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Reviews27 1 cites him for suggestions in a number of his own notes. What is not generally known about Douce is that in 1807 he published the twovolume Illustrations ofShakespeare and ofAncient Manners, although Sherbo says that these volumes "are well known" and does not spend much time on them. They concentrate largely on old customs referred to by Shakespeare and spend considerable time on clowns, fools, morris dancers, and proverbial sayings. James Boswell (1778-1822), son of Johnson's biographer, is the last of the scholars with whom Sherbo deals. It was he to whom Edmond Malone entrusted the completion of the expanded edition of the complete Shakespeare when he died in 1812. A well-read and meticulous man, Boswell completed the twenty-one-volume edition the year before his own early death. As Sherbo points out, Boswell's contributions were largely "busy work, those editorial chores that are necessary but certainly uninspired and uninspiring"—introduction, appendices, indices, and so forth. But he did add a number of his own notes and corrections of early notes. Judging by those cited, Boswell's notes tend to be of two sorts, good common sense and parallel passages from a great many non-Shakespearean Renaissance plays. As one has come to expect of Arthur Sherbo over the years, he has done an incredible amount of work in this companion to his earlier Birth of Shakespeare Studies: Commentators from Rowe (1709) to Boswell-Malone (1821), published in 1986. He has dug up information about the lives and careers of these seven little-known scholars, locating their interpretive notes not only in the huge editions of Shakespeare but also in their extant letters and their contributions to Gentleman's Magazine over the years. And he has carefully checked the New Variorum and New Arden editions to see which of these notes have been preserved and which ignored or missed—somehow keeping his sense of humor through this maze. JOHN M. WASSON Washington State University Richard Studing. Shakespeare in American Painting: A Cataloguefrom the Late Eighteenth Century to the Present. Cranbury, N.J.: Fairleigh Dickinson University Press, 1993. Pp. 170. $65.00. Associated University Presses and Fairleigh Dickinson University Press have surpassed their own usual high standards in the design of each page of Richard Studing's Shakespeare in American Painting: A Cataloguefrom the Late Eighteenth Century to the Present. This handsomely illustrated volume is an eye-opener to those who think that by the late nineteenth century Shakespeare had ceased to inspire painters. Entries in this Catalogue as recent as today attest to painters' continuing interest in Shakespearean characters and incidents. While reading 272Comparative Drama a catalogue description without seeing an accompanying illustration can be frustrating, Studing softens that disappointment with one or more pictures on almost every page. Near the back, a set of twenty-seven richly colored photographs stimulates as it satisfies a spectator's desire for gazing. His seven-page addendum to the catalogue (pp. 143-49) suggests that the work of cataloguing Shakespeare in painting could be an on-going project, and were he to complete a survey of drawings, sculpture, performance designs, and other creative works in media besides painting (items he, true to his title, brushes past with scant mention though he does catalogue some), he could go on and on adding to the 979 items he includes. Painters choose from a wide array of topics: portraits of Shakespeare , imaginary scenes from Shakespeare's life, scenes and reported and imagined incidents from the plays, portraits of characters and of actors representing characters, scenes capturing actual performance moments, and illustration of themes from the plays and poems. Not surprisingly, Hamlet is the play most frequently illustrated, with Ophelia, not Hamlet, as the character most often represented. Close seconds are Juliet and Romeo and Juliet. Sometimes for the abstract art only the painter's title reveals the Shakespearean connection—e.g., Jules Olitski's heavily-brushed, lightly-colored acrylic entitled "Anthony [sic] and Cleopatra" (opposite p. 129). Studing states that his purpose is "to present a body of American art that has not been treated before" and "to aid further inquiry and research" (p. 1 1), a purpose he achieves...


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