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INTRODUCTORY REMARKS.

THE TANONG OF THE SAREW' was first printed in the folio collection of Shakspere's Plays in 1623. In 1594 ' A plesant conceited Historie called the Taming of a Shrew' was printed. This play, it is thought, preceded Shakspere's Taming of the Shrew. This comedy of some unknown author opens with an Induction, the characters of which are a Lord, Slie, a Tapster, Page, Players, and Huntsmen. The inci. dents are precisely the same as those of the play which we call Shakspere's. The scene of The Taming of a Shrew' is laid at Athens ; that of Shakspere's at Padua. The Athens of the one and the Padua of the other are resorts of learning. Alfonso, a merchant of Athens (the Baptista of Shakspere), has three daughters, Kate, Emelia, and Phylema. Aurelius, son of the Duke of Cestus (Sestos), is enamoured of one, Polidor of another, and Ferando (the Petrucio of Shakspere) of Kate, the Shrew. The merchant bath sworn, before he will allow his two younger daughters to be addressed by suitors, that

“ His eldest daughter first shall be espous'd." The wooing of Kate by Ferando is exactly in the same spirit as the wooing by Petrucio; so is the marriage; so the lenten entertainment of the bride in Ferando's country-house ; so the scene with the Tailor and Haberdasher; so the prostrate obedience of the tamed Shrew. The under-plot, however, is different. But all parties are ultimately happy and pleased; and the comedy ends with a wager, as in Shakspere, about the obedience of the several wives. This un. doubted resemblance involves some necessity for conjecture, with very little guide from evidence. The first and most obvious hypothesis is, that “The Taming of a Shrew' was an older play than Shakspere's; and that he borrowed from that comedy. But we propose another theory. Was there not an older play than The Taming of a Shrew,' which furnished the main plot, some of the characters, and a small part of the dialogue, both to the author of 'The Taming of a Shrew' and the author of 'The Taming of

the Shrew? This play we may believe, without any violation of fact or probability, to have been used as the rude material for both authors to work upon. Whether the author or improver of the play printed in 1594 be Marlowe or Greene (to each of whom the comedy has been assigned), there can be little question as to the characteristic superiority of Shakspere's work.

But there is a third theory—that of Tieck -that “The Taming of a Shrew' was & youthful work of Shakspere himself. To our minds that play is totally different from the imagery and the versification of Shak. spere.

Shakspere's "Taming of the Shrew' was produced in a "taming" age. Men tamed each other by the axe and the fagot; pa rents tamed their children by the rod and the ferule, as they stood or knelt in trembling silence before those who had given them life; and, although England was then called the “paradise of women,” and, as opposed to the treatment of horses, they were treated obsequiously,” husbands thought that “taming,” after the manner of Pe trucio, by oaths and starvation, was a commendable fashion.

We are—the happier our fortune- living in an age when this practice of Petrucio is not universally considered orthodox; and we owe a great deal to him who has exhibited the secrets of the "taming school" with so much spirit in this comedy, for the better belief of our age, that violence is not to be subdued by violence. Pardon be for him, if, treading in the footsteps of some predecessor whose sympathies with the peaceful and the beautiful were immeasurably inferior to his own, and sacrificing something to the popular appetite, he should have made the husband of a froward woman “kill her in her own humour,” and bring her upon her knees to the abject obe. dience of a revolted but penitent slave :

