Original: Well, come, my Kate; we will unto your father’s
Modern: Alright, come on, my Kate; we will go to your father’s house

Original: Even in these honest mean habiliments;
Modern: Even wearing these simple, plain clothes;

Original: Our purses shall be proud, our garments poor;
Modern: Our wallets will be full, but our clothing will be humble;

Original: For ‘tis the mind that makes the body rich;
Modern: Because it’s the mind and spirit that makes a person truly rich;

Original: And as the sun breaks through the darkest clouds,
Modern: And just as the sun shines through the darkest clouds,

Original: So honour peereth in the meanest habit.
Modern: So a person’s honor shows through even the poorest clothing.

Original: What, is the jay more precious than the lark
Modern: What, is the blue jay more valuable than the lark

Original: Because his feathers are more beautiful?
Modern: Just because his feathers are prettier?

Original: Or is the adder better than the eel
Modern: Or is the venomous snake better than the eel

Original: Because his painted skin contents the eye?
Modern: Just because its colorful skin is more pleasing to look at?

Original: O no, good Kate; neither art thou the worse
Modern: Oh no, good Kate; you are not any lesser

Original: For this poor furniture and mean array.
Modern: Because of these plain accessories and simple outfit.

Original: If thou account’st it shame, lay it on me;
Modern: If you think it’s shameful, blame me for it;

Original: And therefore frolic; we will hence forthwith
Modern: So cheer up; we will leave from here right away

Original: To feast and sport us at thy father’s house.
Modern: To celebrate and enjoy ourselves at your father’s house.

Original: Go call my men, and let us straight to him;
Modern: Go call my servants, and let us go directly to him;

Original: And bring our horses unto Long-lane end;
Modern: And bring our horses to the end of Long-lane;

Original: There will we mount, and thither walk on foot.
Modern: We’ll walk there on foot, and then get on our horses.

Original: Let’s see; I think ‘tis now some seven o’clock,
Modern: Let’s see; I think it’s about seven o’clock now,

Original: And well we may come there by dinner-time.
Modern: And we should easily arrive there by dinner-time.

In Act IV, Scene iii of “The Taming of the Shrew,” Katherina and Petruchio are at Petruchio’s country house, where Kate has been deprived of food and sleep as part of Petruchio’s “taming” strategy. Petruchio brings Kate some meat, but then finds fault with how it has been prepared and refuses to let her eat it, despite her hunger. A tailor and haberdasher arrive with fine clothes that Petruchio has ordered for Kate - a cap and gown for their planned return to Padua for Bianca’s wedding. Kate expresses pleasure with the garments, particularly praising the cap as fashionable.

However, Petruchio rejects both items, calling the cap a “bauble” and criticizing the gown’s style, claiming it is too ornate and inappropriate. He argues with the tailor about the garment’s construction and ultimately sends both tradesmen away without their wares. Petruchio then tells Kate they will travel to her father’s house in their plain clothes, asserting that fine clothing does not make the person. He declares they will leave immediately, and when Kate mentions it is almost two o’clock, Petruchio contradicts her, insisting it is seven o’clock, establishing his continued control over even the perception of time and reality in their relationship.

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.