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Main entry

The Taming of the Shrew
(c. 1590) -> Shakespeare play. comedy. notable for "abstract amoral world containing blatant misogyny" structure. trying to explain Dragon Ball made me remember it because I swear this is at least two characters' character arcs

Taming of the Shrew arc (existing fiction)

"Taming of the Shrew" arc -> character arc in which an Evil or fierce character is socialized into society through questionable methods, calling to mind the incorrect description of falconry in "The Taming of the Shrew". although the Shakespeare play in question was about the concept of men not understanding women, the character can be of any gender.
revenge of the shrews -> abstract concept, or trope, of characters with "Taming of the Shrew" arcs turning around and not having any of it. in my mind this trope is largely for fantasy animal types of characters, aliens, neurodivergent characters, whose nature isn't understood correctly, kind of like the original notes for Zootopia. but it might apply to more "realistic" scenarios too. did I just imply autistic people only exist in fantasy books? well, every day I don't feel real so it does check out.
Chouette (2021) / (9k) -> theme appears in this book.
Oolong (Dragon Ball) -> character with shrew arc.
Vegeta (Dragon Ball) / Prince Vegeta -> character with shrew arc.

Other "examples"

Nikolai Bukharin / (9k) -> so, I opened up this page to copy from just because it was a page I'd been editing recently, but... honestly you can make an argument he counts as a historical figure that got ""shrewed"".
Yang Yuzhe (Ironblood setting) -> fictional violet-Marxist theorist who I explain in my notes was very inspired by The Taming of the Shrew and the theme of whether Trotskyists have been unfairly 'shrewed'.
César Millán / Cesar Millan (no accent marks) -> has been accused of "shrewing" dogs.

Is The Taming of the Shrew metafiction?

The Taming of the Shrew -> I started re-reading this thing. now that I'm reading the beginning part again... is this actually about the concept that all actors in a Shakespeare play walk onto the stage as men and then they turn into "drag queens"? the part about trying to get the drunk man to accept that he is playing a noblewoman feels like it's actually a meta-fictional story that's representing suspension of disbelief between the theater audience and the actors, where the characters actually have to accept they're in a story and take up their roles in the story in order for the story to happen. this play feels like it took the weird concepts people today will come up with in fan theories for TV shows — 'Spongebob is living in a Truman Show society where they're all actors although it's also a society' etc — and then actually wrote the story around that intentionally.
in the first part of the story you establish suspension of disbelief so the actors believe they are in the world of the story, and then in the text of the story people start deciding they don't want to play the roles any more, and subsequently it becomes a comedy about how that's not allowed although in the end all of it is fake. the story doesn't really get any less dark when you read it this way than when you read it literally, because now it's like, the whole world is enforcing itself onto people, including class and gender but also including whatever other mishaps happen to people, and they just have to take it.
is this one of the earliest instances of the Matrix / Truman Show motif? is this one of the first works of post-structuralist fiction? or is it just a reflection of the concept of "religious truth" / Māyā, where it's been the case for a long time that a lot of religious believers haven't thought of the world as real to begin with, making metafiction a concept which is obvious to them?
The Taming of the Shrew [1] -> I see some attestation on the theme of social classes in the inner performance being 'made up'.

Motifs or claims

The Taming of the Shrew -> beggar is arrested. ~~we don't really have to guess what he did. it was public drunkenness or something like that.~~ or, I guess he just trashed the bar a bit. the Lord is basically putting him into the role of Lord as his "punishment". I genuinely forgot that part of the story. that is... interesting.
The Taming of the Shrew -> beggar begins by boasting about who he is with somewhat unbelievable tales. it seems to me like the tales are inconsistent with each other too but I'm not sure.
The Taming of the Shrew -> lord speaks of hunting trip and favorite hunting dogs, establishing theme
it is a kind of history / It is a kinde of history (The Taming of the Shrew) -> the motif of referring to fictional stories as "histories", using the same word that is used for real-world events.
do they mean that word as in "story" or as in "narrative", or what? I can take a decent guess but I don't actually know.
mewed behind the fiend / why will you mew her up for this fiend of hell -> now that's a phrase. I feel like there are some great ways to take this out of context
one possible figurative use: 'man, socialism looks wonderful, but how will we ever get rid of these Trotskyites/Stalinists?'
I think Umineko broke my brain a bit but in a good way. now I see the weirdest things as figures of speech for other things although not necessarily as literalized material analogies.
your gifts are so good none will take you / your guifts are so good heere's none will holde you
I would not wed her for a mine of gold
as loud as autumn's thunder / she chide as loud as thunder, when the clouds in Autumne cracke
can't distinguish master from servant / Nor can we be distinguish'd by our faces / For man or master ...
thou knowst not gold's effect / you know not gold's effect / character doing otherwise unlikely thing given enough money
have I not heard lions roar? / Have I not in my time heard Lions rore? ... And heavens Artillerie thunder in the skies?

