Leeds Studies in English, n.s. 10 (review)

96 Comparative Drama ing in less able hands, it is, on the contrary, written in a superior style with a sound instinct for the relative importance of the theatrical events. The chapter headings and subtitles indicate the emphasis the author places on individual moments, such as “The Arrival of Schiller” or “Goethe becomes Intendant,” etc. Thus the reader’s attention remains focused on the main figures, the foremost intrigues, and, above all, the artistic prob­ lems arising from each performance and each new play. This reader is much impressed with the range of knowledge and the depth of perception of the author. Goethe is seen in the new light of a theatre director of great ability, taste, and untiring devotion. Schiller does not only add the majority of his mature plays, but participates actively in the rehearsals, with remarkable understanding of problems of staging as well as of individual actors, their whims and tempers. In his last chapter, “Overview: Goethe as a Director,” the author pre­ sents his ultimate evaluation of the poet’s work for the theatre: “He [Goethe] was the first example of the modern director as the creative artist ultimately responsible for every aspect of the production” (p. 307). How much was requested of the director to achieve a high-class, unified performance becomes poignantly clear from Goethe’s Rules for Actors (1803), translated in an Appendix. There Goethe goes into great detail to rid his actors of the bad habits customary in most theatres of his day. In his Preface the author asserts that “this book traces, for the first time, Goethe’s complete theatre career in Weimar.” It is indeed a major achievement to research such a long and complicated history which vastly enriches our knowledge of Goethe and his time. The many interesting illustrations of sceneries and the staging of scenes should not go unnoticed. LISELOTTE DIECKMANN Washington University Leeds Studies in English, n.s. 10. Leeds: University of Leeds School of English, 1978. Pp. 146. $17.50. Three papers of interest to readers of Comparative Drama are in­ cluded: “The York Corpus Christi Play: Some Practical Details” by Margaret (Dorrell) Rogerson, “Mystery Plays at Norwich: Their For­ mation and Development” by JoAnna Dutka, and “Regency Radicalism and Antiquarianism: William Hone’s Ancient Mysteries Described (1823)” by J. W. Robinson. These papers are highly recommended. ...