Original: First, as you know, my house within the city
Modern: First of all, you know that my house in town

Original: Is richly furnished with plate and gold,
Modern: Is filled with expensive silverware and gold objects,

Original: Basins and ewers to lave her dainty hands;
Modern: Washbasins and pitchers for her to wash her delicate hands;

Original: My hangings all of Tyrian tapestry;
Modern: My wall hangings are all made of expensive purple tapestry;

Original: In ivory coffers I have stuff’d my crowns;
Modern: In ivory treasure chests I’ve stored my money;

Original: In cypress chests my arras counterpoints,
Modern: In cypress wood chests I keep my decorative tapestry bedspreads,

Original: Costly apparel, tents, and canopies,
Modern: Expensive clothing, bed curtains, and fabric canopies,

Original: Fine linen, Turkey cushions boss’d with pearl,
Modern: Fine linens, Turkish cushions decorated with pearls,

Original: Valance of Venice gold in needle-work;
Modern: Bed curtains made of Venetian gold embroidery;

Original: Pewter and brass, and all things that belongs
Modern: Pewter and brass items, and everything else that’s needed

Original: To house or housekeeping. Then at my farm
Modern: For a home or running a household. And then at my farm

Original: I have a hundred milch-kine to the pail,
Modern: I have a hundred dairy cows for milking,

Original: Six score fat oxen standing in my stalls,
Modern: A hundred and twenty well-fed oxen in my barns,

Original: And all things answerable to this portion.
Modern: And everything else that matches this level of wealth.

Original: Myself am struck in years, I must confess;
Modern: I’m getting old, I have to admit;

Original: And if I die to-morrow this is hers,
Modern: And if I die tomorrow, all of this will be hers,

Original: If whilst I live she will be only mine.
Modern: As long as while I’m alive she will belong only to me.

In Act II, Scene 1 of “The Taming of the Shrew,” the main action takes place at Baptista Minola’s house in Padua, where multiple suitors have gathered to seek the hands of his daughters. The scene opens with Baptista negotiating with Gremio and Tranio (disguised as Lucentio) about their suits for Bianca, while also introducing Petruchio, who has come to woo Katherina, the elder daughter known for her sharp tongue and difficult temperament. Various introductions and negotiations occur, including the presentation of tutors for Bianca—Lucentio (disguised as Cambio) brought by Tranio, and Hortensio (disguised as Litio) brought by Petruchio. Petruchio boldly declares his intention to marry Katherina regardless of her reputation, confident in his ability to woo her successfully.

The scene then shifts to Petruchio’s first encounter with Katherina, which consists of a rapid-fire exchange of wit, wordplay, and sexual innuendo. Despite Katherina’s insults and physical resistance (she strikes him), Petruchio remains undeterred and insists on her hidden gentleness and virtue. He announces to Baptista and the others that Katherina has agreed to marry him and that the wedding will take place on Sunday. After Petruchio exits, Baptista turns his attention to Bianca’s suitors, and Gremio and Tranio engage in a bidding war over who can offer the most substantial dowry and wealth. Baptista provisionally accepts Tranio’s offer, contingent upon his father’s assurance of the promised assets, setting up future complications in the courtship plot.

The Taming of the Shrew opens with an induction featuring Christopher Sly, a drunken tinker who is tricked by a lord into believing he is nobility. A troupe of players performs the main play for Sly’s entertainment, though this framing device is largely forgotten after the first act.

The central plot follows Petruchio of Verona, who comes to Padua seeking a wealthy wife. He learns of Katherina Minola, the shrewish elder daughter of the rich Baptista, whom no man dares court due to her fierce temper and sharp tongue. Baptista has decreed that no suitor may court his younger, gentler daughter Bianca until Katherina is married. Petruchio, undaunted by Katherina’s reputation and attracted by her substantial dowry, courts and weds her despite her protests and violent resistance during their first meeting.

Meanwhile, multiple suitors pursue Bianca, including Lucentio (who disguises himself as a Latin tutor), Gremio (an old pantaloon), and Hortensio (who disguises himself as a music teacher). Lucentio and his servant Tranio orchestrate an elaborate deception, with Tranio assuming his master’s identity to court Bianca openly while Lucentio teaches her in disguise. Eventually, Bianca falls in love with Lucentio, and they secretly marry, while Hortensio abandons his pursuit and marries a wealthy widow.

After his wedding, Petruchio takes Katherina to his country house, where he employs various tactics to “tame” her, including depriving her of food and sleep under the pretense that nothing is good enough for her, and contradicting her at every turn. Gradually, Katherina appears to submit to his will. The play concludes with a feast where the three new husbands wager on whose wife is most obedient. Katherina proves most compliant, delivering a lengthy speech on wifely duty and obedience, winning Petruchio the wager and apparently demonstrating her complete transformation.