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But if (2) or (3) were correct, there might well be a case for staging the “frame” in the more complete form in which it is found in A Shrew. (2), the “Bad Quarto” theory, has found the highest level of support among modern scholars, despite the fact that the differences of plot, language, character, and name are far greater than in the plays usually so classified, such as the First Quarto of Hamlet. Explanation (4) has little support, since it adds an unnecessary additional hypothesis about a lost play.

The existence of the anonymous Taming of a Shrew Quarto of 1594 raises the question of whether the original performances of Shakespeare’s play would have maintained the Christopher Sly “frame” throughout the action. Some modern editions and productions incorporate the Sly sequences from the latter part of the action, on the grounds that his disappearance from the Folio after the first act is dramatically unsatisfying. In acc

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