Goethe Yearbook 385 ising pleasure, success, and sex, but cannot reconcile the Christian framework of redemption for Faust. Given that these are just three of the handbook’s far-ranging twenty-five essays, I am positive that every serious scholar invested in the Faust legend and its intersection with the musical arts will find ample reason to consult and enjoy The Oxford Handbook Faust in Music. Emory University Peter Höyng Goldstein, Amanda Jo. Sweet Science: Romantic Materialism and the New Logics of Life. Chicago: University of Chicago Press, 2017. 336 pp. An early nineteenth-century revival of interest in Lucretian materialism provides the lynchpin of this breathtaking work. Exhibiting a unique combination of historical acumen and theoretical bravado, Sweet Science draws from an array of scholarly and disciplinary traditions including science and literature, gender studies, new materialism, and radical pedagogy in an attempt to shed light on a Lucretius-inspired countertrend to the increasingly sharp disciplinary boundaries that were drawn between art and the sciences over the course of the nineteenth century. Taking its cue from Lucretius’s insight that figuration presents “the basic action and passion of matter,” Sweet Science pushes back against the conventional wisdom that Romantic challenges to Enlightenment rationality and nineteenth-century industrialism were driven solely by an understanding of life as a vital, self-organizing activity. Goldstein instead shifts focus to the ways in which a “material continuity between physical and poetic shapes” is assumed in De rerum natura, a work that provided an atomistic alternative for Goethe, Shelley, and a young Karl Marx to an understanding of life as vitalist causa sui. An equally important intervention made by the book is the case it makes for a more comparative approach to Romanticism, one defined by the influence of Lucretius in Germany and Great Britain instead of Kant. The book is divided into five chapters, an introduction, and a coda on Karl Marx’s early writings. The introduction presents a nuanced account of Sweet Science’s historical and theoretical stakes, while also serving to highlight the diverse contingent of figures brought into the conversation in the following chapters. Recruiting scholarly and poetic voices as divergent as Judith Butler and William Blake, Raymond Williams. and Bruno Latour, the introduction serves as a sort of primer for contemporary critical discourse on the body, science studies, and new materialisms, which the main chapters draw from. William Blake, whose Four Zoas provides Sweet Science its title, serves as a through-line from the introduction to the first chapter, which turns to eighteenth-century debate surrounding epigenesis and the nature of organic matter. Blake joins a chorus of figures including Jean-Baptiste Lamarck and Erasmus Darwin in casting “animal formation as a work of acute circumstantial dependence, rather than of autotelic power.” This idea of a “circumstantial dependence” in Blake between figurative language and natural forms sets the stage for a reexamination of Goethe’s morphology and his notion of tender empiricism, which provide the subjects of the second and third chapters, respectively. The first of these two chapters draws from Goethe’s microscopic experiments of the 1780s, his writings on Kant, as well as an overlooked essay from the Zur Morphologie journal titled “Verstäubung, Verd unstung, Vertropfung.” Lying hidden in this essay, Goldstein shows, are a number of astounding affinities between De rerum natura’s imaginative display of 386 Book Reviews Brownian motion via dancing dust mites and Goethe’s own gradual understanding of figuration as central to the project of thinking nature and poetry concomitantly. This understanding of figuration, as chapter three shows, is exceedingly important to keep in mind as a means of reconsidering a divide between signs and material things. A training in tender empiricism as described by nature, in fact, enables the observer to become more attuned to the semiotics at display in the figural activities of material nature. The fourth and fifth chapters explore Percy Bysshe Shelley’s engagements with similar figurative, material concerns, focusing on Triumph of Life and The Mask of Anarchy, respectively. The fourth chapter zeroes in on wrinkles and displays of aging in Shelley’s Triumph, interpreting these figurations of mortality as experiments in a nonvitalist, vulnerable understanding of material life. Chapter five turns to The Mask of Anarchy, Shelley’s poetic response to the 1819 slaughter of unarmed civilians by British militiamen in Manchester. This poem, in Goldstein’s analysis, seems to pose the question:“How do tender empirical, materialist poetics accommodate the historical fact of vulnerability violated?” It is this question that then leads Goldstein, in the coda, to Karl Marx, whose early engagement with atomist materialism is seen as a continuation of rather than a turn away from a Romantic understanding of life as definitely material and figurative. In sum, Amanda Jo Goldstein’s Sweet Science provides a compellingly fresh account of Romantic materialism as refracted through the lens of Lucretian atomism. This book is one that will surely impact critical discourse for years to come. Scholars interested in science and literature during the Goethezeit as well as those with interests in the poetics and politics of new materialism will find this book incredibly engaging. University of Pennsylvania Bryan Norton Claudia Häfner and Francesca Fabbri. Adele Schopenhauer. Unbekanntes aus ihrem Nachlass in Weimar. Weimar:Weimarer Verlagsgesellschaft, 2019. 96 pp. The high-quality book to be introduced here is on the title page termed an “Ausstellungsbuch,” an exhibition book. It accompanied the Fall 2019 exhibition on Adele Schopenhauer (1797–1849),“Weil ich so individuell bin,” in the Goethe and Schiller Archive in Weimar, the first exhibit to be dedicated solely to this artist and writer. Francesca Fabbri, a fellow of the Weimar Klassik Stiftung, researched holdings in Weimar collections and identified more letters, manuscripts, and anonymous publications and artworks than previously established. The exhibition was curated by Fabbri in collaboration with Weimar Klassik researcher Claudia Häfner and accompanied by several lectures. To readers of the Goethe Yearbook, Adele Schopenhauer is known for her artistic cutouts and arabesques as well as her writings, among them poems, fairy tales, an autobiographical novel and diaries. During her lifetime and throughout the nineteenth century, she was overshadowed by her mother, the writer and salonnière Johanna Schopenhauer, and her brother, the philosopher Arthur. Among the pictures are a miniature painting of Goethe’s garden house on a phial, eminent examples of Adeles Scherenschnitte, illustrations of the gospel, drawings in her reading diary, an 1843 watercolor drawing attributed to Allwina Frommann of the Berlin house with Adele who visited Frommann, the female owner of the house, and the student Wolfgang Maximilian von Goethe, each in separate quarters, as well as letters and diaries. Also included are Walter von Reproduced with permission of copyright owner. Further reproduction prohibited without permission.