12 Jan 21, EHW REMARKS. Taming of the Shrew; or, Katharine and Petruchio. DR. FARMER, after speaking in terms of unqualified praise of The Induction to Taming of the Shrew, gives it as his opinion, in which he is joined by Dr. Warburton, that the comedy itself is not the production of Shakspeare; and for this reason, that it is greatly inferior to any thing that we have on record as the acknowledged work of the immortal bard. In addition to this internal evidence, he brings forward the testimony of Sir Aston Cockayn, an indifferent dramatic poet, who lived much with the literary men immediately subsequently to Shakspeare, who, in an Epigram to Mr. Clement Fisher, of Wincot, ascribes to Shakspeare nothing more than the Induction-Wincot-ale and the Beggar! From this opinion Mr. Steevens at once dissents; for, if Taming of the Shrew be not written by Shakspeare, the same question applies to this as to several others of his disputed plays-to what author may we venture to ascribe it? The origin of this comedy is to be met with in "Six old Plays on which Shakspeare founded," &c. &c., printed for S. Learcroft, 1779, under the title of "A pleasaunt conceited Historie called the Taming of a Shrew, 1607." But Shakspeare has taken from this piece nothing more than the hint-he has written the dialogue anew, altered and transposed the scenes, heightened some characters, added others, and transfused into the whole such a rich vein of comic humour, that we are surprised a com mentator so learned and acute as Dr. Farmer is acknowledged to be, should, on the authority of internal evidence, deny this play to be the genuine work of Shakspeare. Like The Two Gentlemen of Verona, it often bears marks of carelessness and haste: but it must be remembered, that both these dramas rank among the earliest of Shakspeare's productions; and, if certain passages, of inferior merit, occur, to make us sceptical with regard to the real author, they are more than counterbalanced by others of a different character, that cannot be mistaken; and which stamp this comedy as the undoubted work of Shakspeare. The induction of the Drunken Tinker, which is one of the most highly-seasoned and exquisite pieces of humour that any language can boast, was, according to Dr. Percy, suggested by the well-known ancient ballad of "The Frolicksome Duke, or the Tinker's Good Fortune," in the Pepysian collection-which ballad might itself have been taken from the "Sleeper Awakened," in the Arabian Nights. That the ballad was Shakspeare's immediate source may be inferred from his particular acquaintance with that very popular species of poetry which prevailed throughout the kingdom during his time, and long before it-and of which, though he has quoted many ballads of great beauty in his works, so naturally, indeed, that they almost appear to belong to them, he takes occasion to speak in terms of ridicule and contempt. Thus, in "Much Ado about Nothing," Benedict says, "Prove that ever I lose more blood with love than I get again with drinking, prick out my eyes with a balladmaker's pen”—and again, in the first part of Henry IV.— "I had rather be a kitten, and cry-mew, Than one of these same metre ballad-mongers." Independent of the above, are many other sources from which this induction might have been borrowed. Mr. Malone refers to a story in prose, contained in Goulart's Admirable and Memorable Histories, translated by E. Grimstone, 1607; but Dr. Warton mentions a volume of a much earlier date, once in the possession of the unfortunate Collins, containing a collection of comic tales, "Sett forth by Maister Richard Edwards, Mayster of Her Majesties Revels," 1570-a book irretrievably lost, which confirms the opinion of Malone, that the tale had probably appeared before in some other shape, the original" Taming of the Shrew" having been exhibited before the year 1594. Yet, as Dr. Johnson remarks, it cannot but seem strange that Shakspeare should be so little known to the author of The Tatler, that he should suffer the story which is related in vol. 4, No. 231, to be obtruded upon him as a real narration of a transaction in Lincolnshire; and that the public should be equally ignorant of the bard, to partake of the deception! Dr. Hurd has very ingeniously and eloquently analyzed the intent and meaning of the Induction. He imputes to Shakspeare motives so estimable and praiseworthy, that we have no inclination to question them. He has, in fact, moralized this admirable piece of humour, and extracted from it a lesson of high importance to the devotees of pleasure. He argues, that Shakspeare intended to exhibit, in the person of this drunken beggar, the disgusting folly of that sensual gratification which men of rank indulge in; and the prostitution of those good gifts that might be devoted to the noblest purposes, by rendering them not only the benefactors but the exemplars of mankind. The epicurean doctrine, " Dum vivimus vivamus," is happily exposed. If the whole enjoyment of life consists in sensual pleasure, then is this Tinker supremely blessed-he is as drunk as a lord, and probably as gross. It was a custom among the Romans, to exhibit, at their epicurean banquets, a small image of a skeleton, to remind them of the uncertainty of life, and to stimulate them to enjoy it while they may. Let those who are