216 Reviews If Gorni is right, Dante's cultural preferences at the time of the Vita nova were not so definitively changed by the time of the Commedia as some would like to think. In the second section, understandably, traces of Gorni'sinvolvementin the polemic about the organization of the Vita nova abound, and much of the argument in the chapters revolves around questions of manuscript tradition. Perhaps the most in? teresting chapters in this section are those that move away from this cause celebre and deal with other issues. The chapter on the relationship between the values of literal youth and metaphorical renewal (pp. 133-47), inherent in the 'nova' ofthe title, suggestively links the two apparently different principles to the common theme of friendship, theorized, exemplified, and subtly graded by Dante. The last chapter in this section examines one ofthe fundamental questions underlying much ofthe rest of Gorni's book, namely the confidence we can place in philological reconstructions of texts, especially those that are represented by complex manuscript traditions. Gorni argues passionately for an approach that consciously supplements evidence mechanically derivable from the textual data with insights and information the scholar can bring from sources beyond the text. The last section, more of a pot-pourri, covers a wider range. The chapter on Andrea Lancia, Ovid in the vernacular, and Pier della Vigna (pp. 179-87) is a fineexample of how Gorni draws in apparently disparate material and then focuses on an unexpectedly serious point of contact, in this case Dante's remarks in the Vita nova about the propriety of using prosopopeia. Dante may well have read Pier della Vigna's letters in a manuscript compiled by Andrea Lancia. It is a useful addition to our knowledge of Dante's interaction with slightly younger contemporaries. Andrea appears in another chapter (pp. 217-38) as the likely author of the Ottimo commentary, where a passing remark about Dante's politics in exile allows Gorni to speculate on Dante's canzone 'Tre donne' (Rime, civ), reassessing the views of Barbi, Cosmo, and Zingarelli. Similar creative use of detail can be seen in the very last chapter, where Gorni, through an examination of one of the variants of Dante's surname ('Allegri') found in a manuscript (Laur. xli. 20), proceeds towards a review of another, better-known 'nome parlante', the ser Durante ofthe Fiore. If there is a common theme to this last section, it is that of an affectionate reexamination of the role of some of the great names of a previous generation of Dante scholarship, teasing out the difference between presently unfashionable intuition (an important value for Gorni), linguistic and philological preparation, and literary sen? sitivity.Through such reassessments one can see a kind of wistful taxonomy, it would be up to others than Gorni to call it a self-description, outliningthe ideal combination of imagination and rigour to be aimed for in textual studies. These essays by Gorni, it has to be said, come pretty close to such a manifesto commitment. Apart from their independent, intrinsic merits as Dante scholarship, these Cadmo offeringsare two welcome publications that could profitably be used in tandem, contrastively , when illustrating to new research students the consequences of differing textual strategies. I hope Lanza has more in the pipeline. University of Edinburgh Jonathan Usher La creazione del vero: il maggior teatro di Pirandello. By Umberto Mariani. Flo? rence: Cadmo. 2001. 191pp. ?13. ISBN 88-7923-229-0. Umberto Mariani's monograph on Pirandello's major plays announces itself as be? ing aimed at both the student beginning to read Pirandello and the scholar desirous of a new interpretation of some of Pirandello's best-known works. The book therefore tries to address two differentkinds of readership, which creates some inevitable MLRy 98.1, 2003 217 problems of focus; also, it is composed of a series of previously published articles on Pirandello, which gives the impression of a lack of overarching programme. Mariani begins with a chapter on the Pirandellian 'personaggio', the suffering,contestatory characters who are at the centre of Pirandello's major drama. He provides a rapid and solid outline of the characteristics of the 'personaggio', born from the crisis...