The Taming of the Shrew Study Guide

Act I, Scene 1

Padua. A public place

Scene Summary

Lucentio arrives in Padua with his servant Tranio, eager to pursue philosophy and learning. Their studies are immediately interrupted when they witness Baptista announce that his younger daughter Bianca may not be courted until his elder daughter Katharina is married. Katharina's fierce temper drives away all suitors, while Bianca's modest silence instantly captivates Lucentio. Rivals Gremio and Hortensio, despite their mutual competition for Bianca, agree to cooperate in finding Katharina a husband so that Bianca may be freed for courtship.

Consumed by sudden love for Bianca, Lucentio devises a plan: he will disguise himself as a schoolmaster to gain access to her, while Tranio assumes Lucentio's identity to maintain his social standing in Padua. Biondello is sworn into the deception. The scene closes with a brief return to the Induction frame, where Sly watches from above.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
[Enter LUCENTIO and his man TRANIO] LUCENTIO Tranio, since for the great desire I had To see fair Padua, nursery of arts, I am arrived 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 approved in all, Here let us breathe and haply institute A course of learning and ingenious studies. Pisa renown'd for grave citizens Gave me my being and my father first, A merchant of great traffic through the world, Vincetino come of Bentivolii. Vincetino's son brought up in Florence It shall become to serve all hopes conceived, 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 achieved. 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 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 cheques As Ovid be an outcast quite abjured: Balk logic with acquaintance that you have And practise rhetoric in your common talk; Music and poesy use to quicken you; The mathematics and the metaphysics, Fall to them as you find your stomach serves you; No profit grows where is no pleasure ta'en: In brief, sir, study what you most affect. LUCENTIO 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 a while: what company is this? TRANIO Master, some show to welcome us to town. [Enter BAPTISTA, KATHARINA, BIANCA, GREMIO, and HORTENSIO. LUCENTIO and TRANIO stand by] BAPTISTA Gentlemen, importune me no farther, For how I firmly am resolved you know; That is, not bestow my youngest daughter Before I have a husband for the elder: If either of you both love Katharina, Because I know you well and love you well, Leave shall you have to court her at your pleasure. GREMIO [Aside] To cart her rather: she's too rough for me. There, There, Hortensio, will you any wife? KATHARINA I pray you, sir, is it your will To make a stale of me amongst these mates? HORTENSIO Mates, maid! how mean you that? no mates for you, Unless you were of gentler, milder mould. KATHARINA 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. HORTENSIO From all such devils, good Lord deliver us! GREMIO And me too, good Lord! TRANIO Hush, master! here's some good pastime toward: That wench is stark mad or wonderful froward. LUCENTIO But in the other's silence do I see Maid's mild behavior and sobriety. Peace, Tranio! TRANIO Well said, master; mum! and gaze your fill. BAPTISTA 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. KATHARINA A pretty peat! it is best Put finger in the eye, an she knew why. BIANCA Sister, content you in my discontent. Sir, to your pleasure humbly I subscribe: My books and instruments shall be my company, On them to took and practise by myself. LUCENTIO Hark, Tranio! thou may'st hear Minerva speak. HORTENSIO Signior Baptista, will you be so strange? Sorry am I that our good will effects Bianca's grief. GREMIO Why will you mew her up, Signior Baptista, for this fiend of hell, And make her bear the penance of her tongue? BAPTISTA Gentlemen, content ye; I am resolved: Go in, Bianca: [Exit BIANCA] And for I know she taketh most delight In music, instruments and poetry, Schoolmasters will I keep within my house, Fit to instruct her youth. If you, Hortensio, Or Signior Gremio, you, know any such, Prefer them hither; for to cunning men I will be very kind, and liberal To mine own children in good bringing up: And so farewell. Katharina, you may stay; For I have more to commune with Bianca. [Exit] KATHARINA 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? [Exit] GREMIO 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 cakes 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. HORTENSIO 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 Bianco's love, to labour and effect one thing specially. GREMIO What's that, I pray? HORTENSIO Marry, sir, to get a husband for her sister. GREMIO A husband! a devil. HORTENSIO I say, a husband. GREMIO 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? HORTENSIO Tush, Gremio, though it pass your patience and mine to endure her loud alarums, why, man, there be good fellows in the world, an a man could light on them, would take her with all faults, and money enough. GREMIO I cannot tell; but I had as lief take her dowry with this condition, to be whipped at the high cross every morning. HORTENSIO 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 all by helping Baptista's eldest daughter to a husband we set his youngest free for a husband, and then have to't a fresh. Sweet Bianca! Happy man be his dole! He that runs fastest gets the ring. How say you, Signior Gremio? GREMIO 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. [Exeunt GREMIO and HORTENSIO] TRANIO I pray, sir, tell me, is it possible That love should of a sudden take such hold? LUCENTIO 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 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.' LUCENTIO Gramercies, lad, go forward; this contents: The rest will comfort, for thy counsel's sound. TRANIO Master, you look'd so longly on the maid, Perhaps you mark'd not what's the pith of all. LUCENTIO 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. TRANIO 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? LUCENTIO 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. TRANIO 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 eldest 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. LUCENTIO Ah, Tranio, what a cruel father's he! But art thou not advised, he took some care To get her cunning schoolmasters to instruct her? TRANIO Ay, marry, am I, sir; and now 'tis plotted. LUCENTIO I have it, Tranio. TRANIO Master, for my hand, Both our inventions meet and jump in one. LUCENTIO Tell me thine first. TRANIO You will be schoolmaster And undertake the teaching of the maid: That's your device. LUCENTIO It is: may it be done? TRANIO 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? LUCENTIO Basta; content thee, for I have it full. We have not yet been seen in any house, Nor can we lie 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. TRANIO So had you need. In brief, sir, sith it your pleasure is, And I am tied to be obedient; For so your father charged 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. LUCENTIO 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. Here comes the rogue. [Enter BIONDELLO] Sirrah, where have you been? BIONDELLO Where have I been! Nay, how now! where are you? Master, has my fellow Tranio stolen your clothes? Or you stolen his? or both? pray, what's the news? LUCENTIO 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 countenance 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? BIONDELLO I, sir! ne'er a whit. LUCENTIO And not a jot of Tranio in your mouth: Tranio is changed into Lucentio. BIONDELLO The better for him: would I were so too! TRANIO 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. LUCENTIO 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. [Exeunt] [The presenters above speak] FIRST SERVANT My lord, you nod; you do not mind the play. SLY Yes, by Saint Anne, do I. A good matter, surely: comes there any more of it? PAGE My lord, 'tis but begun. SLY 'Tis a very excellent piece of work, madam lady: would 'twere done! [They sit and mark]
Modern English
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This scene functions as the play's true dramatic exposition, establishing the twin plots that will drive the action: the wooing of Bianca and the taming of Katharina. Shakespeare deploys a sharp structural contrast between the two sisters from the outset. Bianca's silence is immediately coded as virtue — Lucentio calls it "Maid's mild behavior and sobriety" and invokes the goddess Minerva — while Katharina's speech is coded as disorder. This binary is not neutral; it encodes the play's central gender ideology, in which female value is measured by compliance and quietness, and female speech is equated with social threat.

