146arthuriana W.D. Snodgrass and Fredric Jameson. At the same time, it leads us into the realms of medieval scholarship itself. Here contributors examine the critical works of Ernst Robert Curtius, George Lyman Kittredge, E.T. Donaldson, Lee Patterson, and David Wallace. The final essay evaluates textual and bibliographic history in the light of developments in modern electronic media and especially the phenomenon of the hypertext. The scope and reach ofthe book is impressive, and (given the U.S. dominance of the field of medieval studies generally) it is something ofa relief to encounter essays by European as well as North American academics. For the most part, however, the European contributions are from Germany rather than from a range of countries. The volume as a whole does not have many obvious errors, although there is a disparity between the table of contents and the actual title of Theresa Ann Sears's essay. Unfortunately, despite the logical structuring ofthe sections and ofthe essays within them, the anthology is not entirely user-friendly. The introduction, as well as offering chapter summaries, does make a creditable attempt to draw together the various strands ofthe book, but there is no index and little or no cross-referencing between individual contributions. The book also lacks any sort of bibliographical material beyond that found in the footnotes. While many presses, for entirely pragmatic reasons, discourage editors of multi-author volumes from compiling a general bibliography, the interests of the readers are rarely best served by such advice. Nonetheless, in terms ofcontent, this is a coherent, interesting and informative volume. Medievalism in the Modern World'is a welcome addition to a developing field. DIANE WATT University ofWales, Aberystwyth Eugene vinaver, On ArtandNature and Other Essays. Ed. W.R.J. Barron. Whitstablc, Kent (available through Arthuriana), 2000. Pp. x, 90. (no isbn) $12. Oddly, ofthe last five books I have been invited to review, four are by authors now deceased. I initially found that somewhat disconcerting and was not entirely sure what to make of it, except that it confirms ars longa, vita brevis. But some art lasts longer than other art, and this slim volume dramatically demonstrates the durability of Eugene Vinaver's work. On Art and Nature and Other Essays was privately published in honor of the hundredth anniversary of Vinaver's birth in 1899. It was edited by W.R.J. Barron, who provides a biographical sketch of Vinaver and compiles a list of the latter's publications, which extend from 1925 to 1990 (and now, with this book, to 2000). The volume contains six essays, all of them but one originally presented as lectures, all but one later published. So in theory there is nothing entirely new here (except for a few notes and clarifications): it is simply a fitting commemoration ofthe life and career of one ofthe major figures in our field. That is how I initially approached this book. In fact, I had at one time or another read four ofthe five published essays, and I have frequently cited 'Form and Meaning REVIEWS147 in Medieval Romance' (Vinaver's 1965-66 presidential address for the Modern Humanities Research Association), in which he develops his analogy of structural interlace (in the Vulgate Cycle) to tapestry: 'a single cut across it, made at any point, would unravel it all' (p. 38). In any event, I looked forward to an evening or two of pleasant re-reading, and I certainly had that, but also much more. I found myself again in the presence ofan extraordinary mind, a scholar of impressive learning and breadth and critical sensitivity, and—above all—a humanist whose erudition is clothed in uncommon (and sincere) modesty. The essays that will be of most interest to—and in some cases most familiar to— Arthurians are 'Form and Meaning' (pp. 33-46); 'Tristan et Iseut à travers le temps' (from 1961; pp. 73—84, an appreciation and analysis ofthe French Tristan poems, dealing with the relationships of form to harmony and of the outmoded equation of 'authenticity' with beauty); andVinaver's familiar discussion ofthe problem ofMalory's 'work' or 'works' in 'On Art and Nature: A Letter to CS. Lewis' (a response [pp. 1-11...