This book shows that the sounds of the early modern stage do not
only signify but are also significant. Sounds are weighted with
meaning, offering a complex system of allusions. Playwrights such
as Jonson and Shakespeare developed increasingly experimental
soundscapes, from the storms of King Lear (1605) and Pericles
(1607) to the explosive laboratory of The Alchemist (1610). Yet,
sound is dependent on the subjectivity of listeners; this book is
conscious of the complex relationship between sound as made and
sound as heard. Sound effects should not resound from scene to
scene without examination, any more than a pun can be reshaped in
dialogue without acknowledgement of its shifting connotations. This
book listens to sound as a rhetorical device, able to penetrate the
ears and persuade the mind, to influence and to affect. -- .
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