If only every writer so smart were so engaging.
Segal—yes, he of Love Story and, if you didn’t know, a fellow at Oxford—turns his attentions to literary criticism in this survey of comic theater from the ancient Greeks to a humorless Irishman.
Explaining and analyzing comedy is a thankless task; humor either flies or it falls, and most theatergoers do not require a more experienced hand to guide them in their responses. Given these exigencies, Segal’s interpretive achievements soar in a work both accessible and informative. Offering a sweeping tour of comic theater from the Greeks to Beckett, he argues wistfully that the dour Irishman killed off the swell old stuff of life and laughter, in which plots ended right where they should in the joys of marriage and home. Segal weights the argument strongly in his favor, with 19 chapters detailing the good stuff (as he sees it) and 2 describing the bad (especially Theater of the Absurd). With a work of this scope, quibbles inevitably arise, and certainly Segal could pay more attention to the comedies of the medieval period and the 18th century. The Greeks (especially Aristophanes), the Romans (that wacky pair Plautus and Terence), and a certain Renaissance man known as William Shakespeare receive the lion’s share of the author’s critical attention, but one cannot hardly fault Segal for packing the tome with his favorites when he makes no claims to be offering an exhaustive study. Even with more than 500 pages of text, including 118 of endnotes, much remains to be debated on this crucial topic in the humanities, and the snobbish scholar will certainly look elsewhere for more detailed analysis. The lay reader, on the other hand, will find much to enjoy in a genial perusal of western civilization’s funniest theatrical moments. The ample quotations provide a gut-busting overview of theater at its hilarious best.
If only every writer so smart were so engaging.Pub Date: Sept. 1, 2001
ISBN: 0-674-00643-7
Page Count: 544
Publisher: Harvard Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2001
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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