@article{oai:nagoya.repo.nii.ac.jp:00006778,
 author = {滝川, 睦 and TAKIKAWA, Mutsumu},
 journal = {名古屋大学文学部研究論集. 文学},
 month = {Mar},
 note = {Why does Christopher Sly disappear in the denouement of The Taming of the Shrew? The Induction in which Sly makes his appearance seems, as Lynda E. Boose suggests, to be “the broken part of an enclosing frame from which the original conclusion” s missing. The aim of this paper is to unravel the mystery of Christopher Sly, focusing upon the idea of vagrancy in early modern England.  According to the Act for the punishment of vagrants promulgated in 1572, Sly the tinker and the itinerant players who perform “a pleasant comedy” (Induc. 2.125) could be classified as vagrants. Interestingly, however, they are temporarily deprived of their itinerancy in a play within a play : while Sly is set on a pedestal as the Lord of Misrule, the players are granted temporal licence to perform in the presence of the Lord. Instead, the vagrancy represented by these vagabonds is displaced to Petruchio and Katherina.  When Petruchio, dressed as a vagrant, arrives at the wedding, he may represent Katherina’s unsettledness, which was also the hallmark of youths in early modern England, within her family and the society. Furthermore, she has to undergo the ordeal of vagrants on the way to Petruchio’s country house. Wrapped into vagrancy, they can gain a perfect command of the improvisatorial performance, which is the principal feature of vagrants depicted in Thomas Harman’s A Caveat for Common Cursitors Vulgarly Called Vagabonds (1566).  One can safely state that Sly as a vagrant has an typological influence upon Petruchio and Katherina, and that the couple, by learning the dynamics of vagrancy, make themselves the master of impromptu acting through the taming process. We can conclude that Sly must be metamorphosed into the protagonists in this play.},
 pages = {1--14},
 title = {Christopher Sly はどこへ消えたのか - The Taming of the Shrew　と近代初期英国における放浪との関連性について -},
 volume = {53},
 year = {2007}
}