By Philip Roth

Sabbath's Theater is a comic book construction of epic proportions, and Mickey Sabbath is its gargantuan hero. as soon as a scandalously creative puppeteer, Sabbath at sixty-four continues to be defiantly hostile and really libidinous. yet after the loss of life of his long-time mistress—an erotic unfastened spirit whose adulterous bold handed even his own—Sabbath embarks on a turbulent trip into his earlier. Bereft and grieving, besieged via the ghosts of these who enjoyed and hated him such a lot, he contrives a succession of farcical failures that take him to the threshold of insanity and extinction.

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Having shown the diversity of themes treated in writings about landscape, I will suggest that the structure which drew these themes together derived from an intellectual and social foundation very different from that invoked by the recent work in landscape studies discussed in Chapter 1, namely theological discourse. I also briefly locate Johnson within this structure of debate as a prelude to the third part of the book. The whole argument is framed by a brief discussion of the chronology of the rise and fall of the set of discursive connections the language of landscape was connected with in the ‘long’ eighteenth century.

68 As with the middle classes, discussions of a lower class are notable by their absence.

As he says, this strategy appears as 26 Landscape History 27 a means to fix one’s own prejudices on to the most charismatic names, under the guise of innocuous historical speculation. 3 This fixing of prejudices has considerable rhetorical power and may therefore be of great use to present-centred discussion. 5 The desire to avoid foisting our ideas onto past figures is pertinent to landscape studies in two ways. First, it is pointless to seek modern ways of seeing landscape in previous thinkers.

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