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 necessity, they balance
better in interest and are more continually brought to bear upon each
other from time to time. What are their points of contact in each Act?
The sisters with relation to their father and their suitors in Act I:
How does this initiate the action?