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Gre. Nay, I dare not swear it.

TRA. Then thou wert best say, that I am not Lucentio. GRE. Yes, I know thee to be signior Lucentio. BAP. Away with the dotard; to the gaol with

him.

Vin. Thus strangers may be haled and abus'd: O monstrous villain!

Re-enter Biondello, with Lucentio and BIANCA.

Vin.

Bion. O, we are spoiled, and-Yonder he is; deny him, forswear him, or else we are all undone. Luc. Pardon, sweet father. [Kneeling.

Lives my sweetest fon? [BIONDELLO, TRANIO, and Pedant run out.' Bian. Pardon, dear father.

[Kneeling.

How hast thou offended ?Where is Lucentio ? LUC.

Here's Lucentio, Right son unto the right Vincentio; That have by marriage made thy daughter mine, While counterfeit supposes blear'd thine eyne. 8

BAP.

irun out.] The old copy says—as fast as may be. Ritson.

8 While counterfeit supposes blear'd thine eyne.) The modern editors read fuppofers, but wrongly. This is a plain allusion to Gascoigne's comedy entitled Suppojes, from which several of the incidents in this play are borrowed. TYRWHITT.

This is highly probable; but yet supposes is a word often used in its common sense, which, on the present occasion is sufficiently commodious. So, in Greene's Farewell to Folly, 1617: “ -- with Plato to build a commonwealth on supposes." Shakspeare uses the word in Troilus and Crefida : That we come fort of our Suppose so far," &c. It appears likewise from the Preface to Greene's Metamorphosis, that supposes was a game of some kind. “ After fupposes, and such ordinary sports, were past, they fell to

Gre. Here's packing, with a witness, to deceive us all!

Vin. Where is that damned villain, Tranio,
That fac'd and brav'd me in this matter so?

BAP. Why, tell me, is not this my Cambio?
Bian. Cambio is chang'd into Lucentio.

Luc. Love wrought these miracles. Bianca's love
Made me exchange my state with Tranio,
While he did bear my countenance in the town;
And happily I have arriv'd at last
Unto the wished haven of my bliss:
What Tranio did, myself enforc'd him to;
Then pardon him, sweet father, for my fake.

Vin. I'll fit the villain's nose, that would have sent me to the gaol.

BAP. But do you hear fir? [TO LUCENTIO.) Have you married my daughter without asking my good-will?

prattle,” &c. Again, in Drayton's Epistle from K. John to Ma. tilda:

« And tells me those are shadows and supposes." To blear the eye, was an ancient phrase signifying to deceive. So, in Chaucer's Manciple's Tale, v. 17202, Mr. Tyrwhitt's edit:

« For all thy waiting, blered is thin eye.Again, in the 10th pageant of The Coventry Plays, in the British Museum, MS. Cott. Vesp. D. VIII:

“ Shuld I now in age begynne to dote,
“ If I chyde, she wolde clowte my cote,

Blere mine ey, and pyke out a mote." STEVENS. The ingenious editor's explanation of blear the eye, is strongly supported by Milton, Comus, v. 155:

“ Spells -
“ Of power to cheat the eye with blear illusion.”

Holt WHITE. 8 Here's packing,] i. e. plotting, underhand contrivance. So, ' in K. Lear:

“ Snuffs and packings of the dukes." STBEVENS,

Vin. Fear not, Baptista; we will content you, go to: But I will in, to be reveng'd for this villainy. [Exit. BAP. And I, to found the depth of this knavery.

[Exit. Luc. Look not pale, Bianca; thy father will not

frown. [Exeunt Lucentio and BIANCA. Gre. My cake is dough:' But I'll in among the

rest; Out of hope of all, but my share of the feast. [ Exit.

