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• W2547453735 abstract "366Comparative Drama {The Lady From Dubuque); and in the final lines he exhorts the theater folks of the United States to carry on with the good work (p. 99). It is unfortunate that Szilassy's considerable knowledge and enthusiasm do not result in a better product. The book can be consulted for its insights on the dramatists in the first half and some of the patterns of influence worked out in the second portion. But for these topics we need deeper treatments that show higher standards of proof and more sensitivity to the reader's needs. PHILIP J. EGAN Western Michigan University Renaissance Drama, New Series, 15. Ed. Leonard Barkan. Evanston: Northwestern University Press, 1984 Pp. vii + 202. $26.95. The fifteenth annual volume of Renaissance Drama (New Series), is devoted to Modes, Motifs and Genres and contains essays that explore such matters as sexual love, theatrical identity, incest, Machiavellianism, and intrigue tragedy. Each of these major essays is well-written and insightful, and each deals with concerns that are timely. Together, they make a significant contribution to issues that continue to fascinate readers of Renaissance drama. While they vary in their interests and emphases, the first five essays in the volume provide an extended treatment of cultural and theatrical identity in the Renaissance. In her feminist examination of sexual love in Elizabethan comedy, Mary Beth Rose applies the findings of Lawrence Stone and the evidence of Renaissance courtesy books to comedies by John LyIy, Robert Greene, and Shakespeare, arguing that the playwrights' works reflect differing conceptions of sexual love. In Rose's sociological and historical view, the idea of sexual love underwent a change from an essentially dualistic sensibility, in which it was either idealized beyond physicality or derided as lust, to a more realistic multifaceted sensibility , which recognized that affectionate marriage provided the basis of an ordered society (2). Lyly's dualistic sensibility thus prevented him from attaining the complexity noticeable, in part, in the work of Greene and fully present in the comedies of Shakespeare In presenting her argument Rose examines shifting cultural perceptions of sexual identity and sets the dualistic Catholic perspective against the multifaceted Protestant one. Hers is an admirable argument, but one wonders whether a developmental thesis about plays written within fifteen years of each other does not say more about the quality of Shakespeare's comedies than about a change in cultural and sexual mores. One also wonders about the role generic considerations play here, since comedy, as Northop Frye and C. L. Barber have taught us, conventionally ends in marriage. That is, the meaningful shift in human perceptions of sexual love that Rose identifies needs to be distinguished from the conventions of the comic genre. To what extent does a generic convention reflect a particular culture 's attitudes? Surely Rosalind in As You Like It is everything one would want her to be; but doesn't Viola, in the later Twelfth Night, Reviews367 present a problem? Is the ending of Twelfth Night conventional or psychologically true? How could Viola agree to marry Duke Orsino, a character whose mind is a very opal (II.iv.74)? Rose's analysis nicely dovetails with Ronald Huebert's often witty dealings with Ben Jonson's view of manliness and with William W. E. Slights' fine unfashioning of the man of mode in plays by Jonson, John Marston, and Thomas Middleton. The shadow of Stephen Greenblatt 's influential Renaissance Self-Fashioning falls over these explorations of cultural poetics. Huebert suggests that comments about manliness, present in Jonson's Conversations with Drummond, Epigrammes, Discoveries , plays, poems and masques, indicate his belief that the shape of the immortal soul is the perfection of manliness (31). The disdain Jonson had for effeminacy was moral and artistic and is revealed in the public image he sought to uphold. Jonson's many attacks on rivals like Inigo Jones and on his audiences were made on the grounds of sexual identity and dress—on, in effect, shape-shifting (36). Indeed, for Jonson manly integrity is a constant that cuts across sexual boundaries, as his attribution of a manly soul to Lucy, Countess of Bedford makes (chauvinistically) clear. Huebert's application of this idea..." @default.
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• W2547453735 title "Renaissance Drama ed. by Leonard Barkan" @default.
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