Separate Theaters: Bethlem ("Bedlam") Hospital and the Shakespearean Stage (Google eBook)
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.
What people are saying - Write a review
We haven't found any reviews in the usual places.
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
Alibius Alinda Antonio argues audience Bedlam Bednarz beggars Bellamont Ben Jonson Bosola Bridewell Cambridge Candido caritas Catholic century Changeling character charitable show citizen figure confinement critical critique culture cure Deflores Dekker and Middleton Dekker and Webster Dionysian display dramatic Duchess of Malfi early modern Eastward Ho Edgar elicit pity 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 ment Middleton and Rowley mocking ness Northward Ho patients perverse play play's playwrights Poetaster poetry Poets Polonius poor laws poor relief popular stage Prospero reason relationship Renaissance representational stage response Satiromastix scene seems sense Shakespeare show of Bethlem show of madness social suggested theater of Bethlem theatrical thlem Thorello tion tragedy tragic Twelfth Night understanding University Press visitation
Page 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.