Perhaps it serves to indicate that the theme of the taming of a wife is crude and primitive folk-farce, particularly suited to the taste of the drunken tinker before whom it is played. Shakespeare's handling of the tinker's subject, however, like other rude and homely matters taken up by an acute mind is such as to fasten deeper attention and to overgo a tinker's appreciation. I THE PLAY OUTSIDE THE PLAY The 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.