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REVIEWS 97 minor modifications of the statements involved would make the statements compatible. For example, were one to delete "ultimate" and "final" from viii(a) and ' "legitimate" from vii, 1 would be made compatible with viii(a) and 6 compatible with vii. The following lists all the remaining pairs of statements drawn from the two sets that appear to conflict, even though they are compatible: 1 with i, 2 with ii, 3 with i, iii, and iv, 7 with iv and with vii (a), 8 with viii(b). No other pairs with members drawn one from each set seem even to conflict. Indeed, certain pairs seem to be mutually reinforcing: 5(a) and i, 8 and i, 8 and vi(b). At the same time, certain other pairs with members drawn both from one set seem to conflict (although to be compatible) : 5(b) with 8, i with viii ( b), vi(b ) with viii (b). If any reconciliation of naturalism with transcendentalism is eventually attained, might it not be that the joint influence of these two moments on such a man as Peirce will have contributed to the attainment of that happy result? STUDIES IN SEVENTEENTH┬ĚCENTURY POETIC' Roy DANIELLS One comes out of this book as from a thicket of blackberries, wondering whether it was really worth all the laceration, Not that there were no berries; on the contrary, Miss Wallerstein offers the fruit of wide research and careful comparison, as readers of her previous work on poetics have learned to expect. She enlarges the boundaries of the criticism of metaphysical poetry, no inconsiderable feat in view of the enormous number of studies in that field since Grierson first edited the poems of Donne, The book falls into two solid parts, linked by the attention given in each to Marvell's poetry. In the first part, the funeral elegy as a genre is related to the aesthetic of the period and in the second there is an exploration of the background of Marvell's thought even to the medieval boundaries of that background in Victorine philosophy and other developments of Augustinianism about which most of us are painfully ignorant. Some of the ground covered is familiar enough, such as the influence of emblems on the metaphysicals, which Mario Praz revealed to English readers, but much is well chosen for new inquiry, whether boldly into the genre of funeral elegy or minutely into precedents for Marvell's "various light" and "greenness." One can at least agree *Studies in Seventunth~Century Poetic. By RUTH WALLERSTEIN. Madison: University of Wisconsin Press [Toronto: Burns & MacEachern]. 1950. pp. x, 421. $6,25. 98 THE UNIVERSITY OF TORONTO QUARTERLY that the author "has really gone into medieval thought on a number of these topics," as noted in the wreath of praise from Douglas Bush which adorns the dust cover. But good wine needs no bush, and this, from long keeping one supposes, is slightly sour and rasps the tongue. The style of the book is atrocious and has not even the excuse of haste. "These studies have been very long in the making," is the author's opening sentence. Not only does the volume break into two, which may have been unavoidable, but the looseness of the chapters "Backgrounds and Currents" and "The Various Light" could have been avoided and the reader saved much wandering, by a little editorial labour. In the sentence by sentence exacerbation of the reader's sensibility, however , lies the most severe trial imposed by Miss Wallerstein. Her monologue betrays hardly anywhere what could be called a gift of utterance. Can it be that the graduate research seminarThe moan of doves in immemorial elms, And munnuring of innumerable beeshas passed over unmodified into this volume of criticism? Sentences such as the following arc all too common: "It is as the monarch of a limited monarchy that Marvell now sees Cromwell, the executive rather in a balanced state, with essentially Cromwell's own view, a monarch in fact not too far from the monarchy which Dryden was to uphold on behalf of Charles II in the days of the struggle with Shaftesbury." A paragraph can be a maze of minor infelicities: prepositions...


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