シェイクスピア『じゃじゃ馬馴らし』の変容

―イギリス王制復古期以降の改作群と日本の明治・大正期の翻訳・翻案の受容をめぐって―

抄録

　One of Shakespeare’s early comedies, The Taming of the Shrew, has been acted most successfully upon the stages of all ages and in all countries. Its popularity seems to be based upon the man-woman relationship theme together with its great sense of fun. But the audience’s reception of the heroine’s metamorphosis, which forms the center of the drama, has not been unanimous. The various audience’s responses can be divided into three types: first, Katherine, the shrew, is tamed by Petruchio and seems to become an obedient wife, secondly, she learns to play an obedient wife, thirdly, she herself becomes a tamer.

　This paper is written with the aim of trying to fathom the author’s own intention regarding Kate’s metamorphosis, in other words the meaning of the “taming” itself ; by comparing the work with its probable sources, by making reference to contemporary thinking about marriage, and by concentrating upon relevant aspects of the work’s adaptations in England during the period 1667-1844 and in Japan during the Meiji and the Taishō eras.

　The original was rarely presented, when those adaptations were put on the stage, and Katherine’s taming by Petruchio seems to have been acceptable to the audiences. The particular conditions relating to the theatres of the times will also be examined in the following chapters.