he Play "First
Folio Edition").

Does Shakespeare's way of handling the characters and the process of
taming materially differ from the way prevailing both in the crude
folk tales and in "A Shrew?"

Does he suggest that in both Petruchio's and Kate's case they are
merely bent upon their own individual emotions until closer relation
makes them join forces?

What is the modern bearing of Shakespeare's way of putting the story?

Partnership and co-operation _versus_ autocratic rule: Are the
administrative advantages of the latter consonant with the good will
and continual psychical development furthered by the former?

Does the intellectual advantage rest with the user of force or with
the mind that accommodates itself to force by gaining its ends by
stratagem and other indirect policies?

Is coercion as wise as persuasion which has no such penalties to pay?

LOVE'S LABOUR'S LOST

Shakespeare makes us laugh in "Love's Labour's Lost" at the futility
of the attempt of ascetic and academic men to shut out love and women
from their schemes of life and study.

His early work in putting the past history of England into dramatic
form may possibly have suggested to him to put more recent history on
the stage by means of this Comedy. Light as it is, the point of it is
to satirize the monastic and exclusive element in current educational
schemes. Fictitious as the story is, it touches upon names and
incidents belonging to actual history. So familiar were these actual
happenings of the day to his audience that it could especially enjoy
these veiled allusions to them.

The main idea of the plot of the Comedy--the "Academe," was one that
had a bearing upon various similarly named educational projects of
that time in England.

One such scheme was drawn up about 1570, by Sir Humphrey Gilbert, Sir
Walter Raleigh's half-brother, for the "education of her Majeste's
Wardes and others the youths of nobility and gentlemen." This plan
was, like Shakespeare's arranged for a "three yeeres terme" (I, i, 20)
and at the end of "every three years" some book was to be published
which would represent the fruit of the Academy's study during that
period. Merely the title of this scheme--"Queen Elizabethes Achademy"
may have suggested Shakespeare's "Achademe" (I, i, 17). Of course,
however, both Gilbert's and Shakespeare's adoption of the name are
examples of the appropriation by educational groups of the classic
academes of the Phi