Ideologies or fields

pronounced Hass / literature
pronounced Hass / Shakespeare plays
pronounced Hass / self-help books
pronounced Hass / dog training books
pronounced F.Y. / fiction
pronounced Fiction / comedy (classical literature)
pronounced Fiction / dark comedy
pronounced M-L / Communist Party of the Soviet Union (1930-1953)
pronounced M.X. / meta-Marxism in fiction
pronounced meta-Marxism / Tributarism (Ironblood)

Subpages or related scraps

External links

full text on Project Gutenberg

@@ Line 1: / Line 1: @@
-{{NextNineThousand|PPPA=Taming of the Shrew|E=1590|User=RD|Contents=y}}
+{{NextNineThousand|PPPA=Taming of the Shrew|E=Q15,90|User=RD|Contents=y}}
 == Main entry ==
-{{HueCSS}}<ol class="hue clean  field_ML">
+{{HueCSS}}<ol class="hue clean  {{int:hue-ixn-classname-ES}} {{int:hue-ixn-classname-DFy}}"><!-- active: field_horror -->
-<!-- {{li|start=y|I=S1/MX/LR|tradition=|Q=46,91|Q2=4691}} -->
-</li><li class="field_exstruct" value="1590"><cite>The Taming of the Shrew</cite> (c. 1590)  ->  Shakespeare play. comedy. notable for "abstract amoral world containing blatant misogyny" structure. trying to explain Dragon Ball made me remember it because I swear this is at least two characters' character arcs
+{{li|start=y|I=Z1/DFy|tradition=|Q=15,90|Q2=1590|h4= {{book|The Taming of the Shrew}} }} (c. 1590)  ->  Shakespeare play. comedy. notable for "abstract amoral world containing blatant misogyny" structure. trying to explain Dragon Ball made me remember it because I swear this is at least two characters' character arcs
 </li></ol>
-== Related ==
+== Taming of the Shrew arc (existing fiction) ==
-<ol class="hue clean  field_ML">
+<ol class="hue clean  {{int:hue-ixn-classname-ES}} {{int:hue-ixn-classname-DFy}}">
+{{li|start=y|I=S1/DFy|Q=35,90|Q2=3590}}"Taming of the Shrew" arc  ->  character arc in which an Evil or fierce character is socialized into society through questionable methods, calling to mind the incorrect description of falconry in "The Taming of the Shrew". although the Shakespeare play in question was about the concept of men not understanding women, the character can be of any gender.
+{{li|I=S1/Fy/ES|Q=35,91|Q2=3591}}revenge of the shrews  ->  abstract concept, or trope, of characters with "Taming of the Shrew" arcs turning around and not having any of it. in my mind this trope is largely for fantasy animal types of characters, aliens, neurodivergent characters, whose nature isn't understood correctly, kind of like the <em>original</em> notes for <cite>Zootopia</cite>. but it might apply to more "realistic" scenarios too. did I just imply autistic people only exist in fantasy books? well, every day I don't feel real so it does check out.
+{{li|start=y|I=Z1/DFy|Q=12,1,18|Q2=12118}}{{book|Chouette}} (2021) / ({{9k|RD/Q12,1,18}})  ->  theme appears in this book.
+{{li|I=S1/DFy|Q=618|Q2=618}}Oolong (Dragon Ball)  ->  character with shrew arc.
+{{li|I=S1/DFy|Q=99,77|Q2=9977}}Vegeta (Dragon Ball) / Prince Vegeta  ->  character with shrew arc.
+</li></ol>
+== Other "examples" ==
+<ol class="hue clean  {{int:hue-ixn-classname-ES}} {{int:hue-ixn-classname-DFy}}">
 {{li|start=y|I=Z1/ML|tradition=|Q=49,57|Q2=4957}}Nikolai Bukharin / ({{9k|RD/Q49,57}})  ->  so, I opened up this page to copy from just because it was a page I'd been editing recently, but... honestly you can make an argument he counts as a historical figure that got ""shrewed"".
