and swears, and rates, that she, poor soul,
Knows not which way to stand, to look, to speak,
And sits as one new risen from a dream.
Away, away! for he is coming hither.
He's in her bedroom, giving her a sermon about self-control. He rants and swears and scolds her so much that the poor woman doesn't know where to stand, how to look, what to say. She just sits there like she just woke up from a dream. Run, run! He's coming here!
He's upstairs preaching to her about self-control. He's yelling and swearing and complaining so much that she doesn't know what to do with herself. She just sits there like she's in a daze. Watch out, he's coming!
hes upstairs preaching to her ranting and swearing she looks like shes dreaming hes coming here
Thus have I politicly begun my reign,
And ’tis my hope to end successfully.
My falcon now is sharp and passing empty.
And till she stoop she must not be full-gorg’d,
For then she never looks upon her lure.
Another way I have to man my haggard,
To make her come, and know her keeper’s call,
That is, to watch her, as we watch these kites
That bate and beat, and will not be obedient.
She eat no meat today, nor none shall eat;
Last night she slept not, nor tonight she shall not;
As with the meat, some undeserved fault
I’ll find about the making of the bed;
And here I’ll fling the pillow, there the bolster,
This way the coverlet, another way the sheets;
Ay, and amid this hurly I intend
That all is done in reverend care of her;
And, in conclusion, she shall watch all night:
And if she chance to nod I’ll rail and brawl,
And with the clamour keep her still awake.
This is a way to kill a wife with kindness;
And thus I’ll curb her mad and headstrong humour.
He that knows better how to tame a shrew,
Now let him speak; ’tis charity to show.
This is how I've cleverly begun my reign, and I hope to end it successfully. My falcon is now sharp and very hungry. She won't look at her trainer until she's not overfed, so I'll keep her from food. I have another way to train my untamed hawk: I'll make her come and recognize her keeper's call. That means watching her like we watch these kites that struggle and fight and won't obey. She won't eat today, and no one else will eat either. She didn't sleep last night and won't sleep tonight. Just like with the food, I'll find some undeserved fault with how the bed is made. I'll throw the pillow here and the bolster there, the coverlet this way and the sheets another way. And through all this chaos I'll make sure she understands I'm doing it all out of concern for her. In the end, she'll stay awake all night. If she happens to nod off, I'll rant and brawl and keep her awake with the noise. This is how to kill a wife with kindness and tame her wild, stubborn nature. Anyone who knows a better way to tame a shrew, let him speak—it's charity to teach it.
I've started my plan smartly, and I'm going to finish it. I'm like a hunter with my falcon—she's hungry and sharp. I won't let her sleep because until she's desperate, she won't listen to me. That's my strategy: treat her like a wild hawk that needs to be trained. I watch her like we watch those crazy birds that fight and won't obey. She didn't eat today, and neither will anyone else. She didn't sleep last night and won't sleep tonight. I'll find something wrong with the bed—throw the pillow around, move the blankets, mess with the sheets—all while acting like I'm doing it for her own good. I'll keep her up all night, and if she tries to sleep, I'll yell and make noise to wake her up. This is how to break a shrew with kindness. This is how I'll fix her wild personality. If anyone knows a better way to tame a shrew, they should tell us.
im starting my reign smartly im like a trainer with a falcon she needs to be hungry to obey no food no sleep tonight no sleep last night ill mess with the bed shell think its for her good ill yell if she sleeps this is killing her with kindness this will tame her
The Reckoning
This is the scene where Petruchio's method becomes explicit — and the audience is made complicit in it. His falcon-taming soliloquy is the play's clearest statement of what he is doing and why, delivered directly to the audience so we understand we are watching a system, not just chaos. The horror is that the system works, and the play seems to endorse it.
If this happened today…
A man brings his new wife home after a disastrous wedding and immediately starts berating the household staff for every minor fault — the food is burned, the service is wrong, nothing is acceptable — while constantly framing each outburst as concern for her well-being: 'I'm doing this for you, Kate.' She defends the servants; he ignores her. Then he sends her to bed hungry while delivering a TED talk to the audience about sleep deprivation as a management technique. His servants sum it up: 'He kills her in her own humor.'