to ‘All’s Well.’ ‘The Taming of The Shrew,’ which has also been identified with ‘Love’s Labour’s Won,’ has far slighter claim to the designation. The plot of ‘All’s Well,’ like that of ‘Romeo and Juliet,’ was drawn from Painter’s ‘Palace of Pleasure’ (No. xxxviii.) The original source is Boccaccio’s ‘Decamerone’ (giorn. iii. nov. 9). Shakespeare, after his wont, grafted on the touching story of Helena’s love for the unworthy Bertram the comic characters of the braggart Parolles, the pompous Lafeu, and a clown (Lavache) less witty than his compeers. Another original creation, Bertram’s mother, Countess of Roussillon, is a charming portrait of old age. In frequency of rhyme and other metrical characteristics the piece closely resembles ‘The Two Gentlemen,’ but the characterisation betrays far greater power, and there are fewer conceits or crudities of style. The pathetic element predominates. The heroine Helena, whose ‘pangs of despised love’ are expressed with touching tenderness, ranks with the greatest of Shakespeare’s female creations.
‘Taming of the Shrew.’
‘The Taming of The Shrew’—which, like ‘All’s Well,’ was first printed in the folio—was probably composed soon after the completion of that solemn comedy. It is a revision of an old play on lines somewhat differing from those which Shakespeare had followed previously. From ‘The Taming of A Shrew,’ a comedy first published in 1594, [163] Shakespeare drew the Induction and the scenes in which the hero Petruchio
conquers Catherine the Shrew. He first infused into them the genuine spirit of comedy. But while following the old play in its general outlines, Shakespeare’s revised version added an entirely new underplot—the story of Bianca and her lovers, which owes something to the ‘Supposes’ of George Gascoigne, an adaptation of Ariosto’s comedy called ‘I Suppositi.’ Evidence of style—the liberal introduction of tags of Latin and the exceptional beat of the doggerel—makes it difficult to allot the Bianca scenes to Shakespeare; those scenes were probably due to a coadjutor.
Stratford allusions in the Induction.
The Induction to ‘The Taming of The Shrew’ has a direct bearing on Shakespeare’s biography, for the poet admits into it a number of literal references to Stratford and his native county. Such personalities are rare in Shakespeare’s plays, and can only be paralleled in two of slightly later date—the ‘Second Part of Henry IV’ and the ‘Merry Wives of Windsor.’ All these local allusions may well be attributed to such a renewal of Shakespeare’s personal relations with the town, as is indicated by external facts in his history of the same period. In the Induction the tinker, Christopher Sly, describes himself as ‘Old Sly’s son of Burton Heath.’ Burton Heath is Barton-on-the-Heath, the home of Shakespeare’s aunt, Edmund Lambert’s wife, and of her sons. The tinker in like vein confesses that he has run up a score with Marian Hacket, the fat alewife of Wincot. [164] The references
to Wincot and the Hackets are singularly precise. The name of the maid of the inn is given as Cicely Hacket, and the alehouse is described in the stage direction as ‘on a heath.’
Wincot.
Wincot was the familiar designation of three small Warwickshire villages, and a good claim has been set up on behalf of each to be the scene of Sly’s drunken exploits. There is a very small hamlet named Wincot within four miles of Stratford now consisting of a single farmhouse which was once an Elizabethan mansion; it is situated on what was doubtless in Shakespeare’s day, before the land there was enclosed, an open heath. This Wincot forms part of the parish of Quinton, where, according to the parochial registers, a Hacket family resided in Shakespeare’s day. On November 21, 1591, ‘Sara Hacket, the daughter of Robert Hacket,’ was baptised in Quinton church. [165] Yet by Warwickshire contemporaries the Wincot of ‘The Taming of The Shrew’ was unhesitatingly identified with Wilnecote, near Tamworth, on the Staffordshire border of Warwickshire, at some distance from Stratford. That
village, whose name was pronounced ‘Wincot,’ was celebrated for its ale in the seventeenth century, a distinction which is not shown by contemporary evidence to have belonged to any place of like name. The Warwickshire poet, Sir Aston Cokain, within half a century of the production of Shakespeare’s ‘Taming of The Shrew,’ addressed to ‘Mr. Clement Fisher of Wincott’ (a well-known resident at Wilnecote) verses which begin