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TENDER, tend; Induct. i. 16. TENTS AND CANOPIES, probably bed hangings; II. i. 360. THIRDBOROUGH (Folios and Quarto "head-borough," Theobald's correction), constable; Induct. i. 12.

THROUGHLY, thoroughly; IV. iv.

11.

Tooк, gave; III. ii. 167.

TOWARD, at hand, I. i. 68; obedi

ent, docile; V. ii. 182. Toy! a trifle, nonsense! II. i. 411. TRICK, toy, trifle; IV. iii. 67. TROT, Woman, hag; I. ii. 80. TRUNK, broad, large; IV. iii. 143. TURTLE= turtle-dove; II. i. 214. TWANGLING, twanging; II. i. 162. TWINK, twinkling; II. i. 317. TWO-AND-THIRTY, A PIP OUT, “an old cant phrase applied to a person who was intoxicated; derived from the old game of Bone-ace or One-and-thirty"; pip a spot or mark on a card; I. ii. 33.

UNABLE, weak, helpless; V. ii. 169.

UNAPT, unfit; V. ii. 166.
UNCASE, undress; I. i. 212.
UNCONSTANT inconstant; IV. ii.
14.

UNDERTAKE, assume; IV. ii. 106. UNMANNER'D, Unmannerly; IV. i. 176.

YOUR STOMACHS," lower

your pride; V. ii. 176.

VELURE, velvet; III. ii. 63.

VENICE, GOLD, i.e. Venetian Gold; II. i. 362.

VIED, challenged; II. i. 316.

WANTS, are wanting; III. ii. 254. WATCH, keep from sleep; a term in falconry; IV. i. 203. WHATSOE'ER, at any rate; I. ii. 220.

WHO; "as who should say," as if to say; IV. iii. 13.

"WHY, WHEN, I SAY?" an exclamation of impatience; IV. i. 150.

WIDOW HOOD, rights as a widow; II. i. 128.

WILL; "she will," probably an error for "he will"; otherwise "will" should perhaps be "shall"; I. i. 189.

"WILL YOU, NILL YOU," whether you will or not; II. i. 278. WINCOT, probably a corruption of Wilnecote or Wilmecot, about three miles to the north of Stratford; Robert Arden, Shakespeare's grandfather, lived there (cp. Woncot, 2 Henry IV., V. i. 42); Induct. ii.

23.

WISH, commend; I. i. 113; I. ii. 60.

WITH, by; IV. iii. 111. WOODCOCK, popularly used for a fool; I. ii. 163.

WORKMANLY, Workmanlike; Induct. ii. 63.

WORLD; "'tis a world," i.e. a wonder; II. i. 318.

YARD, yard measure (which used

to be made of wood); IV. iii. 113.

YELLOWS, jaundice in horses; III. ii. 55.

YET, still; Induct, ii. 70. YOURSELF=you yourself; I. ii. 159.

STUDY QUESTIONS

By ANNE THROOP CRAIG

GENERAL

1. From what is the idea of the Induction derived?

2. Where did an incident similar to that in the Induction actually take place?

3. To what sources can be traced the main plot and the underplot?

4. Compare the old play on this theme with the Shakespearean version.

5. In what way does the portrayal of Kate present a dramatic difficulty?

6. What is the fundamental truth supporting such a course as Petruchio's towards the transformation of Kate? 7. Describe Petruchio.

8. Describe the interaction of the two plots.

9. What is the main strength of the play? Wherein is its weakness?

10. What elements of this material were suited to engage Shakespeare's distinctive abilities, and what were unworthy of them?

INDUCTION

11. Outline the Induction.

12. What is its dramatic quality?

13. Describe Christophero Sly.

ACT I

14. Where is the scene of the first act?

15. What is discussed between Lucentio and Tranio?

16. What is the resolve of Baptista?

17. With whom does Lucentio fall in love?

18. What is the suit of Gremio and Hortensio?

19. What plan does Lucentio devise to compass his suit? 20. What is the avowed intention of Petruchio in coming to Padua?

21. How does he receive Hortensio's suggestion as to his getting a wife?

22. How does Hortensio describe Katharina?

23. How does Grumio speak of his master to Hortensio?

ACT II

24. What disposition does Katharina show in her treatment of her sister?

25. How does Petruchio introduce Hortensio to Baptista?

26. What is the fate of the tutor who takes Katharina in hand?

27. Describe the first interview between Petruchio and Kate. What is its outcome?

28. How do Gremio and the pretended Lucentio present their suits for Bianca to Baptista?

ACT III

29. Describe the Latin lesson of Lucentio. What may have suggested this to Shakespeare?

30. How does Hortensio express his suit through his music lesson to Bianca?

31. How does Petruchio appear for his wedding? How does Biondello describe the get-up of him and his servant? 32. Describe Petruchio's behavior at the wedding.

33. Describe his first step thereafter towards the "taming" of Katharina.

ACT IV

34. Describe the scene between Curtis and Grumio, and the tale Grumio tells of the journey.

35. What are the first tactics of Petruchio when he brings Katharina home?

36. What is the first effect of this upon her? How does she speak to him when he begins his assumed tempers? 37. What is the servants' comment upon it?

38. What is Petruchio's soliloquy upon the situation? 39. Where is the second scene laid?

40. How does it find the matters stand among the suitors of Bianca?

41. What does Hortensio decide he will do, when he notes the lovemaking between Bianca and the pretended Cambio?

42. Who comes along to serve for the part of Vincentio ?

43. How does Tranio trick the newcomer into playing Vincentio?

44. Describe the plight of Katharina at her husband's house.

45. Describe the scenes with the tailor and haberdasher. 46. How do the Pedant, Tranio, and Biondello develop Lucentio's plan with Baptista?

47. How do they make the way clear for his clandestine marriage to Bianca?

48. How does Katharina begin to show the effects of Petruchio's discipline, on the journey back to her father's? 49. Whom do they meet upon the way?

ACT V

50. Describe the contretemps when Vincentio meets the disguised Pedant and Tranio. What is the outcome?

51. How do Petruchio and Katharina end the scene?

52. Where does the final scene take place?

53. Describe the introductory talk of the guests. What is still the evident opinion of all concerning Kate as a wife?

54. What is the wager of the husbands?

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