{Ed. Note: This is next in a series taking a look at the famous and important Bruce Rogers designed 37 volume The Comedies, Histories, and Tragedies of William Shakespeare, published by the Limited Editions Club (LEC) in 1939 and 1940.}

One of Shakespeare’s earliest works, the comedy The Taming of the Shrew has as its storyline that which is often thought misogynistic, at least at first glance; that being making a wife docile! Petruchio, a gentleman from Verona sets his mind to marrying the daughter of Baptista, a rich gentleman of Padua. The daughter, Katharina, is known for having quite the tough personality; spoiled, a quick wit and an even quicker temper, sharp tongued and determined.  Petruchio eventually tames her through psychological tormenting, especially humiliation and poor treatment (which, in fairness, he shares with her). Themes of money, relations of men and women and cruelty run throughout, though the obvious theme of female subservience is dominant and quite controversial.

Many believe, and this is my opinion also, that this play is best understood as a farce, and one should not take the surface level theme of patriarchy and female submission too seriously.  Of course, others may fairly disagree, believing like George Bernard Shaw that the play is ‘altogether disgusting to modern sensibility‘.” Moralizing aside, this is coarse comedy that has had substantial influence, having been staged as plays, operas, musicals and film more times than one can easily count. The play is believed to have been written between 1590 and 1592, and was first published in the First Folio of 1623. Questions of authorship and from where the play was derived, like many works of Shakespeare, are shrouded in considerable controversy.

Like all editions in this LEC Shakespeare set, the paper (created specifically for this Shakespeare set) is creamy off-white and firm to the touch, a worthy companion to the 18 point type in ‘sort of’ Janson (more on that below), which has a deeper imprint into the paper than many LEC’s. The illustrations by W.A. Dwiggins, done in simple line and printed in a color called ‘sanguine’, are not necessarily among my favorites for this set but they are fitting and have a charm in themselves. Of the illustrations, Dwiggins says that his “aim was, of course, to help the reader of the play see the people, with light shining on them, moving around in space, feeling the way the play says they feel.” He also strove to “have the designs fit into the style of Mr. Roger’s book — its type. paper, margins, “atmosphere”…” That, I believe, Dwiggins did accomplish.

About the Edition

• Part of the 1939/1940 37 volume The Plays of William Shakespeare by the Limited Editions Club
• Designed by Bruce Rogers
• Edited and amended by Herbert Farjeon
• Illustrations from drawings by W.A. Dwiggins
• Preface to the plays (in the prospectus) by G.G. Gervinus, from “Shakespeare Commentaries” in 1875.
• Printed at the Press of A. Colish in New York
• Type is an 18 point close facsimile of Janson, made by the Lanston Monotype Company, with the italic used being a creation of the Monotype Company since Rogers did not like the Janson 18 point italic; italic small capitals were made by re-cutting the Italic capitals of the Monotype Garamond Bold in a special size and with slight alterations of a few of the characters with a close new type face
• New paper created for this edition by the Worthy Paper Company of Springfield
• The binding was done by Russell-Rutter Company in New York
• Bound with gilt tops and uncut edges in backs of American linen, with the titles stamped in gold on the spine
• Cover design based on a decoration wall design in a house that that Shakespeare was thought to have stayed at frequently (a friend of his)
• 8 3/4″ x 13″, 91 pages
• Limited to 1950 copies

Pictures of the Edition

(All pictures on Books and Vines are exclusively provided, under fair use, to highlight and visualize the review/criticism of the work being reviewed. A side benefit, hopefully, is providing education on the historical and cultural benefits of having a healthy fine press industry and in educating people on the richness that this ‘old school approach’ of book publishing brings to the reading process. Books and Vines has no commercial stake or financial interest in any publisher, retailer or work reviewed on this site and receives no commercial interest or compensation for Books and Vines. Please note that works photographed are copyrighted by the publisher, author and/or illustrator as indicated in the articles. Permission to use contents from these works for anything outside of fair use purposes must come directly from the copyright owner and no permission is granted or implied to use photo’s or material found on Books and Vines for any purpose that would infringe on the rights of the copyright owner.)