REVIEWS 727 Komissarzhevskii exerted on the development of English and American theatre. This exceptional book comes with an endorsement from Valerii Gergiev, the artistic director of the MarinskiiTheatre. It should become an essential referencesource for all studentsof Russian, or indeed Britishtheatre. RoseBruford College ofSpeech andDrama JEAN-NORMAN BENEDETTI Queen Margaret University College, Edinburgh Rahman, Kate Sealey. Ostrovsky. RealityandIllusion. Birmingham Slavonic Monographs, 30. University of Birmingham, Birmingham, 1999. Viii + 251 pp. Notes. Appendices. Bibliography. Index. ?i8.oo (paperback). As a rule, the extensive repertoire of Alexander Ostrovsky (i823-I886) is generally considered to deal largely with Russian themes and national problems in a narrowly 'realist' manner. In challenging the view that his drama is 'too "real" and thus somehow too "Russian" to be of value to Western audiences' (p. I99), Kate Sealey Rahman ventures to chart the exploration of reality in a selection of plays, on different levels social, psychological, philosophical. With a classification of thirteen frequently appearing elements, her aim is to show that Ostrovsky is 'indeed far more universalin his outlook than he has generally been given credit for' (p. I99). Although Rahman's study is meticulous and contains much of interest, its overalltendency to proselytizeleads her into severalpitfalls. At the outset, the Introduction is blemished by long-windedness and circumvention. The readeris promised 'a detailed analysisof forty-oneplays' based on a Table of Elements, thirteen altogether realism/idealism, appearances, blindness to reality, dreams, fantasy role-play, drunkenness, linksto literatureand theatre,the supernatural,and so on (p. 8) but it turns out that only examples from selected plays are given, while much of the materialis relegated to six appendices (pp. 207-3 I). A more seriousweakness lies in the concept itself,as each element (also'examined in detail')may be too easily interchanged with 'link'or 'connection,' or for that matter, with motif, theme, or symbol. Curiously, the author seems to be aware of this methodological problem ('thedefinitionof each element as well as the examples used to illustratesufferfrom some degree of arbitrarinessor overlap', p. 9), which renders the analytical value of these categories rather uncertain. As a consequence, the extensive quotationsin PartOne and PartTwo of thisstudy are seldom exploited fully for their analytical worth, but function more as frequency proof in between lengthy discussions relying overly on re-telling and paraphrase. Even the sections where Rahman is at her best (notably, the discussionon mirrorsas symbols of illusion in It'sAll in theFamily(Svoiludi-sochemsia) and 7he PoorBride(Bednaianevesta)),the analyses amount to little more than cataloguing and repetitive documentation of what has already been stated. The final chapter on EasyMoney(Beshenye den'gi) is a case in point: obviously meant to incorporate all thirteen elements 'relatingto the theme of reality'in 728 SEER, 79, 4, 200I ordertoconsolidate thethesis,thisconclusion becomesaratherunconvincing attemptto compensatefor a somewhatfeebleargumentation (e.g. 'thefact thatthesame(andmore)themesandsymbolsoccurtimeandtime[. ..] must surelyindicatetheoverwhelming importance ofthissubject totheplaywright', p. I85)Bythesametoken,theconclusion, meanttoestablish theauthor's key theme as universalin world literature,is more of a postscript;here an 'intertextual' surveyof the similarities betweenthe explorationof realityin Ostrovsky andinGogol'isatbestunderdeveloped. (Also,thevalueofreferring to thequasi-philosophical NorwegianauthorJosteinGaarderin thiscontext maybedoubted.) It seemstothepresentreviewer thatalthoughRahmansucceedsintracing thepervasiveness oftheelements onwhichshefocuses,shefailstodemonstrate fully'thecentrality ofthethemeof realityto Ostrovsky's works'(p.9),which is heraim.To equatethelocationof specific'reality-related' elementsin the textwiththewriter's ownconcernwiththenatureofreality(p. 67)appears to be oversimplified, as doesthe generalassertionthat'ifyou takea stepback fromthe"thereandthen"andremovethesocialandhistorical context;you are again left with a much more universalreadingof Ostrovsky's work' (p. 104). Thusuniversality mightjustaseasilybe readintosuchwell-known chroniclers ofso-called Russianness asSaltykov, Leskov, Mel'nikov-Pecherskii andChekhov. Ultimately,however, the question remainswhetherthe treatmentof Ostrovsky's unrecognized universality in theWestoughtto be givensucha strongvindicatory slant.Perhaps,on the contrary,an actualrecognitionof Ostrovsky's inaccessible other-/foreigness mightofferamoreinstructive startingpointthanto reiterate'thelastinglegacy'(p. I99) of hisplays,whetherread, studiedor performed.Implicitly,Rahman'sworkraisesimportantissues relatedto the translatability of Russianliterature,cultureor indeed, any cultureassuch. Department ofComparative Literature KNUT ANDREAS GRIMSTAD Norwegian Universitsy ofScience andTechnology Livshits,Lev. Vopreki vremeni. Izbrannye raboty. Zakat,Jerusalem and Khar'kov, I999. Photographs.Notes. Appendix. 400 pp. $28.oo. (Ordersto Tatyana Livshits-Azaz,6 Arazim str., PO Box 864, Mevaseret90805, Israel.) LEV IAKOVLEVICHLIVSHITS was a talented and original scholar whose career was cut short by his early death (in I965 at the age...
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