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Titlebook: Shakespeare‘s Great Stage of Fools; Robert H. Bell Book 2011 Palgrave Macmillan, a division of Nature America Inc. 2011 clown.identity.sta

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This Great Stage of Fools,re could Folly claim more dedicated disciples than in Shakespeare’s England, where jesters, zanies, and harlequins capered on stages, enlivened festivals and holidays, and might live at royal courts and great houses. All sixteenth-century Tudor monarchs including Henry VIII and Elizabeth I kept jest
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,Folly Is Anatomiz’d,turns, unstable ironies, and confounding metamorphoses. Initially a benign, tolerant, bemused defender of folly, Moria suddenly changes into a veritable scourge of abominations and heresies. Then, just as abruptly, she reverts to the genial friend of folly. Finally Moria becomes a “fool for Christ”
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There the Antic Sits,lown by head and shoulders to play a part in majestical matters, with neither decency nor discretion.”. Though the 1623 Folio crisply distinguishes comedy, tragedy, and history, Shakespeare’s unruly hybrids (flagrantly violating neoclassical decorum) are more like Polonius’s Foolio: “tragical-comica
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No Epilogue, I Pray You, than the observance. In defiance of decorum and without rhyme or reason, the unruly likes of Puck, Feste, and Falstaff return to make the denouement all the more discombobulating. Shakespeare’s epilogues tend to overflow the boundaries rather than draw the line, a phenomenon compounded when the epi
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,Folly Is Anatomiz’d,le scourge of abominations and heresies. Then, just as abruptly, she reverts to the genial friend of folly. Finally Moria becomes a “fool for Christ” and apostle of folly. The strange affinity between advocate and adversary of folly must have intrigued Shakespeare, whose stage of fools dramatizes similarly incongruous connections.
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