Shaw as Director

extremes. Forster and Mauron reveal a dualism—attraction to music as objective form but a subjective response to its sounds and harmonies. Philip Gardner's "Evolution of Maurice" examines the three extant texts (1914, 1932, 1959), describes the variants, and reasons about the process of composition. The novel began with personal experiences recorded in a diary, and then became a manuscript which Forster asked selected friends to read and respond to. Some of their suggestions were then incorporated in the text. Later, Forster rewrote the final part to remove what he considered a weak ending. G. K. Das gives a close reading to three of Forster's essays, "The Gods of India," "The Age of Misery," and "The Churning of the Ocean," to assess the degree to which Forster knew and made use of the major tenets of Hinduism in A Passage to India. Das shows Forster's indebtedness to and disagreement with Rev. E. Osborn Martin's The Gods of India (1914) and explains how and why Forster used the myths and was attracted to them. Das also sees the influence of Frazer's Golden Bough on the tripartite structure of the novel and notes some indebtedness to studies by E. J. Rapson and E. B. Havell (both, 1914). Finally, Molly B. Tlnsley's syntactic analysis of A Passage to India furnishes evidence for the reader who senses that sound equals sense in the novel. As opposed to balanced sentences in Howards End, she finds "a loosely coordinated sentence pattern" which suggests the Indian landscape and the formlessness of the Indian experience. Consistently, she says, Forster's sentences fight closure and undermine climax, dramatizing stylistically the separateness and unity of things. Frequent catalogues of appositives also suggest the muddle. Again, these are simply my favorite essays, and they merely represent the richness of the volume as a whole. That richness is further added to by statements from the writer's panel—a chorus of "what I learned from E. M. Forster"—and by the judicious critical assessments of Frederick P. W. McDowell about the state of Forster studies since 1975. Since most of the papers in the volume furnish the kind of focus McDowell sees as needed for the future, whether the reader begins with McDowell or ends with him does not matter. Appropriately for scholarship on Forster, the end is the beginning and end; the beginning is the end and the beginning . Congratulations to all who participated in the conference and were involved in E. M. Forster: Centenary Revaluations. Jack W. Weaver Winthrop College 6. SHAW AS DIRECTOR Bernard F. Dukore, ed. Bernard Shaw's "Arms and the Man": A Composite Production Book. Carbondale and Edwardsville: Southern Illinois Univ. Press, 1981. $22.50 In an essay on "Rules for Play Prodcuers" published in 1949, Bernard Shaw writes that "The most desirable director of a play is the author." He then proceeds to offer practical advice on all aspects of stage production and direction, from the selection of the cast to the costumes, scenery, and makeup used in dress rehearsal [The Strand, 117 (July 1949); as "Rules for Directors," in 64 Theatre Arts, 33 (Aug. 1949); rptd in Shaw on Theatre, ed. E. J. West (New York: Hill and Wang, 1959), pp. 279-89]. Shaw's experience as a producer and director of his own plays was extensive, beginning with the 1894 premiere of Arms and the Man—the subject of Bernard F. Dukore's Composite Production Book. It is now possible, thanks to this book published in American Society of Theatre Research Special Issues Series, to see Shaw the director at work, specifying stage movement , delivery of lines, changes in props, and other details of stage production. Dukore's book offers a composite of Shaw's notes for four production of Arms and the Man: the 1894 premiere at the Avenue Theatre; the 1907 revival at the Savoy; the 1911 Criterion Theatre production; and the 1919 production at the Duke of York's Theatre. The text of the play, from the Bodley Head edition of Shaw's plays (London, 1979), appears on verso pages. Facing the text are Shaw's directorial notes: his rehearsal notes for the four...