PMLA: Volume 79 - | Cambridge Core

Theme and Metaphor in Brother to Dragons
Victor H. Strandberg
Published online by Cambridge University Press:

02 December 2020, pp. 498-508
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When Brother to Dragons came out ten years ago, its reviewers were inclined to show deep admiration. “An event, a great one,” was Randall Jarrell's opinion, as he sought to substantiate his judgment that “this is Robert Penn Warren's best book.” Another of Warren's fellow poets, Delmore Schwartz, likewise evinced high enthusiasm, calling Brother to Dragons “a work which is most remarkable as a sustained whole,” a work having “perfect proportion throughout.” Both these reviewers, furthermore, placed Warren in some very distinguished company on the basis of this work, Jarrell by finding echoes of Milton, Shakespeare, and Eliot, and Schwartz by observing “Warren's resemblance to Melville.”

Brecht Und Die Bibel
Von Thomas O. Brandt
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02 December 2020, pp. 171-176
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Im Jahre 1928 wandte sich die deutsche Zeitschrift Die Dame an die literarische Prominenz mit der Aufforderung, sich zu dem Thema “Der stärkste Eindruck” zu bekennen. Am 1. Oktober erschien in den “Losen Blättern”, der Beilage des Blattes, Bertolt Brechts Abhandlung zu dieser Enquete. Sie bestand aus einem einzigen Satz und lautete: “Sie werden lachen: die Bibel.”

Dramatic Conventions in All's Well That Ends Well
Robert Hapgood, Robert Y. Turner
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02 December 2020, pp. 177-182
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The best parts of Robert Y. Turner's article “Dramatic Conventions in All's Well That Ends Well (PMLA, lxxv, Dec. 1960) concern the denouement of that play. He acutely points out that it is Bertram, with his agonies and perplexities, not Diana, who ”holds the center of the stage“ during her long series of paradoxes; he shows how Shakespeare has added details to his source which prolong and intensify Bertram's distress; and he relates this distress to that of other similar heroes as well as to that of earlier comic butts. I should like, however, to question a number of other points in this article and thereby to challenge as unproved what I take to be its main thesis: that in All's Well Shakespeare ”produced a comedy more of an age than for all time“ because he chose there to follow a contemporary vogue for ”prodigal son comedies“ whose conventions ”have lost their savor.“

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