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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, and in De Rebus Burgundicis by the Dutch historian Pontus de Heuiter. However, Arabian Nights was not translated into English until the mid 18th century, and De Rebus Burgundicis until 1607, so neither could have served Shakespeare as a specific source. Instead, it is likely that he simply adapted the popular tradition, fashioning it to fit his own story.

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".^[1] 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' life, and in folklore. In 1964, Richard Hosley conjectured that the literary source for the Petruchio/Katherina story could have been the anonymous ballad A Merry Jest of a Shrewde and Curste Wyfe, Lapped in Morrell's Skin, for Her Good Behavyour.^[2] 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.^[3] Furthermore, due to the lack of verbal parallels usually found when Shakespeare used a specific source, most critics do not accept Hosley's argument, and ultimately, Hosley himself admitted that he may have overstated the case.

Unlike the Induction and the main plot however, there is a recognised source for Shakespeare's sub-plot; Ludovico Ariosto's I Suppositi (1551), which Shakespeare used either directly or through George Gascoigne's English translation Supposes (performed in 1566, printed in 1573).^[4] 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 pedant 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.