Petruchio and KathARINA advance. KATH. Husband, let's follow, to see the end of

this ado. Per. First kiss me, Kate, and we will. KATH. What, in the midst of the street? Pet. What, art thou asham'd of me? Kath. No, fir; God forbid: but asham'd to kiss. Per. Why, then let's home again :--Come, firrah,

let's away. Kath. Nay, I will give thee a kiss: now pray thee,

love, stay. Per. Is not this well?—Come, my sweet Kate; Better once than never, for never too late.

[Exeunt.

9 My cake is dough:] This is a proverbial expression which also occurs in the old interlude of Tom Tyler and his Wife:

“ Alas poor Tom, his cake is dough.Again, in The Case is Alter'd, 1609:

“ Steward, your cake is dough, as well as mine." STEEVENS. It was generally used when any project miscarried. MALONE.

Rather when any disappointment was sustained, contrary to every appearance or expectation. Howell in one of his letters, mentioning the birth of Lewis the Fourteenth, says " The Qucen is delivered of a Dauphin, the wonderfullest thing of this kind that any story can parallel, for this is the threc-and-iwentieth year since she was married, and hath continued childless all this while. So that now Monsieur's cake is dough.REED,

SCENE II.

A Room in Lucentio's House. A Banquet set out. Enter BAPTISTA, Vincentio, Gremio, the Pedant, LUCENTIO, BIANCA, PETRUCHIO, KATHARINA, HORTENSIO, and Widow. Tranto, Biondello, GRUMIO, and Others, attending.

Luc. At last, though long, our jarring notes agree: And time it is, when raging war is done, To smile at ’scapes and perils over-blown.My fair Bianca, bid my father welcome, While I with self-fame kindness welcome thine: Brother Petruchio,-sister Katharina, And thou, Hortensio, with thy loving widow, Feast with the best, and welcome to my house; My banquet ? is to close our stomachs up, After our great good cheer: Pray you, lit down; For now we sit to chat, as well as eat.

[They fit at table. Per. Nothing but fit and fit, and eat and eat!

BAP. Padua affords this kindness, son Petruchio. . Per. Padua affords nothing but what is kind.

9- when raging war is done,] This is Mr. Rowe's emendation. The old copy has when raging war is come, which cannot be right. Perhaps the author wrote when raging war is calm formerly spelt calme. So, in Othello:

“ If after every tempest come such calms -." The word " overblown,' in the next line, adds some little support to this conjecture. MALONE. Mr. Rowe's conjecture is justified by a passage in Othello :

“ News, lords! our wars are done,STEEVENS. 2 My banquet-] A banquet, or (as it is called in some of our old books) an afterpast, was a light refection, like our modern desert, consisting of cakes, fweetmeats, and fruit. See note on Romeo and Juliet, A& I. sc. v. STEEVENS.

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Hor. For both our fakes, I would that word were

true. Per. Now, for my life, Hortensio fears his widow.” Wid. Then never trust me if I be afeard.

Per. You are sensible, and yet you miss my sense; I mean, Hortensio is a feard of you. Wid. He that is giddy, thinks the world turns

round. Pet. Roundly replied. Клтн.

Mistress, how mean you that ? WID. Thus I conceive by him. Per. Conceives by me!-How likes Hortensio

that? HOR. My widow says, thus the conceives her tale. Pet. Very well mended: Kiss him for that, good

widow. Kath. He that is giddy, thinks the world turns

round: I pray you, tell me what you meant by that.

Wid. Your husband, being troubled with a shrew,
Measures my husband's forrow by his woe:s
And now you know my meaning.

KATH. A very mean meaning.
Wid.

Right, I mean you.

} - fears his widow.) To fear, as has been already observed, meant in our author's time both to dread, and to intimidate. The widow understands the word in the latter sense; and Petruchio tells her, he used it in the former. Malone.

+ You are sensible, and yet you miss my sense;] The old copy redun lantly reads You are very sensible. STEEVENS.

s- piew,----Wee :) As this was meant for a rhyming coupiet, it should be observed that anciently the word-Threw was pronunced as if it had been written-Throw. See the finale of the play, p. 557. STEEVENS. Vol. VI.

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