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The regulation father of Roman comedy has gone away on a journey, and in the meantime the son has, as usual, almost reached the end of his father's fortune. The father comes back unexpectedly, and the son turns in despair to his faithful slave, Tranio, for help. Tranio is equal to the occasion, and undertakes to frighten the inconvenient parent away again.
"Throw him out, Guntello," said Brinnaria. When Guntello returned he cheerfully inquired, with the easy assurance of an indulged favorite. "Shall I kill Tranio, Mistress?" "No!" said Brinnaria viciously. "I wouldn't have a toad killed on the word of that contemptible scoundrel. Give Tranio a moderate beating and hand him over to Olynthides to be sold at auction without a character."
Is the bad report of it in Act IV, made by Hortensio, as the Musician, Lisio, with Tranio, quite fair to her? The abusive opinion and jealousy of Hortensio assisted by the supposed Lucentio narrow down the uncertainties of the courtship so as to concentrate interest on the new scheme of the supposed father. How is this worked out?
In The Taming of the Shrew there are no antecedents whatever to be stated. It is true that Lucentio, in the opening speech, is good enough to inform Tranio who he is and what he is doing there facts with which Tranio is already perfectly acquainted. But this was merely a conventional opening, excused by the fashion of the time; it was in no sense a necessary exposition.
My host murdered me, his guest, villain that he was, for the gold that I carried, and secretly buried me, without funeral rites, in this house. Be gone hence, therefore, for it is accursed and unholy ground." This story is enough for the father. He takes the advice, and does not return till Tranio and his dutiful son are quite ready for him.
A little of Pantaleone survives in old Capulet, a little in the father of the Shrew, but the life of Mercutio in the one play, and of the subordinate Tranio in the other, is less quickly spent, less easily put out, than the smouldering of the old man. Arlecchino frolics in and out of the tragedy and comedy of Shakespeare, until he thus dies in his lightest, his brightest, his most vital shape.
What light does Bianca on her appearance throw upon herself? Through the testimony of her sister and her father and the two suitors what else is to be gathered? Katherine's effect upon Tranio, lost upon Lucentio, in his daze over Bianca, leads to what plan of action?
That manner of man Arlecchino, or Harlequin had outlived his playmates, Pantaleone, Brighella, Colombina, and the Clown. A little of Pantaleone survives in old Capulet, a little in the father of the Shrew, but the life of Mercutio in the one play, and of the subordinate Tranio in the other, is less quickly spent, less easily put out, than the smouldering of the old man.
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