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The Play in the Mirror: Lacanian Perspectives on Spanish Baroque Theater (review)

examination. Occasionally, alas (though fortunately not often), a more or less traditional reading of the play in question is merely tricked out in a few theoretical furbelows; the analysis in such cases does not really grow out of or depend upon the theory, which could have been dispensed with, without noticeably affecting the conclusions reached. As an introduction to modern theoretical approaches to the comedia, this volume has a couple of other problems as well. Some of the theoretical approaches illustrated are no longer exactly on the cutting edge of modern critical theory. And several of the essays, in somewhat different form, have already appeared elsewhere. Nevertheless, I would recommend the collection, despite the drawbacks. The lucidity of the theoretical synopses, and the cogency of some of the individual textual analyses, would make the volume highly useful in any graduate class on the Golden Age comedia. And the essays' overall, albeit sometimes implicit, call on students of the comedia to keep abreast of developments in critical theory seems likely to remain necessary and timely.