emulous of mere sensual delight, take an occasional glimpse of this drunken Tinker in his oblivion from care, and be equally happy. In the original play, which Malone conjectures was written about the year 1590, either by George Peele or Robert Geeene, Sly is introduced in his drunken sleep, commenting on the various scenes that pass before him, and is carried off the stage again. This plan, we think, is rather injudiciously departed from by Shakspeare. The play is expressly exhibited for the diversion of Sly; who, finding it somewhat more tedious than a Christmas gambol or a tumbling-trick, though out of compliment he pronounces it " a very excellent piece of work," has had quite enough of it, and honestly exclaims, "Would it were done!" To finally dismiss him at the close of the first scene, and to hear nothing more of his transformation to his former state, renders the plan, even as adopted by Shakspeare, incomplete. It has been suggested by Dr. Drake, that, if Shakspeare's continuation of the Induction has not been lost, he trusted to the extempore wit of the performers to supply the deficiency; or that they were instructed (which we can hardly think likely) to copy certain portions from the spurious play. The first suggestion is the most probable, since the play, as written by Shakspeare, was not published until some years after his death. The characters of Katharine and Petruchio stand out in strong relief from the picture. Petruchio is dashed with a wildness and extravagance that true genius only can reach. Those little niceties about which minor bards may be justly solicitous, were disregarded by a poet invested with higher powers, and whose ambition was not the cold approbation of critics, but the universal assent of mankind. Petruchio's stratagems for taming the termagant spirit of Katharine may not be in strict accordance with the present modes of society, or even with probability itself. There is a want of ceremony, an abruptness about his proceedings, utterly repulsive to polite natures. "Read the booke of Taming a Shrew, which hath made a number of us so perfect, that every one can rule a Shrew in our country, save he that hath hir."* Yet has Petruchio falsified this sarcastic sneer in a very remarkable manner. Considering, therefore, the difficulty of his attempt, we may be inclined to justify the means by the end. Katharine is a very woman—or rather an unlucky compound of those very qualities that render a woman every thing but what she ought to be. Yet, with a wayward temper, she has a good heart, and au excellent understanding; and, at the close, she calls forth the nobler attributes of her sex, with a dignity and feeling that unfold the beauties of her mind, no longer enthralled by the fury of her passions. * The Metamorphosis of Ajax, by Sir John Harrington-1596. "The mild and amiable Bianca forms a pleasing contrast to her haughty sister.-Grumio is a fellow of such infinite jest, that we never feel happier than when we are in his company. His description of the effects of cold on his "three-inch" body-his piteous ejaculations for fire-and his reply to Curtis-" A piece of ice! if thou doubt it, thou mayst slide from my shoulder to my heel, with no greater a run but my head and my neck"-are in the highest degree diverting. His account of Petruchio's mad wedding-Petruchio's description of his wife's cap and gown-his contemptuous sneer at the puny effects of a woman's tongue, "That gives not half so great a blow to th' ear," As will a chestnut in a farmer's fire" may be selected for their wit; while his address to Katharine, proving that the mind alone is valuable "What, is the jay more precious than the lark, Or is the adder better than the eel, Because his painted slime contents the eye? and Katharine's concluding speech, showing a wife's duty to her husband, are examples of beautiful writing. The effervescence and fire of Lewis well fitted him for Petruchio. As was usual with that great actor, he threw all his energies into the character, and ran through its romantic extravagancies with untired spirit. Mr. Charles Kemble and Mr. Elliston display their several excellencies in this character, but neither of them are entirely Petruchio. Mrs. Gibbs, in Katharine, was a Shrew, but no lady-Mrs. Charles Kemble was a lady, but no Shrew. D- -G. Costume. PETRUCHIO.-First dress; Buff-coloured pantaloons and jerkins, trimmed-russet boots-small cloak-high-topp'd hat, and feathers. Second dress: Trunk-dress-jerkin and cloak, very much patched-old boots-sword, &c. BAPTISTA.-Dark velvet body and trunks-stockings-bootscloak-sword-hat and feather-cane. HORTENSIO.-Dark velvet vest and trunks-cloak, belt, &c. trimmed-boots-sword. MUSIC-MASTER.-Gray tunic-trunks and stockings-russet shoes-belt. TAILOR.-Dark brown jerkin-vest and breeches-blue stockings-russet shoes-small three-cornered hat. BIONDELLO.-Drab livery. PEDRO.-Do. GRUMIO.-First dress: Dark jerkin-breeches-stockingsrusset boots. Second dress: Do. much patched. COOK.-White jacket, apron, and cap. SERVANTS.-Drab liveries, with dark binding-blue stockingsrusset shoes. KATHARINE. Richly trimmed white dress, with robe, ornamented and jewelled-black Spanish velvet hat, and white feathers. BIANCA.-Handsome satin robe-white dress, embroidered hat, &c. CURTIS.-Dark brown gown-cap-apron, &c. |