How does outlawry serve to defeat the purposes of the Duke and Thurio and bring about the conquest over them of Valentine?

How does Thurio’s nature inure to the credit of Valentine’s with the
Duke?

Does outlawry here represent the injustices of civic life?  To what degree?  Or the natural life beneficent and innocent of Arden Forest in “As You Like It?” To what degree is this true?

QUERIES FOR DISCUSSION

Why did Julia swoon?  Was the repentance of Protheus genuine?—­and natural?  What does Valentine mean by his forgiveness of Protheus and his proof of it—­“All that was mine, in Silvia, I give thee?” could he give her, personally, against her will, in Chivalry?  Or in true love?  How could he mean anything then, but proving by this entrusting of her to his friend his belief in his loyalty and purity?

Why is Silvia silent? (See Introduction to the Play in “First Folio Edition,” also Selected Criticism and Notes on V, iv, 91, for hints on these latter queries).

THE TAMING OF THE SHREW

A Play or mask within the Play is not uncommon in Shakespeare.  A Play outside the Play especially distinguishes the arrangement of this Comedy.

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?