TES, 32, 2002 TES, 32, 2002 Guernsey is not, however, always well served by her publisher.The font is hard on the eye and, more damagingly, inappropriate to the stress-marksused by Guernsey. There is an irritatingfailure to distinguishbetween the hyphen and the dash. Most awkwardlyof all, the frequentlydigressiveendnotes takeup a fifthof the book, so that one is constantly flipping back and forth. The author might herself have cut down on the digressiveness,but it is surelyan editor'staskto deal with the mammoth note 33 to Chapter I, in which the author sets out her prosodic assumptions.I calculatethisnote alone at about a thousandwords:could it not have formedan Appendix, in view of itscentralityto the argument? VRIJEUNIVERSITEIT AMSTERDAM RICHARD TODD A FeministPerspective onRenaissance Drama. By ALISONFINDLAY.Oxford and Malden, MA: Blackwell. I999. vi + 206pp. ?45; $49.95 (paperbound ?i3.99; $19-95)EnactingGender ontheEnglishRenaissanceStage. Ed. by VIVIANACOMENSOLI and ANNE RUSSELL. Urbana and Chicago: University of Illinois Press. I999. vii + 270 pp. $49.95 (paperbound $I9.95). Renaissance drama, as Alison Findlaypoints out, is predominantlywrittenby men. Recognizing this, she arguesa strongcase for startingfrom a focus on the historical female audience and usingwomen's writingto supplementthe absence of any direct critical commentary from Renaissance women on the plays they attended. This seems a sound project. Subsequent chapters, however, do not consistentlycarry it out. Female spectatorship recedes from the discussion, and women's writings are used only intermittentlyas a perspective on that spectatorship. Findlay examines two plays by women, Wroth's Love'sVictorie and Cary's Mariam,but the study of female-authored plays offers a different trajectory from the one outlined in the introduction. Where the project announced really is pursued, as in the analysis of Measure for Measurealongside Mary Ward's writings for women in the early seventeenth century, or Epicoene alongside a selection of women's writings on the city and the market, the results are revealing;but elsewhere the approach is both less well documented and less gender-specific.The opening analysis of Dr Faustus, forexample, remindsus thatwomen read and sometimeswrotereligiousworks,and arguesthat the familiarEve/Mary binary can be used to suggestthat the play may be seen as 'a tragedy of knowledge which debates women's relationshipto learning as much as men's' (p. I5). While this may be true, it does not offer us any very strong sense of how women's responses may have differed in specific ways from men's, and uses the playtext itself, rather than any supplementary material, to mount the argument. The move into psychoanalytic territorywith the argument that Mephistopheles is 'a feminized figure in that he represents lack' seems to unhinge the connection with historical spectators altogether by simply setting out along a differentcritical path. Chapters on female self-fashioningand on revenge tragedyas 'a feminine genre' (p. 49) explore interestingterritory,but the argument is mounted primarilyvia the plays themselves. The book ultimately fails to bring enough evidence to maintain its proposed agenda; the women's writingscited are quite simply insufficient to anchor the readings of plays within a context of contemporaryfemale self-expression. The collection of essaysedited by Viviana Comensoli and Anne Russell makes a more significantcontribution to gender studies in relation to Renaissance theatre. All the essaysare new, and together they illuminate a wide range of issues across a Guernsey is not, however, always well served by her publisher.The font is hard on the eye and, more damagingly, inappropriate to the stress-marksused by Guernsey. There is an irritatingfailure to distinguishbetween the hyphen and the dash. Most awkwardlyof all, the frequentlydigressiveendnotes takeup a fifthof the book, so that one is constantly flipping back and forth. The author might herself have cut down on the digressiveness,but it is surelyan editor'staskto deal with the mammoth note 33 to Chapter I, in which the author sets out her prosodic assumptions.I calculatethisnote alone at about a thousandwords:could it not have formedan Appendix, in view of itscentralityto the argument? VRIJEUNIVERSITEIT AMSTERDAM RICHARD TODD A FeministPerspective onRenaissance Drama. By ALISONFINDLAY.Oxford and Malden, MA: Blackwell. I999. vi + 206pp. ?45; $49.95 (paperbound ?i3.99; $19-95)EnactingGender ontheEnglishRenaissanceStage. Ed. by VIVIANACOMENSOLI and ANNE RUSSELL. Urbana and Chicago: University of Illinois Press. I999...