I won't argue with Plato—where did quibbling get Adeimantus?—so I'll go along with the proposition that imitation qualifies as art of a kind. On that principle, what Renee Fleming has done on her attention-grabbing new recording, Dark Hope—her first rock album—deserves nothing but the kind of praise that Fleming's usual work as a lyric soprano is typically and justly accorded. She has earned her reputation in classical music, and, with Dark Hope she has earned lots of money.
Marginalia: Readers Writing in Books by H.J. Jackson (Yale University Press, 324 pp., $27.95) A certain Cambridge classics teacher named Walter Whiter suddenly became fairly famous when a peculiar book of his, A Specimen of a Commentary on Shakespeare, originally published and scorned in 1794, was rediscovered and for a while admired in the twentieth century. The brief vogue of the Specimen prompted some research into its author, so we know that Whiter was for some years the close friend of Richard Porson, the great Greek scholar.