In lieu of an abstract, here is a brief excerpt of the content:

Reviews 243 Not so in Peter Reynolds' exceUent essay, written specially for this volume, on 'Acting Richard 1IT, which looks at the Olivier 'star' version of the monster king, continued in Antony Sher's recent performances. Unfortunately neither Reynolds nor any of the other critics reprinted refers the reader to the lively dramatic tradition of the medieval Vicefigure,which is surely the place to begin in explaining Richard's mesmeric charm. Richard III and Romeo and Juliet are poorly served by this collection. Since there is so much criticism from which to choose, any selection of three or four essays looks both invidious and inadequate. Titus Andronicus, on the other hand, is presented excitingly in two essays by Albert H. Tricomi and Michael Hattaway, the latter an extract from hisfinebook Elizabethan Popular Theatre (London, 1982). Each writer brings a different critical perspective to bear on the problem of the excess of violence, both visual and verbal, in the play. For Tricomi, the play's language 'self-consciously focuses upon itself so as to demonstrate the manner in which figurative speech can diminish and even transform the actual honor of events' (p. 102). Hattaway is even more firmly based in the realities of theatrical experience. His essay constantiy refers to the Royal Shakespeare Company's 1955 production directed by Peter Brook and its 1972 production directed by Trevor Nunn in order to illuminate problematic critical issues. Since his book was published there has been Deborah Warner's extraordinary earthy-primitive production (1987), which casts yet another light on this appalling play, and which shows that there can never be a definitive critical interpretation of any play, only an indication of what issues in it are of interest to the audience of any particular time and place. The Casebook series, being organized historically, at least shows an awareness of this truth. It even includes an early feminist reading of Richard III, from 1981. However, each of these plays deserves a new selection of critical writing. Penny Gay Department of EngUsh University of Sydney Tunberg, Terence O., Speeches from the Oculus Pastoralis edited from Cleveland, Public Library, MS Wq 7890921M-C37 (Toronto Medieval Latin Texts 19), Toronto , Centre for Medieval Studies Pontifical Institute of Medieval Studies, 1990; paper; pp. x, 78; R.R.P. CAN$6.75. Tunberg considers the anonymous Oculus coUection of Latin speeches to be 'the eartiest (ca. 1220s, 1230s A.D.) group of model orations of a secular nature to have survived from medieval Italy'. They are part of a tendency for theoretical treatises and collections of models designed to assist in the teaching of the ars didaminis to expand to cover the composition of secular speeches (ars oratorio) also. The Oculus is basically a collection of speeches, not a theoretical treatise. 244 Reviews The speeches cover diplomatic situations, funeral occasions and situations popular among youthful debating societies. They seem toreflectinstruction and information provided by the celebrated and controversial Bolognese rhetor Boncompagno (1165-1240) in his various works. The speeches reflect 'highly formal, rhetorical prose' fashions based on the Roman cursus popular in imperial and papal chanceries. The influence of such ancient models as Ovid's Metamorphoses and Heroides, Martin of Braga's Formula vitae honestae, the Disticha Catonis, and Cicero's De inventione and De amicitia is clear in some. The lattertextwould certainly have appealed to the Italian late duecento/early trecento civic environment with its factional rivalry—so amply deplored by Dante and his literary contemporaries—and emphasis upon pacts and friendship bonds as tools of influence-consolidation (see no. 2, on civd discord, and no. 21, an invective by Justice against the rulers of communities, with a reply (no. 22) by apodestd and a declamation by Justice (no. 23). The present edition is neither the first of the Latin Oculus, nor is it complete (see. pp. 1, 14, 16). It is, however, economical, from a particular manuscript and contains the most useful parts of the Oculus. Despite the author's claim (pp. 4 and 6) that the Oculus is not an example of the 'letteratura del podesta', the preface (p. 23) specifically recommends the work 'for the utility of those who, whenever they are calledtogovern areas...

pdf

Share