European Drama of the Early Middle Ages by Richard Axton
Ethel Dunn
Reviews 365 zation and plot structure reflect a more open natural idiom. Shake­ speare superimposes shifts these two idioms throughout the play, so that, for example, naturalistically conceived Venetian world of money becomes stylized in trial scene, while romantic Belmont is jolted by arrival Salerio. The exclusiveness ending fact that few characters are assembled con­ clusion, reveals limited success Shakespeare’s experiment. Order achieved but not one encompassing: “In short, play has shown larger than it can finally bring into harmony” (p. 149). In his discussion three remaining comedies, concluding chapter covering briefly plays which follow Twelfth Night, Leggatt concentrates on examining continued ex­ perimentation with interplay kinds art, formal realistic. both Much Ado About Nothing As You Like It Shakespeare blends approaches, to reveal ultimately “the rhythms life,” reality behind convention. however, art clearly separated, as themselves locked their own private visions world. asserts, somewhat unconvincingly, Feste’s last song resolves tension between realistic art. lines should remind us vision wind rain, process decay, been creation illusionary permanence thus affirmed, artifice be seen transcending naturalistic decay. Within framework interest juxtaposed perience, provides each close detailed analyses he often informs references theatrical productions. Over­ all, I find most refreshing engag­ ing. Perhaps this because long run we pleased acceptance successful manipulation convention, finding achieve­ ment an overall harmony deeply satisfying, conventional though might be. Conversely, troubling strikes less “a final rescue artifice” wistful reminder human trials solitude. NORMA J. FISK University Missouri—Columbia Richard Axton. European Drama Early Middle Ages. London: Hutchinson Library, 1974. Pp. 227; £2.45, paper. This work study secular dramatic traditions impact upon religious theater beset difficulty inherent all such attempts made modem times— lack adequate documentation surviving texts. book’s thesis new, much evidence already presented earlier studies like those E. Faral K. Chambers. Professor Axton divides mimicry, combat dancing- 366 Comparative game. first repertory ancient Mediterranean mime, transmitted medieval culture late Roman theater, second remnant pagan fertility rituals (largely Germanic contribution). dancing-game, either or Teu­ tonic origin, common type festivity easily documented from French records any other source. book is, my judgment, valuable its minor ments central line argument. dealing early med­ ieval drama, little done prove interrelationship Gallican Carolingian eras. Most dates twelfth thirteenth centuries, especially category dance, era High Ages rather designated title. same solid interconnection cycle troubles reader repeatedly chapters (8 9) devoted English drama. Certain subordinate problems emerge texts, admirably handled, Chapter 5, where impersonation liturgical actors discussed. Karl Young’s...
Comparative Drama