The daily sentinel., 1910-03-31

THE Tanning of the Shrew" came
from Shakespeare's brain during the
same period which produced the
lighter comedies such as Loves La
bors Lost" and the poems, Venus
and Adonis" and "The Rape of Lu-
cree The dramatist had served his
apprenticeship and was already writ
ing as none other ever wrote; and as
yet the cloud of depression which
seemed to have been the atmosphere
in which he composed his great trag-
edies, had not passed over his hori-
zon. We find nothing grand, awful,
majestic, in its lines, but the comedy
contains many passages of exquisite
poetic beauty and richness, the fore
runners of the grand outbursts which
make Hamlet and Lear and Othello
household words wherever English is
spoken. The Tanning of the Shrew''
exhibits, too, that growing insight
into the remarkable mystery known
as human nature which is possibly
its authors most unique attribute.
The main story is exceedingly sim
pie. Katherine has by nature a most
vile temper. made worse by lack of
opposition and the accustomed having
of her own way. Petruchio determ-
ines to marry her and rid her of this
habit of giving away to the most vio-
lent passions upon slight provocation.
His modus operandi furnishes the
PLOT. AS in all his works, Shakes
peare uses several minor stories to
throw his main interest into bold re-
lief before the minds of the specta-
tors. The wooing of Blanca by Lu-
centio would well repay study, but
our space forbids its investigation in
this column. The principal value of
the comedy as a drama to be acted
and piece of literature, centers in
the characters of Katherine and and
Petruchio, and their mutual rela-
tionships.
Up to her meeting with her hus-
band-to-be, Katherine has never met
man or woman not ready to flee
instanter before the approach of her
tantrums. Her father, sister. ac-
quaintances, all stand in awe of her.
None dares cross her will. When the
young stranger Petruchio offers to
WOO her. Blanca's lovers exchange
knowing winks, believing that the
| ardor VIII meet a sudden cooling
when IL comes in actual contact with
Its object. The Veronese has, how
ever, diagnosed the situation accur-
ately. From what he hears, he be-
lieves that underneath this shrewish
exterior lies virgin gold of the purest
fineness, If the dross were but burned
away. And he stakes his all upon
the accuracy of his intuitions and his
ability to conquer in the clash OF
wills which he intends to precipitate
His first remark to the lady strikes
the keynote Of his attitude towards
her throughout: Good morrow
Kate, for that's your name, hear.
Here Is none of the cringing hel
dmightiness has been accus
toned to. There is a supercilioui
yet not unkindly federation in the
words which strikes direct at the
pride of Katherine and the change /.
begun then and there which is t.
transform her from n bitter, grabbed
| adder-tongued being, disgruntlL
with herself and all mankind be
sides, into happy. sweet-tonguet
absolutely adoring wife. In the clasf
of wits that follows, not one incl
does Petruchio give. Keeping the
same urbane tone. he meets her every
attack and finally witnesses her crest
fallen exit from the room.
When his wedding hour arrives h,
is of set purpose late. When come ht
does at length, 1t Is but sorry raj
ment. untitled to the occasion ant
doing very little honor to the lady