The Taming of the Shrew Study Guide

Act IV, Scene 3

A room in Petruchio's house

Scene Summary

Katharina, starving and exhausted, begs Grumio for food, but he teases her with a succession of dishes he then refuses to fetch. When Petruchio arrives with meat, he withholds it until she thanks him, then promises her fine clothes for a visit to her father's house. A haberdasher presents a cap and a tailor presents a gown, both of which Petruchio savagely ridicules and rejects despite Katharina's protests that she likes them. He dismisses the tailor after a farcical argument over the gown's construction.

Petruchio then declares they will travel to her father's house in plain clothes, delivering a speech about inner worth over outward show. When Katharina correctly states the time as nearly two o'clock, Petruchio contradicts her, insisting it is seven, and threatens to cancel the journey unless she agrees with whatever he says.

Translation Style
🔓 Simple free · others need All-Access
✨ Character Voice Translations PREMIUM
Original Text
[Enter KATHARINA and GRUMIO] GRUMIO No, no, forsooth; I dare not for my life. KATHARINA The more my wrong, the more his spite appears: What, did he marry me to famish me? Beggars, that come unto my father's door, Upon entreaty have a present aims; If not, elsewhere they meet with charity: But I, who never knew how to entreat, Nor never needed that I should entreat, Am starved for meat, giddy for lack of sleep, With oath kept waking and with brawling fed: And that which spites me more than all these wants, He does it under name of perfect love; As who should say, if I should sleep or eat, 'Twere deadly sickness or else present death. I prithee go and get me some repast; I care not what, so it be wholesome food. GRUMIO What say you to a neat's foot? KATHARINA 'Tis passing good: I prithee let me have it. GRUMIO I fear it is too choleric a meat. How say you to a fat tripe finely broil'd? KATHARINA I like it well: good Grumio, fetch it me. GRUMIO I cannot tell; I fear 'tis choleric. What say you to a piece of beef and mustard? KATHARINA A dish that I do love to feed upon. GRUMIO Ay, but the mustard is too hot a little. KATHARINA Why then, the beef, and let the mustard rest. GRUMIO Nay then, I will not: you shall have the mustard, Or else you get no beef of Grumio. KATHARINA Then both, or one, or any thing thou wilt. GRUMIO Why then, the mustard without the beef. KATHARINA Go, get thee gone, thou false deluding slave, [Beats him] That feed'st me with the very name of meat: Sorrow on thee and all the pack of you, That triumph thus upon my misery! Go, get thee gone, I say. [Enter PETRUCHIO and HORTENSIO with meat] PETRUCHIO How fares my Kate? What, sweeting, all amort? HORTENSIO Mistress, what cheer? KATHARINA Faith, as cold as can be. PETRUCHIO Pluck up thy spirits; look cheerfully upon me. Here love; thou see'st how diligent I am To dress thy meat myself and bring it thee: I am sure, sweet Kate, this kindness merits thanks. What, not a word? Nay, then thou lovest it not; And all my pains is sorted to no proof. Here, take away this dish. KATHARINA I pray you, let it stand. PETRUCHIO The poorest service is repaid with thanks; And so shall mine, before you touch the meat. KATHARINA I thank you, sir. HORTENSIO Signior Petruchio, fie! you are to blame. Come, mistress Kate, I'll bear you company. PETRUCHIO [Aside] Eat it up all, Hortensio, if thou lovest me. Much good do it unto thy gentle heart! Kate, eat apace: and now, my honey love, Will we return unto thy father's house And revel it as bravely as the best, With silken coats and caps and golden rings, With ruffs and cuffs and fardingales and things; With scarfs and fans and double change of bravery, With amber bracelets, beads and all this knavery. What, hast thou dined? The tailor stays thy leisure, To deck thy body with his ruffling treasure. [Enter Tailor] Come, tailor, let us see these ornaments; Lay forth the gown. [Enter Haberdasher] What news with you, sir? HABERDASHER Here is the cap your worship did bespeak. PETRUCHIO Why, this was moulded on a porringer; A velvet dish: fie, fie! 'tis lewd and filthy: Why, 'tis a cockle or a walnut-shell, A knack, a toy, a trick, a baby's cap: Away with it! come, let me have a bigger. KATHARINA I'll have no bigger: this doth fit the time, And gentlewomen wear such caps as these PETRUCHIO When you are gentle, you shall have one too, And not till then. HORTENSIO [Aside] That will not be in haste. KATHARINA Why, sir, I trust I may have leave to speak; And speak I will; I am no child, no babe: Your betters have endured me say my mind, And if you cannot, best you stop your ears. My tongue will tell the anger of my heart, Or else my heart concealing it will break, And rather than it shall, I will be free Even to the uttermost, as I please, in words. PETRUCHIO Why, thou say'st true; it is a paltry cap, A custard-coffin, a bauble, a silken pie: I love thee well, in that thou likest it not. KATHARINA Love me or love me not, I like the cap; And it I will have, or I will have none. [Exit Haberdasher] PETRUCHIO Thy gown? why, ay: come, tailor, let us see't. O mercy, God! what masquing stuff is here? What's this? a sleeve? 