SONNETS OF WILLIAM SHAKES- PEARE. When forty winters shall besiege thy brow (Sonnet II) : Not from the stars do I my judgement pluck (Sonnet XIV) : Shall I com- pare thee to a summer's day? (Sonnet XVIII) : Devouring' Time, blunt thou the Lion's paws (Sonnet XIX) : When in disgrace with for- tune and men's eyes (Sonnet XXIX) : Why didst thou promise such a beauteous day (Sonnet XXXIV) : Tired with all these for restful death I cry (Sonnet XLVI) Then hate me when thou wilt, if ever now, (Sonnet XC) : DX1773. How like a winter hath my ab- sence been (Sonnet XCVII) : When in the Chronicle of wasted time (Sonnet CVI) : Not mine own fears, nor the prophetic soul (Sonnet CVII); Let me not to the marriage of true minds (Sonnet CXVI) : The expense of spirit in a waste of shame (Sonnet CXXIX) : My Mis- tress' eyes are nothing like the sun (Sonnet CXXX) : When my love swears that she is made of truth (Sonnet CXXXVIII) : Two loves I have of comfort and despair (Sonnet CXLIV) : DX1774. Read by Anthony Quayle. Columbia DX 5773-4 (12 in., 13s. iod.). Recorded under the auspices of the British Council. After a brief interval of silence come two more outstanding poetry records to join the fine issues previously released. The last set

I reviewed brought Anthony Quayle read ing a selection ofJohn Donne's poems which

I hailed as a really important addition to the series. I was gratified to find that my praise of the earlier issue was echoed by most other critics, and after that fine per formance we now have Mr. Quayle reading sixteen of Shakespeare's Sonnets with equal distinction. It was inevitable that before long a selection of these unique utterances would have to take its place in the gradually expanding Anthology, and it is a real pleasure to find these readings so beautifully accomplished.

The historical and spiritual genisis of Shakespeare's Sonnets is a thorny subject among scholars which I do not feel called upon to discuss here. But to all lovers of our English poetry they are a priceless treasure, and in spite of some inequalities and a few downright failures, the best of them are generally held to be among the most perfect examples of lyric verse in existence.

The sonnet has always been a favourite form among English poets, but none have excelled Shakespeare in compressing the utmost significance coupled to a supreme verbal beauty into the restricted space of its fourteen, iambic pentameters. "With this key"' wrote Wordsworth, "Shakespeare unlock'd his heart;" and many have echoed those words as they have read deep into the series and felt themselves in the presence of the most personal testament of the mightiest of all poets. The Sonnets reach an unprecidented height of poetic expression, and their variety in inexhaustable. On these records (four poems a side) each side is unified by a common theme, the numbers being selected and read in a carefully thought out sequence. There is no doubt that although in the standard editions the order as far as content is concerned appears to be more or less haphazard, in presenting a selection this arrangement is far more satisfactory. By placing poems with a similar thematic content side by side the supremecy of Shakespeare's achievement is made even more evident.

We all have our own particular favourites among the Sonnets and it is inevitable that in a selection comprising a mere sixteen everyone is bound to find some of their own cherished examples missing. But, keeping in mind the overall conception of the issue, it must be said that the selection is well and intelligently made. As always in this series one perceives an informed and critical mind at work behind the selection and I have no hesitation in welcoming this new addition and recommending the discs to all lovers of poetry.

- Mr. Quayle reads the poems every bit as beautifully as his previous performances would lead us to expect, and his understanding of Shakespeare's art and thought is altogether in keeping with his position of Director of the Stratford Memorial Theatre Company. If I must single out particular examples I would direct the reader to the portenteous magnificance of XIX, "Devouring Time, blunt thou the Lion's paws" (ride Edith Sitwell), and the passionate anger of Nos. XLVI and XC. This is a Festival issue and right worthy it is in every way.

As far as technical matters are concerned I can only say, the voice is recorded with perfect clarity and tonal truth, and the surfaces are smooth and silent with the exception of a tiny swish towards the end of side one which is almost to minute to be called a blemish at all. B.J.