Separate Theaters: Bethlem ("Bedlam") Hospital and the Shakespearean Stage
University of Delaware Press, 2005 - 309 страници
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.
Какво казват хората - Напишете рецензия
Не намерихме рецензии на обичайните места.
A pastime That Can prompt us to have mercy Putting Malvolio Ben Jonson? in a Dark Room
Though this be madness yet there is method int Poetaster Satiromastix and Shakespeares Defense of the Popular Stage in Hamlet
A very piteous sight The Magnificent Entertainment The Honest Whore Part One The Honest Whore Part Two
Making Bethlem a Jest and Conceding to Jonson in Westward Ho Eastward Ho and Northward Ho
I know not Where I did lodge last night? Shakespeares King Lear and the Search for Bethlem Bedlam Hospital
Twin shows of madness John Websters Stage Management of Bethlem in The Duchess of Malfi
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actually appears argues audience becomes Bedlam begins Bridewell Catholic century chapter character charity citizen clear clearly comedy complex confinement connection consider critical culture cure Dekker developing display distinct drama dramatic Duchess early early modern efforts elicit engagement example explains fact figure Foucault gallants give Hamlet Honest Whore hospital humours institutions interest Jonson kind King Lear later laws less lines literary London look madhouse madness matter Middleton move nature particular patients perhaps pity play playwrights Poets poor popular possible practice Press processes produce Protestant reading reason references relations relationship representational response role scene seeks seems sense separate setting Shakespeare show of Bethlem social speak specifically stage stand suffering suggested tells theater theatrical tion tragedy true turn understanding University visitation Webster wife
Страница 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.