Ballads and Performance: The Multimodal Stage in Early Modern EnglandMain MenuIntroduction: Multimedia and Multimodal TheatricalityShakespeare in Snippets: Ballads, Plays, and the Performance of Remediation"Hear for your love, and buy for your money": Ballads and Theater as Experiential Commodities"She’s Crafty, She Gets Around: Women’s Craft and Commodification in Ballads"Dangerous Conjectures": Ophelia’s Ballad PerformanceBallads on the Brain: A Neurobiological HypothesisThe True Form and Shape of Caliban: Monstrous Birth at the Edge of the Human"Greensickness carrion": Re-reading Capulet through Broadside BalladsBallads+: The Tragedy of Romeo and Juliet and its After-piece JigAfterwordContributorsAcknowledgmentsPatricia Fumerton3016f95733e67d772eccfb1c6dfb5ea8694eb4bbEMC Imprint
Recording of stanza one
12018-02-08T17:06:37-08:00Francisco Millan221fbc82d2a783571cc8cb0353a2d50ec882ba8e77562“A sweet Sonnet, wherein the Lover exclaimeth against Fortune for the loss of his Ladies Favour, almost past hope to get it again, and in the end receives a comfortable answer, and attains his desire, as may here appear,” c.1689-1692. National Library of Scotland, Crawford.EB.398, EBBA 33202. Recording of stanza one.plain2018-02-08T17:08:27-08:00Francisco Millan221fbc82d2a783571cc8cb0353a2d50ec882ba8e