REVIEWS113 The Lost Love Letters rather reduces the usefulness ofJaeger's translations) and all of the Metamorphosis Goliae, hitherto translated only in relatively inaccessible journals (or for class use by such teachers as the present reviewer). The notes at the end of the book are full and scholarly and there is a comprehensive bibliography (though he does not mention Dubys three volumes on twelfth-century women ( Women of the Twelfth Century, 3 vols trans. Jean Birrell Cambridge: Polity 1997—98, in the original 1995-96). In sum, this is a book of vast scope, challenging comparison with Auerbachs Mimesis and Curtius's European Literature andthe Latin MiddleAges. Nevertheless, it will arouse the hackles of many who find its basic thematic tenet of a sex-less 'ennobling' love running through medieval literature unpalatable, unlikely or unproven, and it does only rough justice to as many texts as it illuminates with its bright light of inquiry. The nature of historical inquiry, however, is to rummage round the surviving sources, come up with an interesting or novel 'theory,' arrange the sources to fit and ram them into place when they seem not to fit. All this Jaeger has done admirably and all medievalists and students of European [love] literature in general will want to profit from his tour-de-force reading of familiar and less familiar sources. JOHN O. WARD Sydney University alvin a. lee, Gold-HallandEarth-Dragon: Beowulfas Metaphor. Toronto-BuffaloLondon : University ofToronto Press, 1998. Pp. xi, 280. isbn: 0—8020—4378-x. $50 / £3750. Alvin Lee's study is based on his fascination with the power ofwords, in particular the strange power they possess in Old English poetry—strange, because they are symbolic, incantatory, 'extra-ordinary' in the etymological meaning of the term. This brilliant art-form pushed to the extreme the dichotomy between language as everyday speech and language as style. Time and again the author insists on the essentially 'abnormal' use ofwords by the Old English scop who composed Beowulf. Poetry, by definition one might say, is always out of the ordinary, in whatever time and place it is composed; stylized and rhythmic, it aims at producing an artistic effect. But this art reached a rare degree ofexcellence in Anglo-Saxon England; and although English scribes had inherited the metrical rules from their Germanic ancestors, they were the first to put them extensively into writing. The present study therefore concentrates on the stylistic echoes of the language, especially on the intense and demanding poetic diction ofBeowulf. The very title ofthe book, making use oftypical Anglo-Saxon compounds, reveals Lee's passion for words while at the same time recalling rwo powerful images in Beowulf, the 'gold-hall' is Heorot, scene of life and joy, while the 'earth-dragon' is evil incarnate which the hero dies to defeat. Hearth and heath, beginning and ending, good and evil, the title conjures up the poem's oppositions and contrasts. The subtitle is less obvious, in so far as it implies taking the whole poem as a metaphor; in fact Lee sees the text as a symbolic dramatization of life in which the hero, despite 114ARTHURIANA his superhuman strength, represents humanity in general. The hall and the dragon encapsulate Beowulf's career, from the untried youth's slaying of the Grendel-kin to the old king's self-sacrifice after fifty years as the beloved leader of his nation. Taking Northrop Frye's Anatomy ofCriticism (1957) as a critical basis, Lee presents Beowulfas a type of Gothic romance, insisting on the fictional character of the narrative. Beowulf \s a work of the imagination, essentially metaphoric, not a description of reality, past or present, whatever incidental interest the poem may hold for historians, archaeologists and the like. This does not mean that Lee lays philology aside; on the contrary, he underlines the importance of coming to grips with the original vocabulary in order to grasp the poem's meaning fully. Most ofthe many quotations used to illustrate the argument are very short—a word or an expression, rarely a long sentence—and a translation accompanies all of them in order to help readers whose knowledge ofOld English may be rusty or incomplete. The resulting...