8I4 Revzews Rhetoricians recognize that reason byitself isnota sufficiently forceful persuasive toolfor most audiences, hence the hostility ofphilosophers like Plato andDescartes, though they toomakegooduseofrhetoric inpractice. The first halfofGisele Mathieu-Castellani's book gives anaccount of rhetorical theory derived substantially from Aristotle andCicero(Quintilian israther oddly sidelined), stressing always how the passions insinuate themselves into the various parts ofrhetoric. So,although they arenormally treated as a feature ofinventio, they arediscussed indispositio, where they areseenasa vital part ofthe peroratio; they areimplicit inthediscussion ofthe figures ofelocutio, whose purpose islesstoadorn than toexpress andtoarouse emotion; andthey canbeconveyed intheorator's actio. Theauthor's emphasis on thepassions inrhetorical theory isenhanced bya fine analysis ofthemetaphors usedbyrhetoricians to evoketheorator: skilled mechanic, actor, soldier, fire, necromancer. Theseimages all convey theorator's resourcefulness at deploying seductive methods ofpersuasion. Thesecond half ofthebookturns toFrench texts ofthesixteenth and seventeenth centuries, and aimsto showtheinfluence of rhetorical theory, andparticularly ofthepassions, atwork inthem. Rhetoric is shown atwork inthepoetic theory ofDu Bellay, Ronsard, Pontus deTyard, and d'Aubigne. Achapter onthe emblem shows the image working onviewers rather as the passions do.Afinal chapter onthe passions inethical writing, showing thedebt totherhetorical tradition, culminates inDescartes's break with that tradition and hisnon-rhetorical presentation ofthepassions. Rhetoric andthepassions inearly modern French writing isa vastsubject, butthis isa short book.Itappears ina seriesthatadvertises itself as 'essais'.This book admirably fitsthegeneric expectations of the 'essai' form. It is a concise,stimulating and attractive introduction toa topic with very broad horizons. KEBLE COLLEGE, OXFORD MICHAEL HAWCROFT LesEcrivains etlepouvoir enLorraine au XVIesiecle.ByALAIN CULLIERE: Paris: Champion. I999. 990PP. 830F. This is an impressive work, notonlyon accountofitssize,butalso ofthe thoroughness oftheresearch that hasgoneinto it.Thetitle maymislead oneinto thinking that itissomekind ofpolitical discourse: infact, itisa complete study of literary activity ina partofFrance which, inthesixteenth century, wasstill an independent duchy, anxious tomaintain itsowncultural identity. Thebookfalls intothree broadsections, called'LesProfils', 'La Vocation del'Ecrivain' and'Le Rayonnement del'ecrivain'. After closely examining the various professional groups whichproduced writers, suchas clerics, doctors, lawyers and students, Alain Culliere considers their reasons for writing anditsimpact ontheir careers. Inspite ofalltheeffiort which hehasinvested inthem, heisnottempted tooverrate their literary virtues. He endorses an opinion expressed in I9IO thatAlphonse de Rambervillers was a provincial writer. The same,he thinks, is trueof other Lorrainers, likeNicolas Clement, Pantaleon Thevenin orFranSois deRosieres. 'I1 estclair aussi', hewrites, 'queletemps estunbonjugeetqu'aucune rehabilitation tapageuse nes'impose' (p.708)Although implicated intheWarsofReligion, the duchy ofLorraine failed toproduce anauthor ascommitted toa causeasAgrippa d'Aubigne. Culliere writes: 'On neseconsacre pasauxMusesenLorraine onles visite seulement, avecbeaucoup d'arriere-pensees' (p.708).Thisconsideration rests onanilluminating chapter devoted tothe dedications ofbooks. Several, asmight be expected, were addressed toCharles III,DukeofLorraine, whoruled from I559to I608.Theyincluded noworks onreligion orevenonhunting. TheDuke'smain MLR,96.3,XOOI 8I5 interest was military technology, including theart of fortification. Thus he encouraged themilitary engineer, JeanErrard, topublish histreatises. Onlyone work seems tohavebeenaimed atentertaining the prince: Antoine LePois's Discours sur les medalles etgraveures antiques. Despite itscultural ainitieswith theFrench court (where Charles III hadbeenbrought up)the duchy hadnoaccredited authors. The nearest toa court poetwasPantaleon Thevenin whose Sonets bearallthehallmarks ofcourt poetry, yethewasnever partoftheducalhousehold. The only literary works oiciallycommissioned bythecourt weredescriptions ofducalobsequies, likeAlphonse de Rambervillers's account ofthefuneral oftheducde Mercoeur (I602). In part2 ofhisbook,Culliere shows howwriters served theprince by reconstructing thepast, bypraising thepresent andbylooking into thefuture. He alsoconsiders thereligious dimension, arguing that theduchy wasmoreopento external influences than some scholars haveallowed; itwasnot justanimpenetrable bastion ofCatholicism. Culliere completes hisexhaustive survey byproviding a list of the I64 authors mentioned in his textalongwiththeir works) a general bibliography, fifteen illustrations, mainly oftitle-pages, genealogical tables ofthe house ofLorraine andrelated houses, andanindex ofpersons andplace-names. UNIVERSITY OFBIRMINGHAM R.J.KNECHT Mars et lesMuses dans 1''ApologiepourHerodote'd'Henrt Estienne. BYBENEDICTE BOUDOU. (Travaux d'Humanisme etRenaissance, 335)Geneve: Droz. 2000. 686PP. I42SWF. Thiscopiously documented study provides thethorough thematic and stylistic analysis which HenriEstienne's protean text, frequently acknowledged butrarely examined, haslongdeserved. Benedicte Boudouteasesoutandinterrelates the Apologie's diverse discourses, polemical, narrative, philosophical, so often treated selectively byscholars andpublishers alike. Beginning byoutlining theideological andcultural strands outofwhich the Apologie iswoven, Boudou proceeds toidentify thenature andorigins ofEstienne's project, andtheargumentative strategies he deploys. Thediscussion then moves toEstienne's techniques of(principally antiCatholic ) satire, anduseofinserted tales, before twofinal chapters onhistextual andlinguistic analysis, andreflections onhistory. Anedition ofthe Atologie's Latin avatar, the...