The Taming of the Shrew Read Online Free PDF

lecture when I am in tune?
    LUCENTIO     That will be never. Tune your instrument.
    BIANCA     Where left we last?
    LUCENTIO     Here, madam:
     ‘
Hic ibat Simois. Hic est Sigeia tellus.

    
Hic steterat Priami regia celsa senis
.’ 28
    Reads
    BIANCA      Conster 30 them.
    LUCENTIO     ‘
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, ‘
Priami
’, is my man Tranio, ‘
regia
’, bearing
    my port 35 , ‘
celsa senis
’, that we might beguile the old pantaloon.
    HORTENSIO     Madam, my instrument’s in tune.
    BIANCA     Let’s hear. O fie 37 ! The treble jars.
    He plays
    LUCENTIO      Spit in the hole, man, and tune again 38 .
    BIANCA     Now let me see if I can conster 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.
    HORTENSIO     Madam, ’tis now in tune.
    He plays again
    LUCENTIO     All but the bass.
    HORTENSIO     The bass is right: ’tis the base knave that jars 45 .
    How fiery and forward our pedant 46 is.
    Aside
        Now, for my life, the knave doth court my love.
     Pedascule 48 , I’ll watch you better yet.
    BIANCA     In time I may believe, yet I mistrust.
    To Lucentio
    LUCENTIO     Mistrust it not, for, sure, Aeacides
    Was Ajax, called so from his grandfather 50 .
    BIANCA     I must believe my master 52 , else, I promise you,
    I should be arguing still upon that doubt 53 .
    But let it rest.— Now, Litio, to you:
    Good master, take it not unkindly, pray,
    That I have been thus pleasant 56 with you both.
    HORTENSIO     You may go walk, and give me leave 57 a while.
    To Lucentio
        My lessons make no music in three parts 58 .
    LUCENTIO     Are you so formal 59 , sir? Well, I must wait —
    And watch withal 60 , for, but I be deceived,
    Aside
        Our fine musician groweth amorous.
    He stands aside
    HORTENSIO     Madam, before you touch the instrument,
    To learn the order 63 of my fingering,
    I must begin with rudiments of art,
    To teach you gamut 65 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 68 .
    Gives Bianca a paper
    BIANCA     Why, I am past my gamut long ago.
    HORTENSIO     Yet read the gamut of Hortensio.
    BIANCA     ‘
Gamut
I am, the ground of all accord 71 ,
    Reads
        
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 75 ,
    
E la mi
, show pity, or I die.’
    Call you this gamut? Tut, I like it not.
     Old 78 fashions please me best. I am not so nice
    To change true 79 rules for old inventions.
    Enter a Messenger
    MESSENGER     Mistress, your father prays you leave your books
    And help to dress your sister’s chamber up.
    You know tomorrow is the wedding day.
    BIANCA     Farewell, sweet masters both, I must be gone.
    [
Exeunt Bianca and Messenger
]
    LUCENTIO     Faith, mistress, then I have no cause to stay.
    [
Exit
]
    HORTENSIO     But I have cause to pry into 85 this pedant.
    Methinks he looks as though he were in love.
    Yet if thy thoughts, Bianca, be so humble
    To cast thy wand’ring eyes on every stale 88 ,
     Seize thee that list 89 . If once I find thee ranging,
    Hortensio will be quit with 90 thee by changing.
    Exit
[Act 3 Scene 2]
running scene 4
    Enter Baptista,