Brick Shakespeare: The Comedies—A Midsummer Night's Dream, The Tempest, Much Ado About Nothing, and The Taming of the Shrew (96 page)

TAILOR

But did you not request to have it cut?

GRUMIO

Thou hast faced many things.

TAILOR

I have.

GRUMIO

Face not me: thou hast braved many men; brave not me; I will neither be faced nor braved. I say unto thee, I bid thy master cut out the gown; but I did not bid him cut it to pieces: ergo, thou liest.

TAILOR

Why, here is the note of the fashion to testify.

PETRUCHIO

Read it.

GRUMIO

The note lies in’s throat, if he say I said so.

TAILOR

“Imprimis, a loose-bodied gown:”

GRUMIO

Master, if ever I said loose-bodied gown, sew me in the skirts of it, and beat me to death with a bottom of brown thread: I said a gown.

PETRUCHIO

Proceed.

TAILOR

“With a small compassed cape:”

GRUMIO

I confess the cape.

TAILOR

“With a trunk sleeve:”

GRUMIO

I confess two sleeves.

TAILOR

“The sleeves curiously cut.”

PETRUCHIO

Ay, there’s the villany.

GRUMIO

Error i’ the bill, sir; error i’ the bill.

I commanded the sleeves should be cut out and sewed up again; and that I’ll prove upon thee, though thy little finger be armed in a thimble.

TAILOR

This is true that I say: an I had thee in place where, thou shouldst know it.

GRUMIO

I am for thee straight: take thou the bill, give me thy mete-yard, and spare not me.

HORTENSIO

God-a-mercy, Grumio! then he shall have no odds.

PETRUCHIO

Well, sir, in brief, the gown is not for me.

GRUMIO

You are i’ the right, sir: ’tis for my mistress.

PETRUCHIO

Go, take it up unto thy master’s use.

GRUMIO

Villain, not for thy life: take up my mistress’ gown for thy master’s use!

PETRUCHIO

Why, sir, what’s your conceit in that?

GRUMIO

O, sir, the conceit is deeper than you think for:

Take up my mistress’ gown to his master’s use!

O, fie, fie, fie!

PETRUCHIO

Hortensio, say thou wilt see the tailor paid.

Go take it hence; be gone, and say no more.

HORTENSIO

Tailor, I’ll pay thee for thy gown tomorrow:

Take no unkindness of his hasty words:

Away! I say; commend me to thy master.

ACT IV. Scene V (1–26).

T
he tailor has gone and Katharina is without a fashionable gown. Petruchio tells her not to fret and that their honor will show even in the most humble attire. He adds that it is seven in the morning and that they will make it to Baptista’s house just in time for lunch. When Katharina points out that is it already past 2 p.m., Petruchio declares that he will not go, until she can agree that, “it shall be what o’clock I say it is” (IV.iii.188).

The merchant arrives to Baptista’s house and is instructed to play the part of Vincentio, Lucentio’s father, so that Baptista will accept the terms of the marriage contract. At this point, Baptista believes Tranio to be Lucentio, Lucentio to be Cambio, and the merchant to be Vincentio. They agree to draw up the papers for Tranio (as Lucentio) to marry Bianca, and Baptista tells Lucentio (as Cambio) to inform Bianca of her future nuptials. As Baptista chats “with the deceiving father of a deceitful son” (IV.iv.80), Lucentio is free to find Bianca and elope with her, given that the contract is underway.