The Taming of the Shrew Study Guide

Act I, Scene 2

Padua. Before Hortensio's house

Scene Summary

Petruchio arrives in Padua from Verona with his servant Grumio, seeking his friend Hortensio. A comic misunderstanding over the command to "knock" leads to a physical altercation, interrupted by Hortensio's entrance. Petruchio explains he has come to seek a wealthy wife now that his father Antonio is dead. Hortensio reveals Katharina Minola — rich but famously shrewish — and Petruchio immediately declares his willingness to woo her for her fortune.

Hortensio plans to disguise himself as a music tutor to court Katharina's younger sister Bianca, whom Baptista has locked away until Katharina marries. Gremio arrives with the disguised Lucentio, also scheming to reach Bianca. Tranio, disguised as Lucentio, appears and stakes his own claim to Bianca. The rivals agree to fund Petruchio's wooing of Katharina, then depart together to drink as friends.

Translation Style
✨ Character Voice Translations PREMIUM
Original Text
[Enter PETRUCHIO and his man GRUMIO] PETRUCHIO Verona, for a while I take my leave, To see my friends in Padua, but of all My best beloved and approved friend, Hortensio; and I trow this is his house. Here, sirrah Grumio; knock, I say. GRUMIO Knock, sir! whom should I knock? is there man has rebused your worship? PETRUCHIO Villain, I say, knock me here soundly. GRUMIO Knock you here, sir! why, sir, what am I, sir, that I should knock you here, sir? PETRUCHIO Villain, I say, knock me at this gate And rap me well, or I'll knock your knave's pate. GRUMIO My master is grown quarrelsome. I should knock you first, And then I know after who comes by the worst. PETRUCHIO Will it not be? Faith, sirrah, an you'll not knock, I'll ring it; I'll try how you can sol, fa, and sing it. [He wrings him by the ears] GRUMIO Help, masters, help! my master is mad. PETRUCHIO Now, knock when I bid you, sirrah villain! [Enter HORTENSIO] HORTENSIO How now! what's the matter? My old friend Grumio! and my good friend Petruchio! How do you all at Verona? PETRUCHIO Signior Hortensio, come you to part the fray? 'Con tutto il cuore, ben trovato,' may I say. HORTENSIO 'Alla nostra casa ben venuto, molto honorato signor mio Petruchio.' Rise, Grumio, rise: we will compound this quarrel. GRUMIO Nay, 'tis no matter, sir, what he 'leges in Latin. if this be not a lawful case for me to leave his service, look you, sir, he bid me knock him and rap him soundly, sir: well, was it fit for a servant to use his master so, being perhaps, for aught I see, two and thirty, a pip out? Whom would to God I had well knock'd at first, Then had not Grumio come by the worst. PETRUCHIO A senseless villain! Good Hortensio, I bade the rascal knock upon your gate And could not get him for my heart to do it. GRUMIO Knock at the gate! O heavens! Spake you not these words plain, 'Sirrah, knock me here, rap me here, knock me well, and knock me soundly'? And come you now with, 'knocking at the gate'? PETRUCHIO Sirrah, be gone, or talk not, I advise you. HORTENSIO Petruchio, patience; I am Grumio's pledge: Why, this's a heavy chance 'twixt him and you, Your ancient, trusty, pleasant servant Grumio. And tell me now, sweet friend, what happy gale Blows you to Padua here from old Verona? PETRUCHIO Such wind as scatters young men through the world, To seek their fortunes farther than at home Where small experience grows. But in a few, Signior Hortensio, thus it stands with me: Antonio, my father, is deceased; And I have thrust myself into this maze, Haply to wive and thrive as best I may: Crowns in my purse I have and goods at home, And so am come abroad to see the world. HORTENSIO Petruchio, shall I then come roundly to thee And wish thee to a shrewd ill-favour'd wife? Thou'ldst thank me but a little for my counsel: And yet I'll promise thee she shall be rich And very rich: but thou'rt too much my friend, And I'll not wish thee to her. PETRUCHIO Signior Hortensio, 'twixt such friends as we Few words suffice; and therefore, if thou know One rich enough to be Petruchio's wife, As wealth is burden of my wooing dance, Be she as foul as was Florentius' love, As old as Sibyl and as curst and shrewd As Socrates' Xanthippe, or a worse, She moves me not, or not removes, at least, Affection's edge in me, were she as rough As are the swelling Adriatic seas: I come to wive it wealthily in Padua; If wealthily, then happily in Padua. GRUMIO Nay, look you, sir, he tells you flatly what his mind is: Why give him gold enough and marry him to a puppet or an aglet-baby; or an old trot with ne'er a tooth in her head, though she have as many diseases as two and fifty horses: why, nothing comes amiss, so money comes withal. HORTENSIO