262 Reviews publications some time ago. We aremuch indebted, not only toGlass himself, but also to his literary executors Matthew Bell and Martin H. Jones,who oversaw the completion and publication of this volume afterDerek's sad and untimely death. It is a fitting monument tohis selfless dedication to the recording of other scholars' and writers' efforts.To be sure, Derek often spoke of his labours with self-deprecating modesty; behind this lay a fiercelyconscientious determination, a serious devotion to an often thankless but, as the results here show, ultimately rewarding and invaluable task.He has made every effort to trawl through slim volumes, journals, anthologies, and even critical studies thatmight contain Goethe translations-though as he con cedes in his foreword, 'muchmore may lurk concealed in such sources' (p. xv). His main source field isBritain and theUSA; again, he concedes that some less accessible material fromCanada or Commonwealth countries may have been overlooked-but it isunlikely thatverymuch of interestor value has escaped his attention. Works are arranged simply and logically in thirteen chapters: Collected Works, Selected Writings, Poems, Verse Epics, and otherwise by generic categories, with a separate section forFaust. The indexes are in three sections: Works, Poems (in three parts), and Translators. My one reservation here is that the running heads do not in dicate the chapter numbers, but only the generic headings; since the indexes referto entries by numbers, it would have been convenient tohave these in the running heads as well. Glass sometimes indicates that translations of poems are in prose, or 'lined prose'; but it isnot always clear, unless specified in the titles of the entries,whether versions of poems are consistently in verse unless otherwise indicated. Perhaps this goes beyond the strict remit of the bibliographer; but itwould have been helpful to have fuller information on this aspect. Glass has been discreetly selective rather than cumbrously comprehensive. Trans lations inmusical scores, programme notes, or on record sleeves have been omitted as more appropriate to themusicologist or discographer; but substantial anthologies of Lieder have been included and itemized. Nor has he, forexample, 'strained to listevery one of theeditions ofCarlyle's works thatproliferated at thebeginning of the [twenti eth] century' (p. xv). Even so, it isstriking,perhaps disturbing, howmany nineteenth century translations ofGoethe were reprinted well into the twentieth, perpetuating aGoethe 'Victorian indiction': Anna Swanwick's Faust was reprinted as recently as 1994, and Bayard Taylor's (admittedly inStuart Atkins's revision) in I965. Indeed, a glance at the index of translators shows thatnineteenth-century translators still claim thehighest number of individual entries: Scott, Carlyle, Longfellow, E. A. Bowring, Theodore Martin, Anna Swanwick, and Bayard Taylor-from the twentieth century, onlyMichael Hamburger's and David Luke's entries come anywhere near them. Itmight be appropriate, finally,to pay tribute here not only toDerek Glass and his fine,sadly posthumous, achievement, but also to twodistinguished Goethe trans lators who feature conspicuously in his bibliography: JohnWhaley, who died just before itappeared, and David Luke, who died inDecember 2005. All threewill be sorelymissed. ST ANDREWS JOHN R. WILLIAMS Schiller-Handbuch: Leben- Werk- Wirkung. Ed. by MATHIAS LUSERKE-JAQUI. Stuttgart: Metzler. 2005. x+65I pp. E49.95. ISBN 978-3-476-OI950-9. Considerably weightier (literally) than Helmut Koopmann's Schiller-Handbuch (Stuttgart: Kroner, I998), this expands and supplements, but will not entirely sup plant it.Not only do many ofMathias Luserke-Jaqui's contributors refer to essays in the earlier work, but thenew one lacksKoopmann's useful contextualizing survey chapters, devoting itselfalmost entirely to individual works, genre by genre. MLR, I02. I, 2007 263 We begin, naturally enough, with the plays. These chapters are of very unequal length: those on Die Rauber (Gert Sautermeister) andWallenstein (Norbert Oellers) with 40-plus pages are by far the longest,which isperhaps fairenough, but tohave 27 pages onDieyJungfrau vonOrleans and only 15 onMaria Stuart seems odd. There are also brief chapters on Semele, Die Huldigung derKiinste, and evenKdrners Vormittag ('mentalitatsgeschichtlich bedeutend', Grit Dommes tells us on page 90), as well as on Demetrius and on the 'dramatischer Nachlass' (separate chapters on these, though both byMirjam Springer). The major chapters also vary considerably in approach: thusGert Vonhoff onMaria Stuart plunges straight into interpretative controversy...