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332Comparative Drama anees, at times official, at other times subversive, that were put on in German concentration camps. UWE-K. KETELSEN Ruhr-Universität Bochum Bente A. Videbaek. The Stage Clown in Shakespeare's Theatre. Westport , Conn.: Greenwood Press, 1996. Pp. viii + 215. $55.00. Bente A. Videbaek has created a concise yet detailed analysis of the clown characters in each of Shakespeare's plays. The purpose of the study is quite simple and straightforward—that is, to study, categorize, and describe in detail the nature of each of Shakespeare's clowns and their connection to the structure of each of his plays. As such, there is no theoretical context for the author's analysis, and no new conclusions are to be found in this study. The following quotation from the conclusion provides a summing up: Whenever he uses him, Shakespeare's clown is valuable to the audience. He unites us because of our need for the release laughter provides, but his main function is that of audience teacher, guide, and mediator, a function he fulfills in the smallest as well as the largest part. This happens even when he is present only vicariously, when a main character has borrowed certain traits from him. For the audience, Shakespeare's clown becomes a significant tool for interpretation, and his teachings are important. The lesson we learn through laughter is always remembered. (192) Videbaek's introduction briefly surveys the history of the clown character from ancient Rome through the commedia dell'arte but also describes the development of post-Shakespearian clowns from the Restoration into the twentieth century. In summary it is explained that "most often the clown's appearance in Shakespeare's plays is timed to comment pertinently on what action has just been seen" (3). Further: "Always, a clown performer simultaneously participates in the proceedings and stands apart from them in a position not unlike the audience " (3). The function and nature of the clown characters are then compared to the chorus in Greek drama. Part I, which treats minor roles, is further divided into rustic clowns, servant clowns, and miscellaneous clowns. These occur primarily in the tragedies—e.g., in Macbeth, Antony and Cleopatra, Romeo and Juliet, and Othello—wherein they serve to manipulate mood and tone, a subtlety rarely needed in the comedies. In contrast are the major roles, treated in Part II, which of course focuses as we would expect on Bottom, Dogberry, the Dromios, Grumio, Speed, and Launce. Most interesting here is Videbaek's description of the servant-master relationship and how this relates to the character of the clown. In the commentary on the court jesters in Part III, the chapters on Reviews333 Touchstone and Feste are of particular interest. As artificial clowns, they are employed for the purpose of dispensing wit but still serve, however, as commentators, mirrors, and educators of the audience. This section is followed by a discussion of the clown as "Bitter Fool," focusing on Thersites and Lear's Fool, which explores the notion of the clown character as critic. This type thus provides the best example of Videbaek 's thesis. These fools, emerging from a tragic, unsympathetic world, dispense darker, more ominous commentary. Falstaff as Clown, as we would expect, receives major treatment (Part V). Here the author principally seems to debate whether or not Falstaff is indeed a clown character. Unusually, the author tends here to rely on secondary sources, and hence this section may be regarded as a less original section of the book. The final section of the book takes up "Clown Characteristics in Nonclown Characters"—e.g., Philip the Bastard , and Hamlet. This part is disappointing, particularly in the discussion of the character of Hamlet. A useful aspect of the book is the presentation of background information about the actors assumed to have originated each role, mainly Will Kempe and Robert Armin. An Appendix also examines Elizabethan clowns outside of Shakespeare's work, and there is an index of acts and scenes listing clowns in all of Shakespeare's plays. DANIEL-RAYMOND NADON Kent State University-Trumbull Dale B. J. Randall. Winter Fruit: English Drama, 1642-1660. Lexington : University Press of Kentucky, 1995. Pp. xiv + 454...

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