822 Reviews probably Catholics, most were interested inPossevino as an opponent of their own faith.From the eighteenth century onwards, however, themain motive forcollectors became bibliophily. Balsamo's excellent work, meticulously put together over many years, will be of value forthehistories of thecirculation of Italian books inBritain and of the formation of British libraries. But itshould also be read by anyone interested in the history of the conflict between Catholicism and Protestantism, and in the roles that theprinted book was made toplay in this conflict. UNIVERSITY OF LEEDS BRIAN RICHARDSON From Pilgrimage toHistory: The Renaissance and Global Historicism. By JOHNG. DEMARAY. (AMS Studies in theRenaissance, 41) New York: AMS. 2006. xvi+ 250 pp. $82.50. ISBN 978-o-404-6234i-8. The main purpose of JohnG. Demaray's book is to review the transition inpresenting world history and geography fromaccounts based on theBible to themore empirical studies of later times.The book moves fromRalegh's History of the World, through Bacon, Purchas, andMilton with incidental work on Columbus, Donne, Burton, and others. From the prophecy inParadise Lost of aworld after history, the author looks at later visions of things to come inHegel, Marx, and Fukuyama, finding little to console him. Demaray's scope iswide and his design isbold. The weight given to Samuel Pur chas in this study of the hinge between medieval and modern ismost unusual. If I am unconvinced of the importance of Purchas's sprawling work, I acknowledge that the author isone of the very,very few to tackle its significance as awhole. I question much more stronglywhether Demaray iswell advised inbasing SirWalter Ralegh's linkswith theworld of pilgrimage on his authorship of thebeautiful poem 'The Pas sionateMan's Pilgrimage' (best known for itsopening line, 'Giveme my scallop shell of quiet'). The attribution of this poem toRalegh is extremely tenuous, impossible even. Demaray nevermentions thedialogue poem inwhich a discarded lovermeets a Walsingham pilgrim. This poem is also attributed toRalegh, and, with itsvery close links to 'The Ocean toCynthia', ismuch more definitely his. It admirably demon stratesRalegh's nostalgic linkwith a pre-Reformation past. Instead, 'The Passionate Man's Pilgrimage' is quoted, and quoted only from a i68i version which (in 1951) A. M. C. Latham called 'avery bad text'. It isnot somuch a bad text as a calamitous rewritingof theanonymous i604 poem. This ridiculous text isgiven tous asRalegh' s authoritative work. Demaray toyswith themysterious idea that the speaker of the poem (who is inprison awaiting death) alters the destination of his pilgrimage from Compostella to Jerusalem. It has to be said that this book is full of themost extraordinary errors. The 'A.C. Cronin' of page 33 seems to be the same as theG. R. Crone of the notes (p. I82) who many years ago wrote an important essay on theHereford world map. Abraham Cowley, who was not born until i6i8, iscredited on page 65with having written in i6o6 his poem on Thomas Sprat's history of theRoyal Society.Whatever the source of such errors, theproofs of thisbook appear never tohave been read by publisher or author.There seems tobe no end to mistakes in titles,dates, and spellings. The titleof Townshend's masque, forexample, was not 'Temp Restored' but 'Tempe Restored' (p. 136); Paradise Lost is twicemisquoted on page 122. Such awide and important subject as Demaray's needs the strongest foundations. MLR, I02.3, 2007 823 The constant errorsmust undermine the reader's confidence in the author's argu ments. KENDAL PHILIP EDWARDS 'Macbeth'Multiplied: Negotiating Historical andMedial Difference between Shake speare and Verdi. By CHRISTOPH CLAUSEN. (Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, 93) Amsterdam and New York: Rodopi. 2005. ?58; $70. 285 pp. ISBN 978-90-420-I887-7. This book aims, in its author's words, 'to travel between the two nations of Shake spearean and Verdian criticism' (p. I5), and to treat the play and theopera as 'fields of interpretative possibilities' (p. 2I): itexplicitly refrains from attempting 'a grand overarching theory' (p. 26). The 'historical' and 'medial' differences of the title are both taken seriously. Clausen iswell read in the Jacobean and Risorgimento political preoccupations which, as critics have argued, are the informingcontexts respectively of theplay and of theopera. He also...