effect of the Induction in dramatic presentation is not easy to
estimate. Since there is no direct connection between it and the Play
itself what do you see that it could be made to do for the action? Is
it like a frame for a picture adapted to give the theme remoteness? Is
this appropriate? Is it otherwise a mere cause for confusion? Or is it
intended to add one more thread of amusement? Why does Shakespeare in
"The Shrew" drop the tinker interregnum dialogue recurring regularly
in "A Shrew?" May Shakespeare, therefore, be cited as finding only a
limited use for "the Play outside the Play," deeming it in the way
later? How has he arranged for its gradual disappearance from
attention? Is there a stage reason alone enough to account for it?
(See suggestions in Notes on I, i, 266, and IV, iii, i, "First Folio
Edition"). Compare the Tinker scenes in the version of 1594. (For
these see Extracts in Sources, pp. 105-110, in "First Folio Edition").
Do the Slie of "A Shrew" and Christophero Sly of "The Shrew" differ as
characters? As to their opinion of the Play: Are their between-the-act
dialogues materially different?

What is the relation to the source and what has been altered from the
old tale.

The local Warwickshire touches in the Induction and their explanation.
(For these see "Story of the Induction" in the Play).

QUERIES FOR DISCUSSION

Ought the Induction play to be left out? How might it be made more
effective by special treatment on the stage? Should the additional
scenes be interpolated as was the stage custom, or should
Shakespeare's diminishing notice of them be adopted to produce the
most artistic effect?

II

THE DOUBLE PLOT OF THE MAIN PLAY

In "A Shrew" and "The Shrew": Show how the story, with respect to the
Taming scenes, is the same substantially, with comparatively minor
differences, except for the characterization. But with respect to the
Bianca scenes it has been expanded and altered. This suggests, most
naturally, that the part Shakespeare did not write or answer for in "A
Shrew" was merely the Bianca scenes, and that his task in "The Shrew"
was to cut out and rewrite the scenes that were not his so as to be
unhampered with the disharmony of the two parts of the plot as it
appears in the Quarto of 1594.

The story of the Play as it now stands consists of an interweaving of
the Taming story and the story of Bianca's Courtship in such a way
that while they keep their separateness of neces