...- polytall’itania-legitimate realizations of Shakespeare’s text? Or does tlie sheer self-conficlent thrust of this production, aided by the s~perb clarity of‘ the dialogue, only disguise the radical liberties the director is taking with his text? Granted tliat, as one recent comnientaior...

... REV I EWS and “rciiiiiiiiit” is ;I delibcratcly sclf-conscious word. Similarly, if to “smell my remnant out” suggests passing the rest of his life savoring tlie flowers, he is marking ;I most unusual rel~itioiisliipbur not ;I union. In the coniest, thc exprcssioii...

... of the major romantic poems not to be overtly political compli- cates Woodring’s task, demanding niore elaborate exposition than lie has al- lowed himself? One wishes to assent to tlie whole of Woodring’s book, not just to liis claims for tlie political impulse in romantic poetry, but also to his...

... Kollo May’s article, “The Nature of Creativity.” May outlines an itinerary leading from “an encounter” that inspires the joy of heightened consciousness, “the affect that accompanies the experience of actualizing one’s own potentiali- ties” to the act. “Creativity,” May concludes, “is tlie...

... LEINEK 81 the reader may attain a balanced view of Mine de Clhes’s moral responsibil- ity, it perspective without which a full appreciation of the novel as it whole is impossible. Among tlie different chapters in this work, the one entitled...

...>itrarily emphasizes tliliitinan rather than Emerson, say, and blurs tlie most useful and instriictive thing al~outany treatment of either poet: those essential differences between them which are ;~l)solirtelybasic to an understanding of their art. We finally want to I>etold something iiiore...

... responsibil- ity, it perspective without which a full appreciation of the novel as it whole is impossible. Among tlie different chapters in this work, the one entitled “Baroque or Classic?” fits least well into tlie over-all design of the study. The reader gets the impression that the author...

... with the poems and on Sckve’s relationship to tlie three traditions-biblical, class i cii 1, ii n d 1’ e tr a rcli an-ii n der 1y i n g tlie cl i zii i ns . 0n t h i s secon ct q lies t i on , we are told very cai-ly that “a greater affinity between Sckve and tlic Komxn love poets than between ScPve...

...” (“Seine Kintlliei t war tlie Jiigencl der Steine / iind sein Alter ist nicht tlas seine”) emphasizes more the timelessness of the artist than the itlea ot’ the “chiltlhootl spontaneity out ot’ which the self-formecl artist grows” (11. 205). One weakness of the book is the rather perfunctory i...

... frui t-gatherers tranipled the grain ;iround tlie trees; they had to smother their anger when his liiiiitiii~-i~~irties gilloped through their fields laying waste the result of‘ their patient toil; they were not allowed to keep doves tlieniselves, and when the swarnis from my...

...Hallett Smith Russell Fraser. Princeton: Princeton University Press, 1970. 215 pp. $7.50. Copyright © 1972 by Duke University Press 1972 72 REVIEWS bear on tlie effects of Shakespeare’s juxtapositions of scenes, so crucial...

... and ino5t cliai acteristic novels he was not the picturesque celebrator of knight5 arid fair ladies, but tlie troubled observer of the paradoxes involved in relating ti ntlitioii to piogress. Later, I applied this theory in considerable detail, to Thc. lienit 01 Midlothian...

... and to niake clear tlie enduring values of tlie passing literary move- ments and men. In reading Bithell the disquieting feeling persists that the fascinating pieces of a jig-saw puzzle are presented but not put together to reveal thc whole picture. Rlany tiresome stretches of this \vorl...

... that since even f‘uiic ti ona 1 cliarac ten, “depersonalized” speeches (.1 i ke Ger trucle’s accou n t of‘ Ophelia’s death), and other expository devices belong within the objective world of drama, orily tlie dramatist’s deliberate manipulation of their intli- vitlual and collective effects can...

... of Antonio and Sebastian at the end of The Tempest, tlie possibility of further loss, particularly felt in The kVinlei*’s Tale, or so many other instances in these extremely rich plays that do not fit into his assumptions and formulas. The idea that Shake- speare’s artistic greatness lies in his...

... Panofsky’s first name is variously misspelled in tlie copious notes. Occasionally Peterson omits dates of publication liom the notes. As in any other book of similar length there are some interesting observa- tions. The section on the changing attitudes toward time is most intei-csting...

... because tlie poet appears almost out of nowhere; except for his plots, no antecedent, c;in l>e shown. Conventional stylistic studies-philological ones in i hc hi o:tcle1 sense-yield little, again because of the poet’s originality; once the 1lie torical devices have been pointed out...

... it for the poet.3 Thus, by implication, Parker identifies tlie Etesia poems as the suppressed poems to which Vaughan refers in his preface. No subsequent conmentator has found it necessary to challenge or even to question this identification, and the helief tlnt we miy safely assume...

... books on this subject, make more attempt to analyze the philosophical and sociological baclqyound of the times and to niake clear tlie enduring values of tlie passing literary move- ments and men. In reading Bithell the disquieting feeling persists that the fascinating pieces of a jig...

...” the idea of the “second hand” is rather gratuitously applied to the works, instead of being derived from them. JUDITH RYAN 33 1 Similarly, the I-etei-ence to chi1dhood in “Kodin” (“Seine Kintlliei t war tlie Jiigencl der Steine / iind sein...