Shakespeare and the Stage / With a Complete List of Theatrical Terms Used by Shakespeare in His Plays and Poems, Arranged in Alphabetical Order, & Explanatory Notes

Chapter 68: KING LEAR

Open in WeRead

Explore more books like this:

About This Book

A historical and practical study of dramatic performance and stagecraft that traces how medieval religious spectacles gave way to secular comedy and tragedy, examines inn-yard presentations and purpose-built playhouses, and surveys company organization, acting practice, court performances, and theatrical allusions. The work describes theatre architecture, audience arrangements, production practices, and contemporary documents and illustrations, and concludes with an alphabetically arranged glossary of stage terms associated with Shakespeare, each entry supplied with explanatory notes to clarify period usage and theatrical meaning.

KING LEAR

CATASTROPHE. OLD COMEDY.

(Enter Edgar.)

Edm. And pat he comes like the catastrophe of the old comedy.

I, 2, 149.

The catastrophe of a dramatic piece always occurred towards the end, and came when the audience were on the tiptoe of expectation, awaiting the final dénouement, as it is called in modern times.

CUE.

My cue is villanous, melancholy, with a sigh like Tom o’ Bedlam.

I, 2, 147.

PART.

You come with letters against the King, and take vanity the puppet’s part, against the royalty of her father.

II, 2, 40.

VANITY.

And take vanity, the puppet’s part.

II, 2, 40.

Vanity was one of the seven deadly sins often presented in old Morality plays, and many references are made to this character by the Elizabethan dramatists.

INTERLUDE.

ALB.

If you will marry, make your loves to me;

My lady is bespoke.

GON.

An interlude.

V, 3, 90.

Goneril would intimate that the interview is becoming quite interesting, and compares the scene with an interlude or a farcical play.