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REVIEWS113 Wolfram von Eschcnbach's and Konrad von Würzburg's lyric oeuvre is surveyed following their narrative works (202-5; 356—57); in the case of Konrad the reviewer feels that his lyric output is given rather short shrift. The handbook is rather conservative; this is not meant to be taken as a criticism. This type of scholarly endeavor hardly lends itself to a revision of the history of medieval literature; it stays rather safely with the canonical texts and lavishes, justifiably, the greatest attention on the literature ofthe classic period. Consequently, the section on the literature of the late Middle Ages (416-53), which deals with non-fictional writing, such as chronicles; didactic literature, such as religious and allegorical writings; drama and mystical literature (Mechthild von Magdeburg, Eckhart, Tauler, and Suso) is all too cursory. The volume closes around the year 1400 with Johannes von Saaz's Ackermann. As Gibbs and Johnson note, the year 'ushers in a century of significant changes in language and thought, a movement away from the Middle Ages into the beginnings ofthe European Renaissance—the Ackermann anticipates distant developments and has a remarkable ring ofmodernity about it, though it is simultaneously deeply rooted in the Middle Ages' (449). The discussion ofthe Ackermann brings to a convincing close this handbook on medieval German literature. In sum, the volume is a most useful handbook both as a record of the development of medieval German literature and as a reference tool. One criticism can be leveled at the book, one not aimed at the authors but rather at publishers like Garland who all too often nowadays dispense with copy editors and layout staff, necessitating authors to take on a role for which they have not been trained. Medieval German Literature: A Companion suffers from a multitude oftypographical errors, inconsistent spellings (a spellcheck cannot deal with foreign words) and cross references, problems with spacing, punctuation, and the like. It is unfortunate that in their efforts to save money, publishers no longer seem to place value on the aesthetic aspects of their imprints. MARIANNE E. KALINKE University of Illinois, Urbana-Champaign joan tasker grimbert, ed., Tristan andIsolde, A Casebook. Garland Reference Library for the Humanities Vol. 1514. New York: Garland Publishing, 1995. Pp. cxvii, 520. isbn: 0-8153-0654-7. $77. The second in the Garland series of casebooks on Arthurian characters and themes under the general editorship ofNorrisJ. Lacy, this volume offers a three-page preface by the series editor, a comprehensive introduction by the volume editor, and nineteen essays—four original to this collection—by leading European and North American Tristan scholars who discuss what Professor Grimbert rightly calls 'one of the founding myths ofWestern culture' from its murky Celtic origins to John Updike's 1994 novel Brazil. The essays are in turn supplemented by more than thirty black and white plates. Professor Grimbert's introduction is a model ofsound, precise scholarly writing. In prose that is always clear and that shuns academic and critical doublespeak, she 114ARTHURIANA offers an encyclopedic survey of the legend ofTristan and Isolde. The six essays that follow concentrate on the earliest French and German verse redactions ofthe legend. W. J. McCann discusses the complicated issue of sources and analogues by reexamining early Celtic and Oriental materials. Leslie W. Rabine follows with a comparison of Celtic matrilineal and continental patriarchal social structures and their effect on the legend's early intercultural transmissions. After these two helpful more general surveys, Professor Grimbert offers up nicely balanced readings of individual versions ofthe legend. E. Jane Burns discusses Béroul; Matilda Tomaryn Bruckner, Thomas; Jean-Charles Payen, the Folie d'Oxford; and W. T. H. Jackson, Gottfried. The volume's next three essays examine the transformation of the legend in prose romances from the thirteenth century on. Emmanuele Baumgartner focuses on the use of amorous discourse in the Prose Tristan. Donald L. Hoffman traces the influence ofthe Italian lyrical tradition on the TavoL· Ritonda, and Dhira B. Mahoney notes Malory's preoccupation with Tristan as knight rather than simply as lover in Le Morte Darthur. Julia Walworth concludes the volume's discussion ofthe medieval Tristan by surveying representations of the legend in the art...


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