+{{li|I=S1/MX|tradition=|Q=618|Q2=618}}Yang Yuzhe ([[EC:9k/RD/Q70,92|Ironblood setting]])  ->  fictional violet-Marxist theorist who I explain in my notes was {{em|very}} inspired by {{book|The Taming of the Shrew}} and the theme of whether Trotskyists have been unfairly 'shrewed'.
 {{li|I=Z1/HAS|tradition=|Q=618|Q2=618}}César Millán / Cesar Millan (no accent marks)  ->  has been accused of "shrewing" dogs.
 </li></ol>
+== Is {{book|The Taming of the Shrew}} metafiction? ==
+<ol class="hue clean  {{int:hue-ixn-classname-ES}} {{int:hue-ixn-classname-DFy}}">
+{{li|start=y|I=Z1/Fy|tradition=|Q=15,90|Q2=1590}}{{book|The Taming of the Shrew}}  ->  I started re-reading this thing. now that I'm reading the beginning part again... is this actually about the concept that all actors in a Shakespeare play walk onto the stage as men and then they turn into "drag queens"? the part about trying to get the drunk man to accept that he is playing a noblewoman feels like it's actually a meta-fictional story that's representing suspension of disbelief between the theater audience and the actors, where the characters actually have to accept they're in a story and take up their roles in the story in order for the story to happen. this play feels like it took the weird concepts people today will come up with in fan theories for TV shows — 'Spongebob is living in a Truman Show society where they're all actors although it's also a society' etc — and then actually wrote the story around that intentionally.<br/>
+in the first part of the story you establish suspension of disbelief so the actors believe they are in the world of the story, and then in the text of the story people start deciding they don't want to play the roles any more, and subsequently it becomes a comedy about how that's not allowed although in the end all of it is fake. the story doesn't really get any less dark when you read it this way than when you read it literally, because now it's like, the whole world is enforcing itself onto people, including class and gender but also including whatever other mishaps happen to people, and they just have to take it.<br/>
+is this one of the earliest instances of the Matrix / Truman Show motif? is this one of the first works of post-structuralist fiction? or is it just a reflection of the concept of "religious truth" / Māyā, where it's been the case for a long time that a lot of religious believers haven't thought of the world as real to begin with, making metafiction a concept which is obvious to them?
+{{li|I=Z1/Fy|tradition=|Q=15,90|Q2=1590}}{{book|The Taming of the Shrew}} [https://crossref-it.info/textguide/the-taming-of-the-shrew/43/3389]  ->  I see some attestation on the theme of social classes in the inner performance being 'made up'.
+</li></ol>
+== Motifs or claims ==
+<ol class="hue clean  {{int:hue-ixn-classname-ES}} {{int:hue-ixn-classname-DFy}}">
+{{li|start=y|I=Z1/Fy|tradition=|Q=15,90|Q2=1590}}{{book|The Taming of the Shrew}}  ->  beggar is arrested. <s>we don't really have to guess what he did. it was public drunkenness or something like that.</s> or, I guess he just trashed the bar a bit. the Lord is basically putting him into the role of Lord as his "punishment". I genuinely forgot that part of the story. that is... interesting.
