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• W809384764 abstract "Il8arthuriana Wagner's backtracking here also has the effect of making Tristan's belated sense of personal and social betrayal seem more masochistic than honorable, an error that is compounded by the rambling and unfocused writing for him in Act 3. We are told that the turn-of-the-century ladies at the Met swooned when Tristan rips off his bandages and proclaims that all he needs to be well is Isolde's love. Perhaps that was the response Wagner desired; but modern audiences seem more likely to detect a more carthbound masochism. The content, not to mention the beauty, of Isolde's Liebestod seems an odd response to such untranscendant pathology. (Unless she has suddenly become another Victorian pseudo-Medieval creation, the Belle Dame Sans Merci!) There are those who see some sort ofattempt at irony here, but the belated possibility that romantic love is a fatal illusion does not sit with the emotional fulsomeness ofAct 3's music. Eaglen was so good, however, that for a moment one actually believed. In staging this sort of erratic thematic material, there are two choices. One is to adopt a medieval 'realistic' representation which at least has the virtue ofdistancing the audience; the other is to abstractify the setting, which runs the danger of making Wagner's Victoriansim look universal. Dieter Dorn attempts to do both—his continual crossing ofthe line made for a frustrating, albeit sometimes inadvertently amusing, visual representation. Rose's unit set tended toward the abstract—it took the form of an infinitely receding triangle (suggestive ofa romantic triangle? ofinfinite transcendence?), and the staging was fairly static, an advantage with singers of ample girth. But theopeningscenedid notworktechnicallyat all, and Dorn awkwardly imposed clichés and odd realistic touches on the abstract concept. When the lovers drink the potion, the whole set turns valentine-pink, a moment that got a good laugh from the audience. In Act 2, a gold-lighted enclosure suggested that Isolde was a bird in a gilded cage. In Act 3, some miniature war-toys (Tristan's childhood collection?) popped up bewilderingly for a while. Probably the oddest moment in the evening was the most literal. In their Liebesnacht, the lovers sing of how night shields their love. So Dorn turned out the lights on them entirely! All one could see below the backlit triangle was two large shapes. This effect in a scene that goes on for quite a spell is very hard on the eyes and impedes concentration. Even in a house in which dumb ideas are common as can be, this one stood out. At the end of the Liebestod, Isolde is framed in descending panels—I half expected them to coalesce into the shape of a heart and the pink light to shine again. Musically, then, this Tristan had considerable merit. But dramatically the combination ofWagner and Dorn posed considerable problems. JOHN CHRISTOPHER KLEIS LaSaIIe University R. F. YEAGER, ed., Re-Visioning Gower. Asheville, NC: Pegasus Press, 1998. Pp. xi, 305. isbn: 1-1889818-09-7. $20. This wonderful, illustrated collection brings together papers (revised and expanded) that were originally presented at the meetings of the John Gower Society at the REVIEWS119 International Congress on Medieval Studies, Western Michigan University, 19921997 . As he has in the past, R. F. Yeager exercises leadership in Gower studies by making available to scholars some of the best recent work in the field. Yeager is certainly right when he asserts that the assembled fifteen essays 'represent the state of contemporary Gower scholarship as practiced at its highest level' (p.xi). Together with the essays in Yeager's previous edited collection,John Gower: Recent Readings (1989), those in Re-Visioning Gower demonstrate the tremendous vitality in a field once held to be (at best) ancillary to Chaucer studies. Viewed in comparison with the earlier volume, Re-Visioning Gower also attests to changing interests and methods in Gower scholarship and evinces a marked departure from the topics of 'classical' Gower studies. Truly, a decade has made a big difference. Yeager divides the collection into three parts: (1) Poetics and Method, (2) Politics, and (3) Texts and Manuscripts. The central section devoted to Politics is the largest, including..." @default.
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• W809384764 title "Re-Visioning Gower ed. by R. F. Yeager" @default.
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