'tis like a demi-cannon: What, up and down, carved like an apple-tart? Here's snip and nip and cut and slish and slash, Like to a censer in a barber's shop: Why, what, i' devil's name, tailor, call'st thou this? HORTENSIO [Aside] I see she's like to have neither cap nor gown. TAILOR You bid me make it orderly and well, According to the fashion and the time. PETRUCHIO Marry, and did; but if you be remember'd, I did not bid you mar it to the time. Go, hop me over every kennel home, For you shall hop without my custom, sir: I'll none of it: hence! make your best of it. KATHARINA I never saw a better-fashion'd gown, More quaint, more pleasing, nor more commendable: Belike you mean to make a puppet of me. PETRUCHIO Why, true; he means to make a puppet of thee. TAILOR She says your worship means to make a puppet of her. PETRUCHIO O monstrous arrogance! Thou liest, thou thread, thou thimble, Thou yard, three-quarters, half-yard, quarter, nail! Thou flea, thou nit, thou winter-cricket thou! Braved in mine own house with a skein of thread? Away, thou rag, thou quantity, thou remnant; Or I shall so be-mete thee with thy yard As thou shalt think on prating whilst thou livest! I tell thee, I, that thou hast marr'd her gown. TAILOR Your worship is deceived; the gown is made Just as my master had direction: Grumio gave order how it should be done. GRUMIO I gave him no order; I gave him the stuff. TAILOR But how did you desire it should be made? GRUMIO Marry, sir, with needle and thread. TAILOR But did you not request to have it cut? GRUMIO Thou hast faced many things. TAILOR I have. GRUMIO Face not me: thou hast braved many men; brave not me; I will neither be faced nor braved. I say unto thee, I bid thy master cut out the gown; but I did not bid him cut it to pieces: ergo, thou liest. TAILOR Why, here is the note of the fashion to testify PETRUCHIO Read it. GRUMIO The note lies in's throat, if he say I said so. TAILOR [Reads] 'Imprimis, a loose-bodied gown:' GRUMIO Master, if ever I said loose-bodied gown, sew me in the skirts of it, and beat me to death with a bottom of brown thread: I said a gown. PETRUCHIO Proceed. TAILOR [Reads] 'With a small compassed cape:' GRUMIO I confess the cape. TAILOR [Reads] 'With a trunk sleeve:' GRUMIO I confess two sleeves. TAILOR [Reads] 'The sleeves curiously cut.' PETRUCHIO Ay, there's the villany. GRUMIO Error i' the bill, sir; error i' the bill. I commanded the sleeves should be cut out and sewed up again; and that I'll prove upon thee, though thy little finger be armed in a thimble. TAILOR This is true that I say: an I had thee in place where, thou shouldst know it. GRUMIO I am for thee straight: take thou the bill, give me thy mete-yard, and spare not me. HORTENSIO God-a-mercy, Grumio! then he shall have no odds. PETRUCHIO Well, sir, in brief, the gown is not for me. GRUMIO You are i' the right, sir: 'tis for my mistress. PETRUCHIO Go, take it up unto thy master's use. GRUMIO Villain, not for thy life: take up my mistress' gown for thy master's use! PETRUCHIO Why, sir, what's your conceit in that? GRUMIO O, sir, the conceit is deeper than you think for: Take up my mistress' gown to his master's use! O, fie, fie, fie! PETRUCHIO [Aside] Hortensio, say thou wilt see the tailor paid. Go take it hence; be gone, and say no more. HORTENSIO Tailor, I'll pay thee for thy gown tomorrow: Take no unkindness of his hasty words: Away! I say; commend me to thy master. [Exit Tailor] PETRUCHIO Well, come, my Kate; we will unto your father's Even in these honest mean habiliments: Our purses shall be proud, our garments poor; For 'tis the mind that makes the body rich; And as the sun breaks through the darkest clouds, So honour peereth in the meanest habit. What is the jay more precious than the lark, Because his fathers are more beautiful? Or is the adder better than the eel, Because his painted skin contents the eye? O, no, good Kate; neither art thou the worse For this poor furniture and mean array. if thou account'st it shame. lay it on me; And therefore frolic: we will hence forthwith, To feast and sport us at thy father's house. Go, call my men, and let us straight to him; And bring our horses unto Long-lane end; There will we mount, and thither walk on foot Let's see; I think 'tis now some seven o'clock, And well we may come there by dinner-time. KATHARINA I dare assure you, sir, 'tis almost two; And 'twill be supper-time ere you come there. PETRUCHIO It shall be seven ere I go to horse: Look, what I speak, or do, or think to do, You are still crossing it. Sirs, let't alone: I will not go to-day; and ere I do, It shall be what o'clock I say it is. HORTENSIO [Aside] Why, so this gallant will command the sun. [Exeunt]
Modern English
Loading Simple translation…
Reading the Simple translation. Standard, Dramatic, and Advanced unlock with All-Access.

