Kate (The Taming of The Shrew) - Sources

Sources

Although there is no direct literary source for the Induction, the tale of a tinker being duped into thinking he is a lord is a universal one found in many literary traditions. For example, a similar tale is recorded in Arabian Nights where Harun al-Rashid plays the same trick on a man he finds sleeping in an alley, and in De Rebus Burgundicis by the Dutch historian Pontus de Heuiter, where the trick is performed by Philip the Good, i.e. Philip III, Duke of Burgundy. Arabian Nights was not translated into English until the mid 18th century, although Shakespeare could have known it by word of mouth. He could also have known the Philip III story as, although De Rebus wasn't translated into French until 1600, and into English until 1607, there is evidence the Philip III story existed in a jest book (now lost) by Richard Edwardes, written in 1570, which Shakespeare certainly could have known.

Something similar is the case with regard to the Petruchio/Katherina story. The basic elements of the narrative are present in the 14th-century Castilian tale by Don Juan Manuel of the "young man who married a very strong and fiery woman." Again however, there is no evidence that Shakespeare directly used this text during the composition of The Shrew. Indeed, as with the Induction plot, the story of a headstrong woman tamed by a man was a universal and well known one, found in numerous traditions. For example, according to The Canterbury Tales by Geoffrey Chaucer, Noah’s wife was just such an individual (‘“Hastow nought herd,” quod Nicholas, “also/The sorwe of Noë with his felaschippe/That he had or he gat his wyf to schipe”’; The Miller’s Tale, l. 352–354). Historically another such woman is Xanthippe, Socrates’ wife, who is mentioned by Petruchio himself. Such characters also occur throughout medieval literature, in popular farces both before and during Shakespeare's life, and in folklore.

In 1959, J.W. Shroeder conjectured that the literary source for the Petruchio/Katherina story could have been William Caxton's translation of the Queen Vastis story from Livre pour l'enseignement de ses filles du Chevalier de La Tour Landry. A more detailed argument was put forward in 1964 by Richard Hosley, who suggested that the main source could have been the anonymous ballad A Merry Jest of a Shrewde and Curste Wyfe, Lapped in Morrell's Skin, for Her Good Behavyour. The ballad tells the story of a headstrong woman who is frustrated because her father seems to love her sister more than her. Due to her obstinacy, the father marries her to a man who vows to tame her, despite her objections. The man takes her to his house, and begins the taming. Ultimately, the couple return to the father's house, where she lectures her sister on the merits of being an obedient wife. However, the 'taming' in this version is much more physical than in Shakespeare; the shrew is beaten with birch rods until she bleeds, and is also wrapped in the flesh of a plough horse (the Morrell of the title) which was killed specially for the occasion. However, due to the lack of verbal parallels usually found when Shakespeare used a specific source, most critics do not accept either Shroeder or Hosley's arguments.

The general feeling amongst twentieth century critics is that Shakespeare most likely adapted the popular tradition, fashioning it to fit his own story. A major factor in the dominance of this theory is the work of Jan Harold Brunvand. In 1966, Brunvand argued that the main source for the play was not literary, but instead the oral folktale tradition. Specifically, Brunvand argued that the Petruchio/Katherina story represents a subtype of Type 901 ('Shrew-taming Complex') in the Aarne–Thompson classification system. Brunvand discovered 383 oral examples of Type 901 spread over all of Europe, whereas he could find only 35 literary examples, leading him to the conclusion that if Shakespeare took this story from anywhere, he most likely took it from the oral tradition. Most contemporary critics accept Brunvand's findings.

Unlike the Induction and the main plot however, there is a recognised source for Shakespeare's sub-plot, first suggested by Alfred Tolman in 1890; Ludovico Ariosto's I Suppositi (1551), which Shakespeare used either directly or through George Gascoigne's English prose translation Supposes (performed in 1566, printed in 1573). In I Suppositi, Erostrato (the equivalent of Lucentio) falls in love with Polynesta (Bianca), daughter of Damon (Baptista). Erostrato disguises himself as Dulipo (Tranio), a servant, whilst the real servant Dulipo pretends to be Erostrato. Having done this, Erostrato is hired as a tutor for Polynesta. Meanwhile, Dulipo pretends to formally woo Polynesta so as to frustrate the wooing of the aged Cleander (Gremio). Dulipo outbids Cleander, but he promises far more than he can deliver, so he and Erostrato dupe a travelling gentleman from Siena into pretending to be Erostrato's father, Philogano (Vincentio), and to guarantee the dower. However, Polynesta is found to be pregnant with Erostrato's child, but everyone thinks it is Dulipo's, and Damon has Dulipo imprisoned. Soon after, the real Philogano arrives, and all comes to a head. Erostrato reveals himself, and begs clemency for Dulipo. At this point, Damon realises that Polynesta truly is in love with Erostrato, and so forgives the subterfuge. Having been released from jail, Dulipo then discovers that he is Cleander's long lost son. There is no counterpart to Hortensio in the original story, although an important character named Pasiphilo has no counterpart in Shakespeare's adaptation.

An additional minor source could have been Mostellaria by Plautus, from which Shakespeare probably took the names of Tranio and Grumio.