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

282 Comparative Drama appropriately the Cinna the Poet scene in Julius Caesar reflects the death of Caesar and indicates the confusion of the state. In Macbeth she does much the same kind of analysis with the Porter scene, the murderers' scene, and Malcolm's scene with Macduff in England. In Romeo and Juliet she develops a larger use of the parodic technique by applying historical criticism also and demonstrating how the apothecary has an emblematic relationship to the iconographic tradition of Despair. Thus, she concludes that Romeo's encounter with the apothecary logically leads to an intense deepening of Romeo's tragic moment. Again using source studies and relevant scholarly support, Hartwig shows the way in which the York/Aumerle conflict over the Oxford Conspiracy reflects and predicts other events in the play, thus developing through comic hesita­ tion an environment in which audience consciousness can expand and grow. These scenes, she points out, regularly parody larger issues, but in Twelfth Night Shakespeare employs the parody principle throughout the entire subplot, so that "there is a sense of . narrative necessity be­ tween these scenes and those they imitate in comic ways" (p. 135) . As the subplot is used to parallel in Twelfth Night, so Polonius is used as a character parallel in Hamlet. Hartwig sees him, especially in the Reynaldo scene of Act II, as a proleptic parody of Hamlet. She sees in later plays similar character parodying between Imogen and Cloten, both of whom wander through the Welsh woods in borrowed clothes, and Caliban and Ferdinand, the two men Miranda has seen in her life, other than her father. Although there are occasions when the strictures of the method strain the reader's credulity, this work is the product of immensely careful textual reading. Hartwig has balanced a certain bent toward introspective formalism with an understanding of prevalent scholarly opinion. The result is a book that provokes the reader to expand beyond the author's examples and incorporate fue technique of parodic analysis into the reading of the plays. WILLIAM M. JONES University of Missouri, Columbia The London Stage 1920-1929: A Calendar of Plays and Players. Volume I : 1920-1924; Volume II: 1925-1929; Volume ID: Indexes. Compiled by J. P. Wearing. Metuchen, New Jersey: Scarecrow Press, 1984. Pp. 1,808. $89.50. The past is a foreign country: they do things differently there. True, always, but for certain territories it is extraordinarily hard to get visas. Anyone wanting to chart the progress of Shakespeare on the eighteenth­ century stage can do so readily. The instruments, code-named "Hogan," are at hand, the results are in. The twentieth century has until recently been far less accessible than the eighteenth. No calendar of London pro­ ductions, actors disappearing eerily between issues of Who's Who in the Theatre and failing to emerge into the chilly state of Who Was Who in the Theatre, the researcher condemned to slave over a hot microreader Reviews 283 as he checks the projections of the Times "Entertainment" columns (Monday and Thursday) against the actuality of productions, as noticed, usually but not invariably, in the later issues of the same journal: the ratio of labor to fruition is unappealing. Of the remoter countries of the past, few have been less amenable to enquiry than the 1920's. And now the 1920's have come into view, as J. P. Wearing forges on with the fourth of his series of calendars whioh furnish a chronological listing of plays and players on the London stage from 1890 to the present. It is an immense undertaking, carried out at a phenomenal rate. In the decade under review, the number of London theatres has risen to 51. This calendar chronicles 3,980 productions for a total of over 164,000 performances. Here, arranged chronologically, are the productions. The frame of information contains title, genre, number of acts, author, theatre, date and length of run, performers, production staff, and a short bibliography of reviews. Amateur and private performances are omitted. Dr. Wearing's introduction offers a scrupulous definition of his terms and of the many borderline adjustments through which the historian is compelled to admit the irregularity of the...

pdf

Additional Information

ISSN
1936-1637
Print ISSN
0010-4078
Pages
pp. 282-283
Launched on MUSE
2018-07-11
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.