This scene is the dramatic centrepiece of Petruchio's taming strategy, presenting his method in its most sustained and varied form. The opening exchange with Grumio functions as a cruel comic routine — a Tantalus motif in which food is dangled before Katharina and perpetually withdrawn. The scene thus literalises the psychological dynamic of the entire taming plot: desire is aroused and then frustrated as a mechanism of control. Katharina's opening soliloquy, however, is significant because it shows her articulating her own suffering with clarity and even irony, noting that Petruchio performs his cruelty "under name of perfect love." This self-awareness complicates any reading of her as simply passive.The cap-and-gown episode extends the taming into the domain of female identity and self-presentation. Dress in early modern England was a powerful social signifier, and Katharina's insistence — "I like the cap; / And it I will have, or I will have none" — represents one of her most direct assertions of autonomous desire in the play. Petruchio's rejection of both garments is transparently arbitrary, and the audience is invited to see the injustice even as they laugh at the comic business with the tailor. The tailor scene itself, with its quibbling over...

Full Analysis Available

Full analysis for all 14 scenes is available with an access code. Message Stephen if you'd like access for your class.

Already have a key?

"He does it under name of perfect love;" — Katharina (4.3)

"My tongue will tell the anger of my heart, Or else my heart concealing it will break, And rather than it shall, I will be free Even to the uttermost, as I please, in words." — Katharina (4.3)

"'tis the mind that makes the body rich; And as the sun breaks through the darkest clouds, So honour peereth in the meanest habit." — Petruchio (4.3)

"It shall be seven ere I go to horse: Look, what I speak, or do, or think to do, You are still crossing it." — Petruchio (4.3)

"Why, so this gallant will command the sun." — Hortensio (4.3)

"O monstrous arrogance! Thou liest, thou thread, thou thimble, Thou yard, three-quarters, half-yard, quarter, nail!" — Petruchio (4.3)

"Love me or love me not, I like the cap; And it I will have, or I will have none." — Katharina (4.3)

Loading tags...

Ask the Bard

Click any tag to explore where it appears across the play, then ask the Bard to explain how it works in this scene.

Exploring tag...
The Bard's Take
Ask the Bard to explain how this element appears in this scene
Click a tag to search.
Ask the Bard about this scene
Type at least 2 characters to search
Character Map
Loading characters...
Off-Screen Activities
Loading activities...
Scene Quiz
1 / 5

Loading questions...

✎ Mr. Shifflett's Note
Mr. Shifflett
Mr. Shifflett
English Teacher · Seoul International School
Hey! I built this study guide and sprinkled my own teaching notes throughout — look for the gold highlights ✎ as you read.

These are the same insights I share with my students in class. I hope they help you see what makes Shakespeare's writing so brilliant. Enjoy!
SIS Teachers
Sign in with your @siskorea.org email for free full access to this guide and all GradeWise study guides — every scene, translation, and premium feature.
Sign In with SIS Email
How Easy Read Helps

These settings are based on peer-reviewed research on reading and dyslexia. They improve readability for everyone, not just students with dyslexia.

Extra letter & word spacing The single biggest research-backed improvement. Reduces "crowding" — where nearby letters interfere with recognition. Improves speed and accuracy.
Taller line height 1.5× or greater line spacing helps the eye track from line to line without losing place.
Sans-serif font Eye-tracking research shows sans-serif fonts improve reading performance over serif fonts. Letters appear less crowded.
Off-white backgrounds Pure white can appear too dazzling. Cream backgrounds produced the fastest reading times in research with dyslexic readers. Individual preference varies, so we offer choices.
Bold instead of italic Italic text makes letters run together, worsening crowding. Bold provides emphasis without reducing readability.
Shorter line length Lines of 60–70 characters are recommended. Longer lines make it harder to find the start of the next line.

Sources: British Dyslexia Association Style Guide (2023), Zorzi et al. (PNAS, 2012), Rello & Baeza-Yates (W3C, 2012), Sjoblom et al. (Annals of Dyslexia, 2016). Full research summary available on request.