"A foul contending rebel, And graceless traitor to her loving lord.” Pardon for him? If there be one reader of Shakspere, and especially if that reader be a

female, who cherishes unmixed indignation high thoughts, clothed in the most exquisite when Petrucio, in his triumph, exclaims- language, shall endure, will preserve the “He that knows better how to tame a shrew,

ideal elevation of women pure and unasNow let him speak"

sailable from the attacks of coarseness or we would say,—the indignation which you libertinism,-ay, and even from the degradafeel, and in which thousands sympathise, be- tion of the example of the crafty and worldlongs to the age in which you live; but the ly-minded of their own sex for it is he principle of justice, and of justice to women that has delineated the ingenuous and trustabove all, from which it springs, has been ing Imogen, the guileless Perdita, the imestablished, more than by any other lessons

passioned Juliet, the heart-stricken but lov. of human origin, by him who has now moved ing Desdemona, the generous and courageous your anger. It is to him that woman owes, Portia, the unconquerable Isabella, the playmore than to any other human authority, ful Rosalind, the world-unknowing Miranda. the popular elevation of the feminine cha- Sbakspere may have exhibited one froward racter, by the most matchless delineations of woman wrongly tamed; but who can estiits purity, its faith, its disinterestedness, its mate the number of those from whom his tenderness, its heroism, its union of intel

all-penetrating influence has averted the lect and sensibility. It is he that, as long curse of being froward? as the power of influencing mankind by

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PERSONS REPRESENTED.

BAPTISTA, a rich gentleman of Padua.
Appears, Act I. sc. 1. Act II. sc. I. Act III. sc. 2.

Act IV. sc. 4. Act V. sc. l; sc. 2.
VINCENTIO, an old gentleman of Pisa.

Appears, Act IV. sc. 5. Act V. sc. 1; sc. 2.
LUCENTIO, son to Vincentio, in love with

Bianca.
Appears, Act I. sc. l; sc. 2. Act II. sc. 1.
Act III. sc. l; sc. 2. Act IV. sc. 2; sc. 4.

Act V. sc. l; sc. 2.
PETRUCIO, a gentleman of Verona, a suitor

to Katharina. Appears, Act I. sc. 2. Act II. sc. 1. Act III. sc. 2. Act IV. sc. 1; sc. 3; sc. 5. Act V. sc. 1; sc. 2.

GREMIO, a suitor to Bianca.
Appeurs, Act I. sc. 1; sc. 2. Act II. sc. 1. Act III. sc. 2.

Act V. sc. I; sc. 2.
HORTENSIO, a suitor to Bianca.
Appears, Act I. sc. 1; sc. 2. Act II. sc. 1.
Act III, sc. 1; sc. 2. Act IV. sc. 2; sc. 3; sc. 3.

Act V. sc. 2.
TRANIO, servant to Lucentio.
Appears, Act I. sc. 1; sc. 2. Act II. sc. I. Act III. sc. 2.

Act IV. sc. 2; sc. 4. Act V. sc. 1; sc. 2.

BIONDELLO, servant to Lucentio. Appears, Act I. sc. 1; sc. 2. Act II. sc. 1. Act III. sc. 2.

Act IV. sc. 2; sc. 4. Act V. sc. 1; sc. 2.

GRUMIO, servant to Petrucio.
Appears, Act I. sc. 2. Act III. sc. 2. Act IV. sc. l; sc. 3.

Act V. sc. 2.
CURTIS, servant to Petrucio.

Appears, Act IV. sc. 1.
Pedant, an old fellow set up to personate

Vincentio.
Appears, Act IV. sc. 2; sc. 4. Act V. sc. 1; sc. 2.
KATHARINA, the shrew, daughter to Baptista.
Appears, Act I. sc. 1. Act II. sc. 1. Act III. sc. 2.

Act IV. sc. 1; sc. 3; sc. 5. Act V. sc. I; sc. 2. BIANCA, sister to Katharina, and daughter to

Baptista.
Appears, Act I. sc. 1. Act II. sc. 1. Act III. sc. l; sc. 2.
Act IV. sc. 2. Act V. sc. l; sc. 2.

Widow.
Appears, Act V. sc. 2.

Tailor, Haberdasher, and Servants attending

on Baptista and Petrucio.

SCENE,_SOMETIMES IN PADUA; AND SOMETIMES IN PETRUCIO'S HOUSE IN THE COUNTRY.

There is no List of Characters in the original edition.

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