In Shakespeare's The Taming of the Shrew, find an example of a rhyming couplet in Act II, scene i.

In Shakespeare's The Taming of the
Shrew, Shakespeare is writing a great deal of his dialogue in iambic
pentameter. This means there are ten syllables per line, with a stress on every other
syllable; so that each line then has five stressed
syllables.

Often times Shakespeare also uses a rhyme
scheme, where the end of one line rhymes with a word at the end of another line.
However, in Act Two, scene one, this rhyme scheme is not present. A rhyming couplet also
uses rhyme to connect two lines that are next to each
other.

Two
lines--the second line immediately following the first--of the same metrical length that
end in a rhyme to form a complete
unit.

In Shakespeare's poetic
verse, he also uses something called " href="http://en.wikipedia.org/wiki/Half_rhyme">near rhyme" also known as
"slant rhyme" or "half rhyme." An example would be "soul" and "all." Usually rhyme falls
to the sound of similar vowel sounds, but in near rhyme, it is
simply that—"almost." When searching for rhyme, keep this kind of rhyme in mind. There
are examples of near rhyme in this scene. (E.g. "mean" and "thee" in lines
204-205.)

The best examples of rhyming couplets are two
lines with rhyming found in the last word of two adjacent lines. The following pair of
lines create a rhyming couplet:

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PET:

Nay,
hear you, Kate: in sooth you scape not so. (245)

KAT:

I
chafe you, if I tarry: let me
go.

As long as your
instructor does not require that the two lines be from the same speaker, this is an
especially good example. There are ten syllables per line, with stress on the second
syllable, and this has— what I call—"true rhyme."

Another
example is found with these lines from Petruchio to
Katharina:

We
will have rings and things and fine array;

And kiss me,
Kate, we will be married o'Sunday.
(330)

Baptista delivers a
rhyming couplet as follows, without iambic
pentameter:

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BAP:

Faith,
gentlemen, now I play a merchant's part,

And venture madly
on a desperate mart. (332-333)