The Taming of the Shrew Study Guide

Induction, Scene 2

A bedchamber in the Lord's house

Scene Summary

Sly awakens in a luxurious bedchamber attended by servants who address him as a lord. He insists on his true identity—Christopher Sly, tinker and pedlar of Burtonheath—demanding small ale and rejecting the fine food and clothing offered. The Lord and his servants persistently counter each protest, describing Sly's noble estate, his music, his hounds, his paintings, and his grieving lady, until Sly's resistance crumbles and he accepts the fiction of lordship.

A Page disguised as Sly's wife enters and confirms the deception. Sly attempts to take her to bed, but she deflects him with a physician's warning. A Messenger then announces that a troupe of players has arrived to perform a comedy for Sly's health. Sly, now fully inhabiting his assumed identity, agrees to watch, and the scene closes as the inner play is about to begin.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
[Enter aloft SLY, with Attendants; some with apparel, others with basin and ewer and appurtenances; and Lord] SLY For God's sake, a pot of small ale. FIRST SERVANT Will't please your lordship drink a cup of sack? SECOND SERVANT Will't please your honour taste of these conserves? THIRD SERVANT What raiment will your honour wear to-day? SLY I am Christophero Sly; call not me 'honour' nor 'lordship:' I ne'er drank sack in my life; and if you give me any conserves, give me conserves of beef: ne'er ask me what raiment I'll wear; for I have no more doublets than backs, no more stockings than legs, nor no more shoes than feet; nay, sometimes more feet than shoes, or such shoes as my toes look through the over-leather. LORD Heaven cease this idle humour in your honour! O, that a mighty man of such descent, Of such possessions and so high esteem, Should be infused with so foul a spirit! SLY What, would you make me mad? Am not I Christopher Sly, old Sly's son of Burtonheath, by birth a pedlar, by education a cardmaker, by transmutation a bear-herd, and now by present profession a tinker? Ask Marian Hacket, the fat ale-wife of Wincot, if she know me not: if she say I am not fourteen pence on the score for sheer ale, score me up for the lyingest knave in Christendom. What! I am not bestraught: here's-- THIRD SERVANT O, this it is that makes your lady mourn! SECOND SERVANT O, this is it that makes your servants droop! LORD Hence comes it that your kindred shuns your house, As beaten hence by your strange lunacy. O noble lord, bethink thee of thy birth, Call home thy ancient thoughts from banishment And banish hence these abject lowly dreams. Look how thy servants do attend on thee, Each in his office ready at thy beck. Wilt thou have music? hark! Apollo plays, [Music] And twenty caged nightingales do sing: Or wilt thou sleep? we'll have thee to a couch Softer and sweeter than the lustful bed On purpose trimm'd up for Semiramis. Say thou wilt walk; we will bestrew the ground: Or wilt thou ride? thy horses shall be trapp'd, Their harness studded all with gold and pearl. Dost thou love hawking? thou hast hawks will soar Above the morning lark or wilt thou hunt? Thy hounds shall make the welkin answer them And fetch shrill echoes from the hollow earth. FIRST SERVANT Say thou wilt course; thy greyhounds are as swift As breathed stags, ay, fleeter than the roe. SECOND SERVANT Dost thou love pictures? we will fetch thee straight Adonis painted by a running brook, And Cytherea all in sedges hid, Which seem to move and wanton with her breath, Even as the waving sedges play with wind. LORD We'll show thee Io as she was a maid, And how she was beguiled and surprised, As lively painted as the deed was done. THIRD SERVANT Or Daphne roaming through a thorny wood, Scratching her legs that one shall swear she bleeds, And at that sight shall sad Apollo weep, So workmanly the blood and tears are drawn. LORD Thou art a lord, and nothing but a lord: Thou hast a lady far more beautiful Than any woman in this waning age. FIRST SERVANT And till the tears that she hath shed for thee Like envious floods o'er-run her lovely face, She was the fairest creature in the world; And yet she is inferior to none. SLY Am I a lord? and have I such a lady? Or do I dream? or have I dream'd till now? I do not sleep: I see, I hear, I speak; I smell sweet savours and I feel soft things: Upon my life, I am a lord indeed And not a tinker nor Christophero Sly. Well, bring our lady hither to our sight; And once again, a pot o' the smallest ale. SECOND SERVANT Will't please your mightiness to wash your hands? O, how we joy to see your wit restored! O, that once more you knew but what you are! These fifteen years you have been in a dream; Or when you waked, so waked as if you slept. SLY These fifteen years! by my fay, a goodly nap. But did I never speak of all that time? FIRST SERVANT O, yes, my lord, but very idle words: For though you lay here in this goodly chamber, Yet would you say ye were beaten out of door; And rail upon the hostess of the house; And say you would present her at the leet, Because she brought stone jugs and no seal'd quarts: Sometimes you would call out for Cicely Hacket. SLY Ay, the woman's maid of the house. THIRD SERVANT Why, sir, you know no house nor no such maid, Nor no such men as you have reckon'd up, As Stephen Sly and did John Naps of Greece And Peter Turph and Henry Pimpernell And twenty more such names and men as these Which never were nor no man ever saw. SLY Now Lord be thanked for my good amends! ALL Amen. SLY I thank thee: thou shalt not lose by it. [Enter the Page as a lady, with attendants] PAGE How fares my noble lord? SLY Marry, I fare well for here is cheer enough. Where is my wife? PAGE Here, noble lord: what is thy will with her? SLY Are you my wife and will not call me husband? My men should call me 'lord:' I am your goodman. PAGE My husband and my lord, my lord and husband; I am your wife in all obedience. SLY I know it well. What must I call her? LORD Madam. SLY Al'ce madam, or Joan madam? LORD 'Madam,' and nothing else: so lords call ladies. SLY Madam wife, they say that I have dream'd And slept above some fifteen year or more. PAGE Ay, and the time seems thirty unto me, Being all this time abandon'd from your bed. SLY 'Tis much. Servants, leave me and her alone. Madam, undress you and come now to bed. PAGE Thrice noble lord, let me entreat of you To pardon me yet for a night or two, Or, if not so, until the sun be set: For your physicians have expressly charged, In peril to incur your former malady, That I should yet absent me from your bed: I hope this reason stands for my excuse. SLY Ay, it stands so that I may hardly tarry so long. But I would be loath to fall into my dreams again: I will therefore tarry in despite of the flesh and the blood. [Enter a Messenger] MESSENGER Your honour's players, heating your amendment, Are come to play a pleasant comedy; For so your doctors hold it very meet, Seeing too much sadness hath congeal'd your blood, And melancholy is the nurse of frenzy: Therefore they thought it good you hear a play And frame your mind to mirth and merriment, Which bars a thousand harms and lengthens life. SLY Marry, I will, let them play it. Is not a comondy a Christmas gambold or a tumbling-trick? PAGE No, my good lord; it is more pleasing stuff. SLY What, household stuff? PAGE It is a kind of history. SLY Well, well see't. Come, madam wife, sit by my side and let the world slip: we shall ne'er be younger. [Flourish]
Modern English
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Induction 2 is the culmination of the induction frame Shakespeare constructs around the main play, and its central dramatic function is to stage the mechanics of identity construction. Sly's opening insistence—"I am Christophero Sly"—is grounded in material particulars: a pedlar's birth, a cardmaker's trade, a tinker's present profession, and a fourteen-pence debt at Wincot. His self-definition is rooted in poverty and labour, making his eventual capitulation to the Lord's fiction all the more pointed. The scene asks how much pressure of circumstance, comfort, and social consensus it takes to make a person abandon a known self.

