Original
Modern English
Softly and swiftly, sir; for the priest is ready.
Quietly and quickly, sir; the priest is ready.
I fly, Biondello: but they may chance to need thee at home; therefore leave us.
I’m off, Biondello: but they might need you back home, so go ahead and leave us.
Nay, faith, I’ll see the church o’ your back; and then come back to my master’s as soon as I can.
No, really, I’ll make sure the church is all set for you; and then I’ll return to my master as soon as I can.
I marvel Cambio comes not all this while.
I wonder why Cambio hasn’t shown up yet.
Sir, here’s the door, this is Lucentio’s house: My father’s bears more toward the market-place; Thither must I, and here I leave you, sir.
Sir, here’s the door, this is Lucentio’s house: My father’s house is closer to the market-place; I have to go there, so I’ll leave you here, sir.
You shall not choose but drink before you go: I think I shall command your welcome here, And, by all likelihood, some cheer is toward.
You really should have a drink before you leave: I think I’ll be able to make sure you’re welcomed here, and it looks like there’ll be some refreshments as well.
They’re busy within; you were best knock louder.
They’re busy inside; you’d better knock louder.
What’s he that knocks as he would beat down the gate?
Who’s knocking like they’re trying to knock the gate down?
Is Signior Lucentio within, sir?
Is Signior Lucentio in there, sir?
He’s within, sir, but not to be spoken withal.
He’s inside, sir, but you can’t speak to him.
What if a man bring him a hundred pound or two, to make merry withal?
What if someone gives him a hundred pounds or so, to have a good time with?
Keep your hundred pounds to yourself: he shall need none, so long as I live.
Keep your hundred pounds: he won’t need any as long as I live.
Nay, I told you your son was well beloved in Padua. Do you hear, sir? To leave frivolous circumstances, I pray you, tell Signior Lucentio that his father is come from Pisa, and is here at the door to speak with him.
No, I told you your son is well-liked in Padua. Do you hear me, sir? Let’s forget the silly details, and tell Signior Lucentio that his father has come from Pisa and is here at the door to speak to him.
Thou liest: his father is come from Padua and here looking out at the window.
You’re lying: his father has come from Padua and is standing at the window looking out.
Art thou his father?
Are you his father?
Ay, sir; so his mother says, if I may believe her.
Yes, sir; that’s what his mother says, if I can believe her.
[To VINCENTIO] Why, how now, gentleman! why, this is flat knavery, to take upon you another man’s name.
[To VINCENTIO] What’s this, man! This is outright trickery, to pretend to be someone else.
Lay hands on the villain: I believe a’ means to cozen somebody in this city under my countenance.
Grab him! I think he plans to cheat someone in this city with my help.
I have seen them in the church together: God send ’em good shipping! But who is here? mine old master Vincentio! now we are undone and brought to nothing.
I saw them together in church: may God bless them! But who is this? My old master Vincentio! Now we’re ruined and done for.
[Seeing BIONDELLO] Come hither, crack-hemp.
[Seeing BIONDELLO] Come here, you good-for-nothing.
Hope I may choose, sir.
I hope I get to choose, sir.
Come hither, you rogue. What, have you forgot me?
Come here, you rascal. What, have you forgotten me?
Forgot you! no, sir: I could not forget you, for I never saw you before in all my life.
Forgotten you! No, sir: I couldn’t forget you because I have never seen you before in my life.
What, you notorious villain, didst thou never see thy master’s father, Vincentio?
What, you despicable villain, have you never seen your master’s father, Vincentio?
What, my old worshipful old master? yes, marry, sir: see where he looks out of the window.
What, my old respected master? Yes, indeed, sir: look, he’s looking out of the window.
Is’t so, indeed.
Is it really so?
Help, help, help! here’s a madman will murder me.
Help, help, help! There’s a madman who’s going to kill me.
Help, son! help, Signior Baptista!
Help, son! Help, Mr. Baptista!
Prithee, Kate, let’s stand aside and see the end of this controversy.
Please, Kate, let’s step aside and watch the end of this argument.
Sir, what are you that offer to beat my servant?
Sir, who are you to try to hit my servant?
What am I, sir! nay, what are you, sir? O immortal gods! O fine villain! A silken doublet! a velvet hose! a scarlet cloak! and a copatain hat! O, I am undone! I am undone! while I play the good husband at home, my son and my servant spend all at the university.
Who am I, sir? No, who are you, sir? Oh, immortal gods! Oh, what a fine villain! A fancy jacket! Velvet pants! A bright red cloak! And a fancy hat! Oh, I am ruined! I am ruined! While I try to be a good husband at home, my son and my servant are wasting all my money at the university.
How now! what’s the matter?
What’s going on? What’s the matter?
What, is the man lunatic?
What, is this man crazy?
Sir, you seem a sober ancient gentleman by your habit, but your words show you a madman. Why, sir, what ’cerns it you if I wear pearl and gold? I thank my good father, I am able to maintain it.
Sir, you look like a respectable older gentleman from your clothing, but your words show you’re insane. Why, sir, does it matter to you if I wear pearls and gold? I thank my good father, I can afford it.
Thy father! O villain! he is a sailmaker in Bergamo.
Your father! Oh, villain! He’s a sailmaker in Bergamo.