Lucentio's opening speech establishes the motif of education and self-improvement, framing Padua as a "nursery of arts." Yet the irony Shakespeare plants is immediate and comic: Lucentio abandons his philosophical programme the instant he sees Bianca. Tranio's witty counter-advice — to balance Aristotle with Ovid, logic with pleasure — anticipates this collapse and subtly aligns erotic pursuit with the play's broader interrogation of what kind of knowledge truly governs human behaviour. The simile of leaving "a shallow plash to plunge him in the deep" is quickly literalised: Lucentio plunges not into philosophy but into infatuation.

The disguise plot hatched in this scene is central to the play's thematic architecture. The exchange of clothes between Lucentio and Tranio enacts a temporary inversion of social hierarchy, a carnivalesque device Shakespeare uses to probe the relationship between identity, rank, and performance. Tranio's remark that he obeys "because so well I love Lucentio" humanises the servant-master bond while also underlining that all social roles are, to some degree, performed rather than innate. The lie Lucentio tells Biondello — that he killed a man — is a small but telling detail: deception, once begun, proliferates.

Gremio and Hortensio's aside conversation introduces the play's economic logic of marriage. Katharina is repeatedly figured as a commodity with negative value: a "devil," a burden, a punishment. Their willingness to cooperate despite rivalry reveals that Bianca's courtship is as much a commercial transaction as a romantic one. Hortensio's racing metaphor — "He that runs fastest gets the ring" — reduces courtship to competition, and the ring itself anticipates the play's later preoccupation with marriage as contract and possession.

The brief return to Christopher Sly in the closing lines sustains the metatheatrical frame of the Induction. Sly's impatient "would 'twere done!" is comic, but it also reminds the audience that they, like Sly, are watching a performance within a performance. This layering invites a self-conscious reading of everything that follows: the roles of shrew and suitor, master and servant, are all, in some sense, theatrical constructions. Shakespeare thus signals from the outset that identity and gender performance are the play's deepest subjects.

"No profit grows where is no pleasure ta'en: In brief, sir, study what you most affect." — Tranio (1.1)

"I am arrived for fruitful Lombardy, The pleasant garden of great Italy" — Lucentio (1.1)

"But in the other's silence do I see Maid's mild behavior and sobriety." — Lucentio (1.1)

"Tranio, I burn, I pine, I perish, Tranio, If I achieve not this young modest girl." — Lucentio (1.1)

"He that runs fastest gets the ring." — Hortensio (1.1)

"I will some other be, some Florentine, Some Neapolitan, or meaner man of Pisa." — Lucentio (1.1)

"I am content to be Lucentio, Because so well I love Lucentio." — Tranio (1.1)

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✎ Mr. Shifflett's Note
Mr. Shifflett
Mr. Shifflett
English Teacher · Seoul International School
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