The Lord's persuasive catalogue of aristocratic pleasures—music, hawks, hounds, horses, and erotic paintings—functions as a rhetoric of luxury. The extended list is deliberately overwhelming, each item more opulent than the last, culminating in mythological paintings of Adonis, Cytherea, Io, and Daphne. These classical allusions are not merely decorative; they associate the Lord's world with art, transformation, and deception, all themes central to the main play. Io and Daphne in particular are figures of metamorphosis and pursuit, quietly anticipating Petruchio's treatment of Katharina.

Sly's moment of capitulation—"I do not sleep: I see, I hear, I speak; / I smell sweet savours and I feel soft things"—is rendered through the five senses, a deliberate appeal to empirical experience. The irony is sharp: Sly trusts his senses to confirm reality, yet those very senses have been manipulated by the Lord's staged environment. This epistemological trap—appearance versus reality—is the play's governing concern, and Shakespeare embeds it in the frame before the main action begins.

The Page's performance as Sly's wife introduces the motif of gender disguise and performed femininity that will recur throughout the Bianca subplot. The Page's deferential speech—"My husband and my lord, my lord and husband; / I am your wife in all obedience"—is a parody of wifely submission that simultaneously rehearses the ideal the main play will interrogate. The physician's excuse that delays Sly's sexual access is a comic device, but it also preserves the Page's disguise and keeps the frame from collapsing into farce.

The Messenger's announcement that a comedy will be performed frames the inner play as therapeutic fiction: drama is prescribed as a cure for melancholy, a notion rooted in Renaissance humoral theory. Sly's confusion—"Is not a comondy a Christmas gambold or a tumbling-trick?"—and the Page's correction that it is "a kind of history" gestures toward the generic self-consciousness running through Shakespeare's work. The scene closes with Sly's cheerful resignation—"let the world slip: we shall ne'er be younger"—a line whose carpe diem lightness ironically echoes the very comic spirit of the play he is about to watch.

"I am Christophero Sly; call not me 'honour' nor 'lordship:' I ne'er drank sack in my life; and if you give me any conserves, give me conserves of beef: ne'er ask me what raiment I'll wear; for I have no more doublets than backs, no more stockings than legs, nor no more shoes than feet; nay, sometimes more feet than shoes, or such shoes as my toes look through the over-leather." — Sly (Induction 2)

"What, would you make me mad? Am not I Christopher Sly, old Sly's son of Burtonheath, by birth a pedlar, by education a cardmaker, by transmutation a bear-herd, and now by present profession a tinker?" — Sly (Induction 2)

"I do not sleep: I see, I hear, I speak; I smell sweet savours and I feel soft things: Upon my life, I am a lord indeed And not a tinker nor Christophero Sly." — Sly (Induction 2)

"My husband and my lord, my lord and husband; I am your wife in all obedience." — Page (Induction 2)

"Therefore they thought it good you hear a play And frame your mind to mirth and merriment, Which bars a thousand harms and lengthens life." — Messenger (Induction 2)

"Well, well see't. Come, madam wife, sit by my side and let the world slip: we shall ne'er be younger." — Sly (Induction 2)

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Mr. Shifflett
Mr. Shifflett
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