5 and on to a final chapter on the choral voice in modern poetry, primarily Whitman and Pound. Although J. covers (selectively) a huge amount of material in brief compass, his discussions are refreshingly free from traditional platitudes and facile periodisation. (…) Rather than offering a systematic historical or generic analysis, J. seeks to capture the essential qualities of the poems ub a frankly impressionistic vein, by examining a few specific texts. He is definitely a Longinian rather than an Aristotelian critic. The highly personal approach has the vices of its virtues. J. is brilliant where his authors strike a sympathetic chord. He is at his best of Sappho’s lucid intensity, Catullus’s concern for integrity of emotion and spirit, Virgil’s allusiveness and inwardness, and Horace’s refined elegance and musicality. He is rather perfunctory on Pindar and Simonides, and says litterally nothing about Stesichorus, Alcman, Theognis, Ibycus, Bacchylides, Corinna, etc. His discussion of archaic Greek poetry suffers, in my opinion, from not taking sufficient account of the Greeks’ tendency to project personal emotion into mythic paradigms (...). The choice of material is less than systematic. (…) However much one may differ on detail, this book, like all of J.’s work, is humane and perceptive in its judgements, fresh and vigorous in its interpretive energy, and everywhere informed by wide and thoughtful reading in many literatures. The lively style communicates the author’s love of poetry, both ancient and modern.’ (CHARLES SEGAL in The Classical Outlook, 1983-84, no.2, pp.67-68).