Petruchio, since we are stepp'd thus far in, I will continue that I broach'd in jest. I can, Petruchio, help thee to a wife With wealth enough and young and beauteous, Brought up as best becomes a gentlewoman: Her only fault, and that is faults enough, Is that she is intolerable curst And shrewd and froward, so beyond all measure That, were my state far worser than it is, I would not wed her for a mine of gold. PETRUCHIO Hortensio, peace! thou know'st not gold's effect: Tell me her father's name and 'tis enough; For I will board her, though she chide as loud As thunder when the clouds in autumn crack. HORTENSIO Her father is Baptista Minola, An affable and courteous gentleman: Her name is Katharina Minola, Renown'd in Padua for her scolding tongue. PETRUCHIO I know her father, though I know not her; And he knew my deceased father well. I will not sleep, Hortensio, till I see her; And therefore let me be thus bold with you To give you over at this first encounter, Unless you will accompany me thither. GRUMIO I pray you, sir, let him go while the humour lasts. O' my word, an she knew him as well as I do, she would think scolding would do little good upon him: she may perhaps call him half a score knaves or so: why, that's nothing; an he begin once, he'll rail in his rope-tricks. I'll tell you what sir, an she stand him but a little, he will throw a figure in her face and so disfigure her with it that she shall have no more eyes to see withal than a cat. You know him not, sir. HORTENSIO Tarry, Petruchio, I must go with thee, For in Baptista's keep my treasure is: He hath the jewel of my life in hold, His youngest daughter, beautiful Binaca, And her withholds from me and other more, Suitors to her and rivals in my love, Supposing it a thing impossible, For those defects I have before rehearsed, That ever Katharina will be woo'd; Therefore this order hath Baptista ta'en, That none shall have access unto Bianca Till Katharina the curst have got a husband. GRUMIO Katharina the curst! A title for a maid of all titles the worst. HORTENSIO Now shall my friend Petruchio do me grace, And offer me disguised in sober robes To old Baptista as a schoolmaster Well seen in music, to instruct Bianca; That so I may, by this device, at least Have leave and leisure to make love to her And unsuspected court her by herself. GRUMIO Here's no knavery! See, to beguile the old folks, how the young folks lay their heads together! [Enter GREMIO, and LUCENTIO disguised] Master, master, look about you: who goes there, ha? HORTENSIO Peace, Grumio! it is the rival of my love. Petruchio, stand by a while. GRUMIO A proper stripling and an amorous! GREMIO O, very well; I have perused the note. Hark you, sir: I'll have them very fairly bound: All books of love, see that at any hand; And see you read no other lectures to her: You understand me: over and beside Signior Baptista's liberality, I'll mend it with a largess. Take your paper too, And let me have them very well perfumed For she is sweeter than perfume itself To whom they go to. What will you read to her? LUCENTIO Whate'er I read to her, I'll plead for you As for my patron, stand you so assured, As firmly as yourself were still in place: Yea, and perhaps with more successful words Than you, unless you were a scholar, sir. GREMIO O this learning, what a thing it is! GRUMIO O this woodcock, what an ass it is! PETRUCHIO Peace, sirrah! HORTENSIO Grumio, mum! God save you, Signior Gremio. GREMIO And you are well met, Signior Hortensio. Trow you whither I am going? To Baptista Minola. I promised to inquire carefully About a schoolmaster for the fair Bianca: And by good fortune I have lighted well On this young man, for learning and behavior Fit for her turn, well read in poetry And other books, good ones, I warrant ye. HORTENSIO 'Tis well; and I have met a gentleman Hath promised me to help me to another, A fine musician to instruct our mistress; So shall I no whit be behind in duty To fair Bianca, so beloved of me. GREMIO Beloved of me; and that my deeds shall prove. GRUMIO And that his bags shall prove. HORTENSIO Gremio, 'tis now no time to vent our love: Listen to me, and if you speak me fair, I'll tell you news indifferent good for either. Here is a gentleman whom by chance I met, Upon agreement from us to his liking, Will undertake to woo curst Katharina, Yea, and to marry her, if her dowry please. GREMIO So said, so done, is well. Hortensio, have you told him all her faults? PETRUCHIO I know she is an irksome brawling scold: If that be all, masters, I hear no harm. GREMIO No, say'st me so, friend? What countryman? PETRUCHIO Born in Verona, old Antonio's son: My father dead, my fortune lives for me; And I do hope good days and long to see. GREMIO