+{{li|I=Z1/Fy|tradition=|Q=15,90|Q2=1590}}{{book|The Taming of the Shrew}}  ->  beggar begins by boasting about who he is with somewhat unbelievable tales. it seems to me like the tales are inconsistent with each other too but I'm not sure.
+{{li|I=Z1/Fy|tradition=|Q=15,90|Q2=1590}}{{book|The Taming of the Shrew}}  ->  lord speaks of hunting trip and favorite hunting dogs, establishing theme
+{{li|I=S1/Fy/MX|tradition=|Q=618|Q2=618}}it is a kind of history / It is a kinde of history ({{book|The Taming of the Shrew}})  ->  the motif of referring to fictional stories as "histories", using the same word that is used for real-world events.<br/>
+do they mean that word as in "story" or as in "narrative", or what? I can take a decent guess but I don't actually know.
+{{li|I=S1/Fy|tradition=|Q=618|Q2=618}}mewed behind the fiend / why will you mew her up for this fiend of hell  ->  now that's a phrase. I feel like there are some great ways to take this out of context<br/>
+one possible figurative use: 'man, socialism looks wonderful, but how will we ever get rid of these Trotskyites/Stalinists?'<br/>
+I think Umineko broke my brain a bit but in a good way. now I see the weirdest things as figures of speech for other things although not necessarily as [[E:bisimilarity (meta-Marxism)|literalized material analogies]].
+{{li|I=S1/DFy|tradition=|Q=618|Q2=618}}your gifts are so good none will take you / your guifts are so good heere's none will holde you
+{{li|I=S1/DFy|tradition=|Q=618|Q2=618}}I would not wed her for a mine of gold
+{{li|I=S1/DFy|tradition=|Q=618|Q2=618}}as loud as autumn's thunder / she chide as loud as thunder, when the clouds in Autumne cracke
+{{li|I=S1/Fy|tradition=|Q=618|Q2=618}}can't distinguish master from servant {{strong|/}} Nor can we be distinguish'd by our faces / For man or master ...
+{{li|I=S1/Fy|tradition=|Q=618|Q2=618}}thou knowst not gold's effect / you know not gold's effect / character doing otherwise unlikely thing given enough money
+{{li|I=S1/Fy|tradition=|Q=618|Q2=618}}have I not heard lions roar? / Have I not in my time heard Lions rore? ... And heavens Artillerie thunder in the skies?
+</li></ol>
+== Related ==
+<!--
+<ol class="hue clean  {{int:hue-ixn-classname-ES}} {{int:hue-ixn-classname-DFy}}">
+</li></ol> -->
 == Ideologies or fields ==
-<ol class="hue clean terse  field_ML">
+<ol class="hue clean terse  {{int:hue-ixn-classname-ES}} {{int:hue-ixn-classname-DFy}}">
 {{li|start=y
-     |I=S1/Fy|Q=618|Q2=618}}{{TTS|HAS|Hass}} / literature
+     |I=S1/HAS|Q=618|Q2=618}}{{TTS|HAS|Hass}} / literature
+{{li|I=Z1/HAS|Q=618|Q2=618}}{{TTS|HAS|Hass}} / Shakespeare plays
+{{li|I=S1/HAS|Q=618|Q2=618}}{{TTS|HAS|Hass}} / self-help books
+{{li|I=S1/HAS|Q=618|Q2=618}}{{TTS|HAS|Hass}} / dog training books
+{{li|I=S1/Fy |Q=618|Q2=618}}{{TTS|Fy|F.Y.}} / fiction
+{{li|I=S1/Fy |Q=618|Q2=618}}{{TTS|Fy|Fiction}} / comedy (classical literature)
+{{li|I=S1/DFy|Q=618|Q2=618}}{{TTS|Fy|Fiction}} / dark comedy
+{{li|I=Z1/ML|Q=618|Q2=618}}{{TTS|ML|M-L}} / Communist Party of the Soviet Union (1930-1953)
+{{li|I=S1/MX|Q=618|Q2=618}}{{TTS|MX|M.X.}} / meta-Marxism in fiction
+{{li|I=S1/MX|Q=92|Q2=92}}{{TTS|MX|meta-Marxism}} / Tributarism (Ironblood)
 </li></ol>
 <!--
@@ Line 35: / Line 107: @@
 * {{nickel/silent}} [[Research talk:5c/|]]
 -->
+== External links ==
+* [https://www.gutenberg.org/cache/epub/2245/pg2245-images.html  full text on Project Gutenberg]