Separate Theaters: Bethlem ("Bedlam") Hospital and the Shakespearean StageUniversity of Delaware Press, 2005 - 309 Seiten This book seeks to update the still standard reference on the topic of London's notorious psychiatric hospital, Bethlem, and the Shakespearean stage - Robert Reed's Bedlam on the Jacobean Stage (1953) - by challenging its assumption that Bethlem was a house of horrors that showed its patients to visitors for entertainment, a practice supposedly then depicted on the stage to please primitive tastes. As the recent History of Bethlem has suggested, the hospital was first and foremost a charity, one that showed its patients to elicit alms for the mad poor. Seeing the mad poor living in squalor moved people to give; that some spectators also laughed at this show may complicate, but does not contradict, Bethlem's charitable function. In contrast to our popular understanding of charity, which generally involves the efforts of the givers to at least mask any feelings of contempt for recipients, early modern charitable impulses coexisted easily with a clear disgust for and a- willingness to laugh at the recipients of charity. |
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Seite 18
... connections to early modern charity and poor relief . So much so , in fact , that one suspects that this " earlier " show of Be- thlem involved , to invoke these troubling categories yet again , much more charity than entertainment . In ...
... connections to early modern charity and poor relief . So much so , in fact , that one suspects that this " earlier " show of Be- thlem involved , to invoke these troubling categories yet again , much more charity than entertainment . In ...
Seite 22
... connection to Bethlem hospital here ) a certain sense of " midsummer's madness " to resolve his plots . Perhaps Jonson's most famous and clear critique of Shakespeare's dramatic habits appears in the well - analyzed prologue to Every ...
... connection to Bethlem hospital here ) a certain sense of " midsummer's madness " to resolve his plots . Perhaps Jonson's most famous and clear critique of Shakespeare's dramatic habits appears in the well - analyzed prologue to Every ...
Seite 26
... connected to his belief in " Wonder , Magic , and Faith . " 38 Dromio of Syracuse may first explain the confusing cir- cumstances of the play by referencing " the fairy land " and " gob- lins , elves , and sprites " ( 2.2.188-89 ) , but ...
... connected to his belief in " Wonder , Magic , and Faith . " 38 Dromio of Syracuse may first explain the confusing cir- cumstances of the play by referencing " the fairy land " and " gob- lins , elves , and sprites " ( 2.2.188-89 ) , but ...
Seite 28
... connection between the stage and romantic comedy and the real pain and suffering of mental disorder and its treat- ment.41 Although he offers a very different explanation for why it hap- pened , Robert Reed should be credited with first ...
... connection between the stage and romantic comedy and the real pain and suffering of mental disorder and its treat- ment.41 Although he offers a very different explanation for why it hap- pened , Robert Reed should be credited with first ...
Seite 29
... connection to the " real " show of Bethlem , Shakespeare ultimately helps change the direction of dramatic development generally . The pain and suffering of King Lear's " real " madness , to take a criti- cal moment in English dramatic ...
... connection to the " real " show of Bethlem , Shakespeare ultimately helps change the direction of dramatic development generally . The pain and suffering of King Lear's " real " madness , to take a criti- cal moment in English dramatic ...
Inhalt
11 | |
A pastime That Can prompt us to have mercy Putting Malvolio Ben Jonson? in a Dark Room | 46 |
Though this be madness yet there is method int Poetaster Satiromastix and Shakespeares Defense of the Popular Stage in Hamlet | 79 |
A very piteous sight The Magnificent Entertainment The Honest Whore Part One The Honest Whore Part Two | 106 |
Making Bethlem a Jest and Conceding to Jonson in Westward Ho Eastward Ho and Northward Ho | 132 |
I know not Where I did lodge last night? Shakespeares King Lear and the Search for Bethlem Bedlam Hospital | 154 |
Twin shows of madness John Websters Stage Management of Bethlem in The Duchess of Malfi | 183 |
Shadows and Shows of Charity The Changeling The Pilgrim and the Protestant Critique of Catholic Good Works | 204 |
Foucault was right? | 235 |
Notes | 263 |
Bibliography | 292 |
Index | 303 |
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Häufige Begriffe und Wortgruppen
Alibius Alinda Antonio argues audience Bedlam Bednarz beggars Bellamont Ben Jonson Beth Bethlem Hospital Bosola Bridewell Candido caritas Catholic century Changeling character charitable show citizen figure confinement critical critique culture cure Deflores Dekker and Middleton Dekker and Webster Dionysian dramatic Duchess of Malfi early modern Eastward Ho Edgar elicit pity England entertainment Fletcher fool Foucault gallants gulling Hamlet Hieronimo Hippolito historians History of Bethlem Honest Whore hospital hovel humours Ibid institutions Jacobean Jonson Jonsonian King Lear literary London madhouse madmen Madness and Civilization Malvolio Medieval mocking ness Northward Ho patients perverse play play's playwrights Poetaster poetry Poets Polonius poor laws poor relief popular stage Prospero reason Reformation relationship Renaissance representational stage response Roy Porter Satiromastix scene seems sense Shakespeare show of Bethlem show of madness social suggested theater of Bethlem theatrical thlem Thomas Thorello tion tragedy tragic understanding visitation
Beliebte Passagen
Seite 24 - The lunatic, the lover, and the poet Are of Imagination all compact. One sees more devils than vast hell can hold; That is, the madman. The lover, all as frantic, Sees Helen's beauty in a brow of Egypt. The poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as Imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes, and gives to airy nothing A local habitation and a name.
Seite 95 - I'll leave you till night: you are welcome to Elsinore. Ros. Good my lord ! [Exeunt Rosencrantz and Guildenstern. Ham. Ay, so, God be wi' you : — Now I am alone. O, what a rogue and peasant slave am I ! Is it not monstrous, that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit...
Seite 173 - Not where he eats, but where he is eaten : a certain convocation of politic worms are e'en at him. Your worm is your only emperor for diet : we fat all creatures else to fat us, and we fat ourselves for maggots...
Seite 180 - Not to a rage. Patience and sorrow strove Who should express her goodliest. You have seen Sunshine and rain at once: her smiles and tears Were like, a better way.
Seite 58 - So in every human body, The choler, melancholy, phlegm, and blood, By reason that they flow continually In some one part, and are not continent, Receive the name of humours. Now thus far It may, by metaphor, apply itself Unto the general disposition : As when some one peculiar quality Doth so possess a man, that it doth draw All his effects, his spirits, and his powers, In their confluctions, all to run one way, This may be truly said to be a humour.
Seite 171 - Poor naked wretches, wheresoe'er you are, That bide the pelting of this pitiless storm, How shall your houseless heads, and unfed sides, Your loop'd and window'd raggedness, defend you From seasons such as these...
Seite 189 - tis fittest. Cor. How does my royal lord? How fares your majesty? Lear. You do me wrong, to take me out o' the grave. — Thou art a soul in bliss ; but I am bound Upon a wheel of fire, that mine own tears Do scald like molten lead.
Seite 94 - Do you hear, let them be well used ; for they are the abstract, and brief chronicles, of the time. After your death you were better have a bad epitaph, than their ill report while you live. Pol. My lord, I will use them according to their desert.
Seite 168 - scape, I will preserve myself; and am bethought To take the basest and most poorest shape That ever penury, in contempt of man, Brought near to beast...
Seite 25 - But all the story of the night told over, And all their minds transfigured so together, More witnesseth than fancy's images, And grows to something of great constancy ; But, howsoever, strange and admirable.