49? Reviews Furthermore, the 'love' field is characterized by a greater frequency of irregular lines, with the 'death' field, more regular, representing the calm anticipated afterthe turbulent passions of tragedy. Occasionally, Beaudouin's thematic interpretations are unconvincing, with only perfunctory comment on some surprising examples of trans? gressive versification, and a rather simplistic view ofthe characteristics of tragedy and comedy. On the whole, however, this clearly presented work paves the way forsimilar statistical analyses, allowing us both to chart the history of alexandrine rhythm and to compare in exhaustive detail the works of other poets and playwrights on formal and thematic levels. University of Edinburgh David Evans Le Comte d'Essex. By Thomas Corneille. Ed. by Wendy Gibson. (Textes Litteraires, ii o) Exeter: University of Exeter Press. 2000. xxx + 88pp. ?14.99. ISBN 0-85989-666-8. In a lively introduction, Wendy Gibson considers Thomas Corneille's play of 1678 in relation to La Calprenede's earlier version (1639) and, as is so often the case with Thomas, in terms of literary fashions of the day. She finds the theory that Thomas might be commenting on Franco-British relations unconvincing, but notes the fashion for literary works based on sujets d'actualite and recent history. What is missing, though, is theatrical contextualization. Thus, Gibson does not explain why, fortyyears after La Calprenede, two plays on the same subject should have appeared in consecutive months: Thomas's at the Hotel de Bourgogne in January and Boyer's at the Hotel Guenegaud in February. In fact,the production of Thomas's Essex was part ofwhat has been described as a 'guerre des tragedies', which also saw rival productions at the two theatres oiPhedre and Iphigenie. Nor does Gibson consider the implications of Thomas's Essex having been given at the Hotel de Bourgogne when, for several years, he had been one ofthe Guenegaud's house playwrights, and would return to it the following year. The reasons relate both to changing fashions and to increasing state control of the theatres. The Guenegaud specialized in spectacular productions that relied heavily on the use of stage music. This was now the monopoly of the composer and opera director Lully, and it must have seemed that the Guenegaud was doomed, so Thomas quickly changed his allegiance, perhaps also hoping to fillthe gap leftby Racine's retirement in 1677. His move, though, did not pay off,and Gibson quotes De Vise's account of the critical reception Essex received. Perhaps this motivated Thomas's switch back to the Guenegaud, or else he was tempted away when the company commissioned La Devineresse, based on the notorious Affaire des poisons'. In any event, the Guenegaud played its master stroke the following year,poachingthe leading tragic actress from the Hotel de Bourgogne and adding the masterworks of Corneille and Racine to its repertory.The Hotel de Bourgogne could not compete and, in 1680, it was merged with the Guenegaud to form the Comedie-Francaise. In the final section of her introduction, Gibson seems almost to apologize for her edition, admitting that Essex is no 'chef d'ceuvre meconnu'. She recognizes that the play's appeal is historical rather than literary, but unfortunately does not appreciate the exact nature of its interest. Thomas Corneille's Essex appeared at a decisive moment in the history ofParisian theatre, written by a man who was a prime mover in theatrical affairs.Wendy Gibson is to be congratulated for making it more widely accessible. University of Durham Jan Clarke ...