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173 Kline simply tries to include everything under the rubric of Yeats's relation to the ideal and the physical woman as symbolic entity. Further, she gets involved in biographical problems that remain troubled, notably Yeats's relation to Dorothy Wellesley. These matters have been pushed even further from comprehension by the recent death of F. S. L. Lyons and the consequent further delay in the publication of the authorized biography. On many of the details of Yeats's relations to women, speculation is and may remain idle. These two studies have merit because they take up important subjects. Levine's work seems to me to have more to say than Kline's, and to say it more clearly. The series, if these- books are representative, should certainly be purchased In whole by sizable research libraries. At one time books of this sort were published by university presses, usually as monographs in series of certain disciplines. Now university presses are both more ambitious and more economically hampered than they were thirty years ago. The large presses search for books with potentially large sales, and subsidies for the humanities are hard to come by. UMI Research Press is taking on a national problem and handling it in a professional manner. I wish that Kline's book had been more closely copy-edited ("The White Swans at Coole" is not the title of any poem or book by Yeats), and the coherence of its writing could have been improved. Of the two books, Levine's is the one that I would recommend for libraries that do not aim at comprehensive collections in the modern field. Thomas Parkinson University of California, Berkeley 8. LAWRENCE'S APOCALYPTIC IMAGINATION Sarah Urang, Kindled In the Flame: The Apocalyptic Scene in D. H. Lawrence. Ann Arbor, MI: UMI Research Press, 1983. $39.95 Apocalyptic vision sees change as taking place not by amelioration or evolution but by cataclysm: destruction and a new creation, death and rebirth . Since the pattern is evident almost everywhere in Lawrence's writing, his imagination is well defined as apocalyptic. Several critics, most notably Frank Kermode, have shown how illuminating it can be to read Lawrence in the light of apocalypse. In Kindled in the Flame, Sarah Urang carries the procedure into new areas of investigation with admirable results. In search of "the apocalyptic moment within the running stream of the narrative," she focuses on "analysis of specific scenes within the novels" to ascertain "what Lawrence's knowledge of the Apocalypse does to the articulation of his plots." The apocalyptic moment is that encounter with being whose resolution is the burgeoning of a new self, the old self having been "destroyed in a kind of psychic conflagration" (p. 3). So thoroughly dedicated is Lawrence's vision to this rendering of human experience that the reader may have difficulty in responding: "His people behave in a way that violates our sympathy or mystifies our understanding" (p. 6). The possible alienation extends even to Lawrence's use of language: "a new content must be embodied in a new style" (p. 7), a "rhetoric of vision" which encompasses "not just a modification of sensibility but the destruction and remaking of an epistemology" (p. 8). A character's experience need not be catastrophic to achieve this effect. 174 Any "revelation of quickness In human and nonhuman worlds is apokalypsis, in the sense of its being the revelation of that which is immanent but for the most part obscured by received habits of perception" (p. 6). This manner of reading Lawrence is especially rewarding as Urang applies it to the Brangwen novels. The Rainbow is seen as reiterating in its narrative rhythm "the covenant of renewal," utilizing the rainbow itself as the chief "image of psychic regeneration" (p. 13). "Conversion is a radical model of decision" (p. 18) in the novel—not a consistent development according to a moral scheme which Lawrence had rejected in his well-known letter to Edward Garnett. Urang may be overemphasizing by citing here and elsewhere the experience of Apostle Paul as Lawrence's model, since this is not one of Lawrence's oft-repeated sources of legendary experience, but she demonstrates skillfully...

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