Laughter, Pain, and Wonder: Shakespeare's Comedies and the Audience in the Theater
This work's chief aim is to restore to readers, performers, and audiences the richness and vitality of Shakespeare's comedies. Richman explores the way in which a reader's relations to Shakespeare's literary texts differ from those of the relations between performers of Shakespeare's works and their audiences. Richman also examines the forms of humor and empathy that Shakespeare's comedies elicit.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
action actor allowed appearance attention audience audience's Beatrice become beginning Benedick Bertram bring calls cause character's characters Claudio comedies comes comic Compare complex continues create critics death describes directors dramatist draws Dream duke duke's early effects Elizabethan emotional experience expressed farcical feelings figure final follows force give given grows Helena human imagination important king laugh laughter leave lines London lords lovers Malvolio manner means Measure mind miracle mood move nature never Night notes observes pain passion performance Pericles physical play play's playgoers playwright possible present Press problem production Prospero Proteus reaction response restoration revealed Rosalind scene seems sense Shake Shakespeare Quarterly Shakespeare's comedies share Shylock speak spectators speech stage Stratford suffering suggest surprise sympathy Tale telling theater thing tion tragedy Twelfth understanding University verse wonder York
Page 98 - Therefore the moon, the governess of floods, Pale in her anger, washes all the air, That rheumatic diseases do abound : And thorough this distemperature we see The seasons alter : hoary-headed frosts in the fresh lap of the crimson rose, And on old Hiems...
Page 131 - Hero had turned nun, if it had not been for a hot midsummer night ; for good youth, he went but forth to wash him in the Hellespont, and being taken with the cramp, was drowned, and the foolish chroniclers of that age found it was — Hero of Sestos. But these are all lies ; men have died from time to time, and worms have eaten them, but not for love.
Page 104 - They say miracles are past ; and we have our philosophical persons, to make modern and familiar, things supernatural and causeless. Hence is it that we make trifles of terrors ; ensconcing ourselves into seeming knowledge, when we should submit ourselves to an unknown fear.
Page 35 - By the Lord, I knew ye as well as he that made ye. Why, hear you, my masters: was it for me to kill the heir-apparent ? should I turn upon the true prince?
Page 64 - And so I was, which plainly signified That I should snarl, and bite, and play the dog. Then, since the heavens have shap'd my body so, Let hell make crook'd my mind to answer it. I have no brother, I am like no brother; And this word 'love,' which greybeards call divine, Be resident in men like one another, And not in me!
Page 94 - ... the real state of sublunary nature which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination, and expressing the course of the world...
Page 70 - I would my daughter were dead at my foot, and the jewels in her ear ! Would she were hearsed at my foot, and the ducats in her coffin!
Page 118 - Is to make midnight mushrooms, that rejoice To hear the solemn curfew; by whose aid, Weak masters though ye be, I have bedimm'd The noontide sun, call'd forth the mutinous winds, And twixt the green sea and the azur'd vault Set roaring war; to the dread rattling thunder Have I given fire, and rifted Jove's stout oak With his own bolt...