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