O sir, such a life, with such a wife, were strange! But if you have a stomach, to't i' God's name: You shall have me assisting you in all. But will you woo this wild-cat? PETRUCHIO Will I live? GRUMIO Will he woo her? ay, or I'll hang her. PETRUCHIO Why came I hither but to that intent? Think you a little din can daunt mine ears? Have I not in my time heard lions roar? Have I not heard the sea puff'd up with winds Rage like an angry boar chafed with sweat? Have I not heard great ordnance in the field, And heaven's artillery thunder in the skies? Have I not in a pitched battle heard Loud 'larums, neighing steeds, and trumpets' clang? And do you tell me of a woman's tongue, That gives not half so great a blow to hear As will a chestnut in a farmer's fire? Tush, tush! fear boys with bugs. GRUMIO For he fears none. GREMIO Hortensio, hark: This gentleman is happily arrived, My mind presumes, for his own good and ours. HORTENSIO I promised we would be contributors And bear his charging of wooing, whatsoe'er. GREMIO And so we will, provided that he win her. GRUMIO I would I were as sure of a good dinner. [Enter TRANIO brave, and BIONDELLO] TRANIO Gentlemen, God save you. If I may be bold, Tell me, I beseech you, which is the readiest way To the house of Signior Baptista Minola? BIONDELLO He that has the two fair daughters: is't he you mean? TRANIO Even he, Biondello. GREMIO Hark you, sir; you mean not her to-- TRANIO Perhaps, him and her, sir: what have you to do? PETRUCHIO Not her that chides, sir, at any hand, I pray. TRANIO I love no chiders, sir. Biondello, let's away. LUCENTIO Well begun, Tranio. HORTENSIO Sir, a word ere you go; Are you a suitor to the maid you talk of, yea or no? TRANIO And if I be, sir, is it any offence? GREMIO No; if without more words you will get you hence. TRANIO Why, sir, I pray, are not the streets as free For me as for you? GREMIO But so is not she. TRANIO For what reason, I beseech you? GREMIO For this reason, if you'll know, That she's the choice love of Signior Gremio. HORTENSIO That she's the chosen of Signior Hortensio. TRANIO Softly, my masters! if you be gentlemen, Do me this right; hear me with patience. Baptista is a noble gentleman, To whom my father is not all unknown; And were his daughter fairer than she is, She may more suitors have and me for one. Fair Leda's daughter had a thousand wooers; Then well one more may fair Bianca have: And so she shall; Lucentio shall make one, Though Paris came in hope to speed alone. GREMIO What! this gentleman will out-talk us all. LUCENTIO Sir, give him head: I know he'll prove a jade. PETRUCHIO Hortensio, to what end are all these words? HORTENSIO Sir, let me be so bold as ask you, Did you yet ever see Baptista's daughter? TRANIO No, sir; but hear I do that he hath two, The one as famous for a scolding tongue As is the other for beauteous modesty. PETRUCHIO Sir, sir, the first's for me; let her go by. GREMIO Yea, leave that labour to great Hercules; And let it be more than Alcides' twelve. PETRUCHIO Sir, understand you this of me in sooth: The younges t daughter whom you hearken for Her father keeps from all access of suitors, And will not promise her to any man Until the elder sister first be wed: The younger then is free and not before. TRANIO If it be so, sir, that you are the man Must stead us all and me amongst the rest, And if you break the ice and do this feat, Achieve the elder, set the younger free For our access, whose hap shall be to have her Will not so graceless be to be ingrate. HORTENSIO Sir, you say well and well you do conceive; And since you do profess to be a suitor, You must, as we do, gratify this gentleman, To whom we all rest generally beholding. TRANIO Sir, I shall not be slack: in sign whereof, Please ye we may contrive this afternoon, And quaff carouses to our mistress' health, And do as adversaries do in law, Strive mightily, but eat and drink as friends. GRUMIO BIONDELLO O excellent motion! Fellows, let's be gone. HORTENSIO The motion's good indeed and be it so, Petruchio, I shall be your ben venuto. [Exeunt]
Modern English
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This scene functions as the play's primary expository engine, introducing Petruchio and establishing the central comic mechanism: Katharina cannot be avoided, she must be married, and the man willing to attempt it will unlock the romantic plots of everyone else. Shakespeare economises brilliantly — Petruchio's character, motivation, and rhetorical style are all established within a single scene, making him the pivot on which the entire plot turns. His entrance through farce (the "knock" confusion) immediately signals that he operates by his own logic, impervious to social convention.

