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nix’s tragedies move away from themes of grandeza toward the caso grave, which includes serious treatments of adultery, rape, and uxoricide. To this end, the critic’s interpretations of La Estrella de Sevilla, La inocente sangre, El duque de Viseo, and Estefanía la desdichada will be of great interest to Lope scholars. Chapter 7 is reserved for what D’Artois describes as another shift in tone in Lope’s tragedies (1620–35), which, according to the author, tend to distance themselves from pathos by embracing ethos. She is correct in stating that many critics are curiously silent on this dynamic; indeed, an appeal to ethos is incongruous with Aristotle’s pathos-driven characterization of the genre. In this light, D’Artois contrasts Lope’s mythological tragedies (e.g., Adonis y Venus, El marido más firme) with El caballero de Olmedo and El castigo sin venganza, which were inspired by popular tales originating in the Middle Ages and early Renaissance. In conclusion, Du nom au genre makes a significant contribution to early modern studies by spotlighting Lope de Vega’s evolution as a dramatist and poet. Notwithstanding, D’Artois also reveals the trajectory that tragedy followed when the comedia nueva dominated Spanish drama both on stage and in print. From this vantage point, this ambitious volume deals with much more than the career of a single playwright, albeit one of Spain’s finest and most prolific. D’Artois provides students and scholars with a richly detailed history of a genre.

renaissance quarterly

<i>Luís de Camões: The Poet as Scriptural Exegete</i>. John V. Fleming. Colección Támesis Serie A: Monografías 367. Woodbridge: Tamesis, 2017. xii + 220 pp. $99.

Luís de Camões: The Poet as Scriptural Exegete. John V. Fleming. Colección Támesis Serie A: Monografías 367. Woodbridge: Tamesis, 2017. xii + 220 pp. $99.