<P> An early scholar to find fault with Alexander's reasoning was E.K. Chambers, who reasserted the source theory . Chambers, who supported Alexander's bad quarto theory regarding The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster and The True Tragedy of Richard Duke of Yorke, argued A Shrew did not fit the pattern of a bad quarto; "I am quite unable to believe that A Shrew had any such origin . Its textual relation to The Shrew does not bear any analogy to that of other' bad Quartos' to the legitimate texts from which they were memorised . The nomenclature, which at least a memoriser can recall, is entirely different . The verbal parallels are limited to stray phrases, most frequent in the main plot, for which I believe Shakespeare picked them up from A Shrew ." He explained the relationship between I Suppositi / Supposes and the subplots by arguing the subplot in The Shrew was based upon both the subplot in A Shrew and the original version of the story in Ariosto / Gascoigne . </P> <P> In 1938, Leo Kirschbaum made a similar argument . In an article listing over twenty examples of bad quartos, Kirschbaum did not include A Shrew, which he felt was too different from The Shrew to come under the bad quarto banner; "despite protestations to the contrary, The Taming of a Shrew does not stand in relation to The Shrew as The True Tragedie, for example, stands in relation to 3 Henry VI ." Writing in 1998, Stephen Roy Miller offers much the same opinion; "the relation of the early quarto to the Folio text is unlike other early quartos because the texts vary much more in plotting and dialogue (...) the differences between the texts are substantial and coherent enough to establish that there was deliberate revision in producing one text out of the other; hence A Shrew is not merely a poor report (or' bad quarto') of The Shrew ." Character names are changed, basic plot points are altered (Kate has two sisters for example, not one), the play is set in Athens instead of Padua, the Sly framework forms a complete narrative, and entire speeches are completely different, all of which suggests to Miller that the author of A Shrew thought they were working on something different from Shakespeare's play, not attempting to transcribe it for resale; "underpinning the notion of a' Shakespearean bad quarto' is the assumption that the motive of whoever compiled that text was to produce, differentially, a verbal replica of what appeared on stage ." Miller believes that Chambers and Kirschbaum successfully illustrate A Shrew does not fulfil this rubric . </P> <P> Alexander's theory continued to be challenged as the years went on . In 1942, R.A. Houk developed what came to be dubbed the Ur - Shrew theory; both A Shrew and The Shrew were based upon a third play, now lost . In 1943, G.I. Duthie refined Houk's suggestion by arguing A Shrew was a memorial reconstruction of Ur - Shrew, a now lost early draft of The Shrew; "A Shrew is substantially a memorially constructed text and is dependent upon an early Shrew play, now lost . The Shrew is a reworking of this lost play ." Hickson, who believed Marlowe to have written A Shrew, had hinted at this theory in 1850; "though I do not believe Shakspeare's play to contain a line of any other writer, I think it extremely probable that we have it only in a revised form, and that, consequently, the play which Marlowe imitated might not necessarily have been that fund of life and humour that we find it now ." Hickson is here arguing that Marlowe's A Shrew is not based upon the version of The Shrew found in the First Folio, but on another version of the play . Duthie argues this other version was a Shakespearean early draft of The Shrew; A Shrew constitutes a reported text of a now lost early draft . </P> <P> Alexander returned to the debate in 1969, re-presenting his bad quarto theory . In particular, he concentrated on the various complications and inconsistencies in the subplot of A Shrew, which had been used by Houk and Duthie as evidence for an Ur - Shrew, to argue that the reporter of A Shrew attempted to recreate the complex subplot from The Shrew but got confused; "the compiler of A Shrew while trying to follow the subplot of The Shrew gave it up as too complicated to reproduce, and fell back on love scenes in which he substituted for the maneuvers of the disguised Lucentio and Hortensio extracts from Tamburlaine and Faustus, with which the lovers woo their ladies ." </P>

What point of view is the taming of the shrew