- The Oxford Handbook of Shakespearean Comedy
- Acknowledgements
- List of Figures
- List of Contributors
- Introduction: Encountering Shakespearean Comedy
- Encountering the Elizabethan Stage
- Encountering the Past I: Shakespeare’s Reception of Classical Comedy
- Encountering the Past II: Shakespearean Comedy, Chaucer, and Medievalism
- Encountering the Present I: Shakespeare’s Early Urban Comedies and the Lure of True Crime and Satire
- Encountering the Present II: Shakespearean Comedy and Elizabethan Drama
- Shakespearean Comedy and Early Modern Religious Culture
- Shakespearean Comedy and the Early Modern Marketplace: Sympathetic Economies
- Shakespearean Comedy and the Early Modern Domestic Sphere
- Place and Being in Shakespearean Comedy
- Shakespearean Comedy and the Question of Race
- Farce and Force: Shakespearean Comedy, Militarism, and Violence
- Water Memory and the Art of Preserving: Shakespearean Comedy and Early Modern Cultures of Remembrance
- The Humours in Humour: Shakespeare and Early Modern Psychology
- Shakespearean Comedy and the Senses
- Green Comedy: Shakespeare and Ecology
- The Laws of Comedy: Shakespeare and Early Modern Legal Culture
- Comedy and Eros: Sexualities on Shakespeare’s Stage
- Queer Comedy
- The Music of Shakespearean Comedy
- Gender and Genre: Shakespeare’s Comic Women
- The Architecture of Shakespearean Comedy: Domesticity, Performance, and the Empty Room
- Poor Things, Vile Things: Shakespeare’s Comedy of Kinds
- Stage Props and Shakespeare’s Comedies: Keeping Safe Nerissa’s Ring
- Shakespearean Comedy and the Discourses of Print
- Imagining Shakespeare’s Audience
- Comedy on the Boards: Shakespeare’s Use of Playhouse Space
- Adapting Shakespeare’s Comedies
- Brexit Dreams: <i>Comedy, Nostalgia, and Critique in</i> Much Ado About Nothing <i>and</i> A Midsummer Night’s Dream
- Shakespearean Comedy on Screen
- Holy Adultery: <i>Marriage in</i> The Comedy of Errors, The Merchant of Venice, <i>and</i> The Merry Wives of Windsor
- Comedies of Tough Love: Two Gentlemen of Verona, Love’s Labour’s Lost, The Taming of the Shrew, <i>and</i> Much Ado About Nothing
- Comedies of the Green World: A Midsummer Night’s Dream, As You Like It, <i>and</i> Twelfth Night
- Problem Comedies: Troilus and Cressida, Measure for Measure, <i>and</i> All’s Well That Ends Well
- Index
Abstract and Keywords
‘Water memory’ was a phrase coined in the late twentieth century to refer to the supposed ability of water to retain a memory of previously dissolved substances even after numerous dilutions. Though now a disproven scientific theory, ‘water memory’ is, as metaphor, a powerful conceptual tool for understanding Shakespeare’s comedies and their engagement with cultures of memory. Plays such as The Comedy of Errors, Twelfth Night, and All’s Well That Ends Well presage later dramas in the canon, including Pericles and The Winter’s Tale, with their narratives of grief, remembrance and preservation. This essay considers these topics in relation to everyday household practices of pickling and preserving foodstuffs and the deeper traces of customary practice and religious rite in post-Reformation England.
Keywords: memory, cultures of remembrance, grief, performance, Reformation, mortality, household practice, cure, repetition, preserving
Deaprtment of English Literature, Language, and Linguistics, Newcastle University
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
Please subscribe or login to access full text content.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.
For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.
- The Oxford Handbook of Shakespearean Comedy
- Acknowledgements
- List of Figures
- List of Contributors
- Introduction: Encountering Shakespearean Comedy
- Encountering the Elizabethan Stage
- Encountering the Past I: Shakespeare’s Reception of Classical Comedy
- Encountering the Past II: Shakespearean Comedy, Chaucer, and Medievalism
- Encountering the Present I: Shakespeare’s Early Urban Comedies and the Lure of True Crime and Satire
- Encountering the Present II: Shakespearean Comedy and Elizabethan Drama
- Shakespearean Comedy and Early Modern Religious Culture
- Shakespearean Comedy and the Early Modern Marketplace: Sympathetic Economies
- Shakespearean Comedy and the Early Modern Domestic Sphere
- Place and Being in Shakespearean Comedy
- Shakespearean Comedy and the Question of Race
- Farce and Force: Shakespearean Comedy, Militarism, and Violence
- Water Memory and the Art of Preserving: Shakespearean Comedy and Early Modern Cultures of Remembrance
- The Humours in Humour: Shakespeare and Early Modern Psychology
- Shakespearean Comedy and the Senses
- Green Comedy: Shakespeare and Ecology
- The Laws of Comedy: Shakespeare and Early Modern Legal Culture
- Comedy and Eros: Sexualities on Shakespeare’s Stage
- Queer Comedy
- The Music of Shakespearean Comedy
- Gender and Genre: Shakespeare’s Comic Women
- The Architecture of Shakespearean Comedy: Domesticity, Performance, and the Empty Room
- Poor Things, Vile Things: Shakespeare’s Comedy of Kinds
- Stage Props and Shakespeare’s Comedies: Keeping Safe Nerissa’s Ring
- Shakespearean Comedy and the Discourses of Print
- Imagining Shakespeare’s Audience
- Comedy on the Boards: Shakespeare’s Use of Playhouse Space
- Adapting Shakespeare’s Comedies
- Brexit Dreams: <i>Comedy, Nostalgia, and Critique in</i> Much Ado About Nothing <i>and</i> A Midsummer Night’s Dream
- Shakespearean Comedy on Screen
- Holy Adultery: <i>Marriage in</i> The Comedy of Errors, The Merchant of Venice, <i>and</i> The Merry Wives of Windsor
- Comedies of Tough Love: Two Gentlemen of Verona, Love’s Labour’s Lost, The Taming of the Shrew, <i>and</i> Much Ado About Nothing
- Comedies of the Green World: A Midsummer Night’s Dream, As You Like It, <i>and</i> Twelfth Night
- Problem Comedies: Troilus and Cressida, Measure for Measure, <i>and</i> All’s Well That Ends Well
- Index