You mistake, sir, you mistake, sir. Pray, what do you think is his name?
You’re wrong, sir, you’re wrong, sir. Tell me, what do you think his name is?
His name! as if I knew not his name: I have brought him up ever since he was three years old, and his name is Tranio.
His name! As if I didn’t know his name: I’ve raised him since he was three years old, and his name is Tranio.
Away, away, mad ass! his name is Lucentio and he is mine only son, and heir to the lands of me, Signior Vincentio.
Stop, stop, you mad fool! His name is Lucentio, and he is my only son, and heir to my lands, I, Signior Vincentio.
Lucentio! O, he hath murdered his master! Lay hold on him, I charge you, in the duke’s name. O, my son, my son! Tell me, thou villain, where is my son Lucentio?
Lucentio! Oh, he’s killed his master! Grab him, I order you, in the duke’s name. Oh, my son, my son! Tell me, you scoundrel, where is my son Lucentio?
Call forth an officer.
Call for an officer.
Carry this mad knave to the gaol. Father Baptista, I charge you see that he be forthcoming.
Take this mad fool to jail. Father Baptista, I order you to make sure he is brought forward.
Carry me to the gaol!
Take me to jail!
Stay, officer: he shall not go to prison.
Wait, officer: he should not go to prison.
Talk not, Signior Gremio: I say he shall go to prison.
Don’t talk, Signior Gremio: I say he will go to prison.
Take heed, Signior Baptista, lest you be cony-catched in this business: I dare swear this is the right Vincentio.
Be careful, Signior Baptista, or you’ll be tricked in this matter: I swear this is the real Vincentio.
Swear, if thou darest.
Swear it, if you dare.
Nay, I dare not swear it.
No, I won’t swear to it.
Then thou wert best say that I am not Lucentio.
Then you’d better say that I’m not Lucentio.
Yes, I know thee to be Signior Lucentio.
Yes, I know you are Signior Lucentio.
Away with the dotard! to the gaol with him!
Get rid of the fool! Take him to jail!
Thus strangers may be hailed and abused: O monstrous villain!
So this is how strangers can be welcomed and mistreated: Oh monstrous villain!
O! we are spoiled and--yonder he is: deny him, forswear him, or else we are all undone.
Oh! We’re ruined and--there he is: deny him, reject him, or else we’re all finished.
[Kneeling] Pardon, sweet father.
[Kneeling] Please forgive me, dear father.
Lives my sweet son?
Is my sweet son still alive?
Pardon, dear father.
Please forgive me, dear father.
How hast thou offended? Where is Lucentio?
How have you wronged me? Where is Lucentio?
Here’s Lucentio, Right son to the right Vincentio; That have by marriage made thy daughter mine, While counterfeit supposes bleared thine eyne.
Here’s Lucentio, The true son of the real Vincentio; Who, by marriage, made your daughter mine, While fake identities deceived you.
Here’s packing, with a witness to deceive us all!
Here’s a trick, with proof to fool us all!
Where is that damned villain Tranio, That faced and braved me in this matter so?
Where is that damned villain Tranio, Who dared to challenge and deceive me in this way?
Why, tell me, is not this my Cambio?
Why, tell me, isn’t this my Cambio?
Cambio is changed into Lucentio.
Cambio has turned into Lucentio.
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 arrived at the last Unto the wished haven of my bliss. What Tranio did, myself enforced him to; Then pardon him, sweet father, for my sake.
Love worked these miracles. Bianca’s love Made me swap places with Tranio, While he pretended to be me in town; And fortunately, I’ve arrived at last To the hoped-for harbor of my happiness. What Tranio did, I made him do; So forgive him, dear father, for my sake.
I’ll slit the villain’s nose, that would have sent me to the gaol.
I’ll cut off the villain’s nose, who would have sent me to prison.
But do you hear, sir? have you married my daughter without asking my good will?
But listen, sir, did you marry my daughter without asking for my permission?
Fear not, Baptista; we will content you, go to: but I will in, to be revenged for this villany.
Don’t worry, Baptista; we’ll satisfy you, just wait: but I’m going inside to get revenge for this wickedness.
And I, to sound the depth of this knavery.
And I will find out the truth behind this trickery.
Look not pale, Bianca; thy father will not frown.
Don’t look so pale, Bianca; your father won’t be angry.
My cake is dough; but I’ll in among the rest, Out of hope of all, but my share of the feast.
I’m out of luck, but I’ll join the others, Hoping for something, even if it’s just my share of the feast.
Husband, let’s follow, to see the end of this ado.
Husband, let’s follow them to see how this all turns out.
First kiss me, Kate, and we will.
First kiss me, Kate, and we’ll go.
What, in the midst of the street?
What, right here in the street?
What, art thou ashamed of me?
What, are you embarrassed by me?
No, sir, God forbid; but ashamed to kiss.
No, sir, God forbid; just embarrassed to kiss.
Why, then let’s home again. Come, sirrah, let’s away.
Well, then let’s go home. Come on, let’s leave.
Nay, I will give thee a kiss: now pray thee, love, stay.
No, I’ll give you a kiss; now please, love, stay.
Is not this well? Come, my sweet Kate: Better once than never, for never too late.
Isn’t this good? Come on, my sweet Kate: Better once than never, and it’s never too late.