Petruchio's declaration that he will woo any woman, however "curst," as long as she is wealthy is a frank articulation of mercenary marriage. His catalogue of classical and mythological shrews — Florentius's love, the Sibyl, Xanthippe — frames Katharina within a long misogynist tradition, yet simultaneously elevates her to legendary status. The speech's bravado is undercut by its very excess: the audience is invited to enjoy Petruchio's confidence while remaining alert to its transactional coldness. Grumio's comic gloss — "nothing comes amiss, so money comes withal" — strips away any romantic veneer and anchors the scene in economic realism.

The scene also establishes the play's pervasive theme of disguise and deception. Hortensio plans to masquerade as a music master; Lucentio is already disguised; Tranio impersonates his master. These layered deceptions create a Padua in which identity is performative and social roles are costumes to be donned for strategic advantage. Grumio's sardonic aside — "Here's no knavery! See, to beguile the old folks, how the young folks lay their heads together!" — voices the audience's own ironic awareness, functioning as a kind of choric commentary on the scheming that surrounds Bianca.

Petruchio's great boasting speech — "Have I not heard the sea puff'd up with winds / Rage like an angry boar chafed with sweat?" — is a set-piece of hyperbolic rhetoric that simultaneously characterises him and parodies the conventions of the heroic soldier. The anaphoric structure ("Have I not … Have I not …") builds to a deliberately bathetic conclusion: a woman's tongue gives "not half so great a blow to hear / As will a chestnut in a farmer's fire." The deflation is comic but also reveals Petruchio's strategy of radical reframing, which will define his taming method throughout the play.

Finally, the scene's closing negotiation — rivals agreeing to "strive mightily, but eat and drink as friends" — introduces the play's contractual view of social relations. Courtship, like law, is competitive but governed by gentlemen's agreements. Petruchio is essentially hired by the suitors of Bianca, reducing the wooing of Katharina to a commercial transaction. This mercantile framing of love and marriage is not merely satirical; it reflects genuine early modern anxieties about the relationship between affection and economic interest, anxieties the play will continue to probe.

"I come to wive it wealthily in Padua; If wealthily, then happily in Padua." — Petruchio (1.2)

"Be she as foul as was Florentius' love, As old as Sibyl and as curst and shrewd As Socrates' Xanthippe, or a worse, She moves me not, or not removes, at least, Affection's edge in me, were she as rough As are the swelling Adriatic seas:" — Petruchio (1.2)

"Have I not heard the sea puff'd up with winds Rage like an angry boar chafed with sweat? Have I not heard great ordnance in the field, And heaven's artillery thunder in the skies?" — Petruchio (1.2)

"And do you tell me of a woman's tongue, That gives not half so great a blow to hear As will a chestnut in a farmer's fire? Tush, tush! fear boys with bugs." — Petruchio (1.2)

"Here's no knavery! See, to beguile the old folks, how the young folks lay their heads together!" — Grumio (1.2)

"Nay, look you, sir, he tells you flatly what his mind is: Why give him gold enough and marry him to a puppet or an aglet-baby; or an old trot with ne'er a tooth in her head, though she have as many diseases as two and fifty horses: why, nothing comes amiss, so money comes withal." — Grumio (1.2)

"And do as adversaries do in law, Strive mightily, but eat and drink as friends." — Tranio (1.2)

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✎ Mr. Shifflett's Note
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Mr. Shifflett
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