Abstract
One might conceivably begin an essay on Burke by taking as point of departure his theory of form as first presented in Counter-Statement, or his Definition of Man in Language as Symbolic Action, or his summingup of what, in The International Encyclopedia of the Social Sciences, he calls Dramatism.' Or there a roundabout but far more salient route, as suggested by a frankly adverse piece of Rene Wellek's in which, while incidentally including Burke among men of great gifts, nimble powers of combination and association, and fertile imagination, the special job frankly to present Burke as an impasse. Or there could be a somewhat confusing approach via Ronald Crane, who was understandably more interested in presenting his method than in telling the world about the ins and outs of Burke's. Or, as Wayne Booth puts it, Crane's purpose is to defend one special way of dealing with poetic structure, and he does not pretend to do justice to any other.
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