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you grow too forward, sir:
Have you so soon forgot the


Her sister Katharine welcomed you withal?

HOR. But, wrangling pedant, this is

The patroness of heavenly harmony:

Then give me leave to have prerogative;

And when in music we have
spent an hour,

Your lecture shall have leisure for as much.
Luc. Preposterous ass, that never read so far
To know the cause why music was ordain'd!
Was it not to refresh the mind of man


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After his studies or his usual pain?
Then give me leave to read philosophy,
And while I pause, serve in your harmony.

HOR. Sirrah, I will not bear these braves of thine.
BIAN. Why, gentlemen, you do me double wrong,
To strive for that which resteth in my choice:
I am no breeching scholar in the schools;
I'll not be tied to hours nor 'pointed times,
But learn my lessons as I please myself.
And, to cut off all strife, here sit we down :
Take you your instrument, play you the whiles;
His lecture will be done ere you have tuned.

HOR. You'll leave his lecture when I am in tune?
Luc. That will be never: tune your instrument.
BIAN. Where left we last?

Luc. Here, madam:


Hic ibat Simois; hic est Sigeia tellus ;
Hic steterat Priami regia celsa senis.”

BIAN. Construe them.

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Luc. "Hic ibat," as I told you before,-"Simois," I am Lucentio, — “hic est," son unto Vincentio of Pisa, "Sigeia tellus," disguised thus to get your love; "Hic steterat," and that Lucentio that comes a-wooing,


12 his usual pain] his customary toil.

18 breeching scholar] a boy, fit to be breecned or flogged. "A breeching boy" is common in the same sense.

28-29 Hic ibat, etc.] From Ovid's Heroides, I, 33, 34. Ovid is causing a Greek soldier to paint with wine on a table the disposition of the opposing armies at Troy. The line reads in Ovid: "Hac ibat Simois, haec est Sigeïa tellus."



Priami," is my man Tranio, regia," bearing my port,"celsa senis," that we might beguile the old pantaloon.

HOR. Madam, my instrument's in tune. BIAN. Let's hear. O fie! the treble jars. Luc. Spit in the hole, man, and tune again. BIAN. Now let me see if I can construe it: "Hic ibat Simois," I know you not," hic est Sigeia tellus," I trust you not, -"Hic steterat Priami," take heed he hear us not, -"regia," presume not, — “ celsa senis," despair not.

HOR. Madam, 't is now in tune.


All but the base.

HOR. The base is right; 't is the base knave that


[Aside] How fiery and forward our pedant is!

Now, for my life, the knave doth court my love:
Pedascule, I'll watch you better yet.

BIAN. In time I may believe, yet I mistrust.
Luc. Mistrust it not; for, sure,


Was Ajax, call'd so from his grandfather.

BIAN. I must believe my master; else, I promise


I should be arguing still upon that doubt:
But let it rest. Now, Licio, to you:
Good masters, take it not unkindly, pray,
That I have been thus pleasant with

36 the old pantaloon] Cf. supra, I, i, 47, note.



48 Pedascule] Apparently a contemptuous diminutive of "pedant." No other example of the word is found.



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HOR. You may go walk, and give me leave a while : My lessons make no music in three parts.

Luc. Are you so formal, sir? well, I must wait, [Aside] And watch withal; for, but I be deceived, Our fine musician groweth amorous.

HOR. Madam, before you touch the instrument,
To learn the order of my fingering,

I must begin with rudiments of art;
To teach you gamut in a briefer sort,
More pleasant, pithy, and effectual,

Than hath been taught by any of my trade:
And there it is in writing, fairly drawn.
BIAN. Why, I am past my gamut long ago.
HOR. Yet read the gamut of Hortensio.

BIAN. [reads] ""Gamut' I am, the ground of all accord,
A re,' to plead Hortensio's passion;
'B mi,' Bianca, take him for thy lord,
'C fa ut,' that loves with all affection:
'D sol re,' one clef, two notes have I:
'E la mi,' show pity, or I die.”

Call you this gamut? tut, I like it not :
Old fashions please me best; I am not so nice,
To change true rules for old inventions.

65 gamut] the scale in music. The word is derived from " gamma," the name of the letter "g" in Greek, after which the lowest note in the musical scale was called. Cf. Pathway to Music (1596): "It is needfull for him that will learne to sing truely, to understand his Scale, or (as they commonly call it) the Gamma ut." 79 change... inventions] The Second Folio substituted change for the

Enter a Servant

SERV. Mistress, your father prays you leave your books,

And help to dress your sister's chamber up:
You know to-morrow is the wedding-day.


BIAN. Farewell, sweet masters both; I must be [Exeunt Bianca and Servant. Luc. Faith, mistress, then I have no cause to stay.

HOR. But I have cause to pry into this pedant:
Methinks he looks as though he were in love:
Yet if thy thoughts, Bianca, be so humble,
To cast thy wandering eyes on every stale,
Seize thee that list: if once I find thee ranging,
Hortensio will be quit with thee by changing.



[Exit. 90




BAP. Signior Lucentio [To Tranio], this is the 'pointed


That Katharine and Petruchio should be married,

charge of the First Folio, which was an obvious misprint; old was altered unnecessarily by Theobald to odd, an alteration which has been very widely adopted.

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