...; and that Shakespeare responds to exactly these changes when, in his own comedy of judgment, he finds the mechanisms of comic justice collapsing. [email protected] © 2022 by Duke University Press 2022 Shakespeare Othello Thomas Beard popular tales of sin and divine retribution conventions of comedy...

... vice, especially in popular tales of divine retribution that draw on conventions of both tragedy and comedy. He takes a close look at the shaping of narratives of come-uppance in a range of texts from true-crime pamphlets to Thomas Beard's Theatre of God's Judgements . Crawford pursues these stories...

... of compensating for sin. Carrying with it the full force of its etymological roots in the Latin satisfacere, to do or to make enough (satis), satisfaction was a pivotal principle in the early periods’ most influ- ential accounts of the nature and scope of human and divine atonement.4 Shakespeare’s jest...

... Verlag, 2004), 225–36, at 224. The majority of those accused of witchcraft in Württemberg were exiled or dealt milder punishments. 10 See also Wolfgang Behringer, Witchcraft Persecutions in Bavaria: Popular Magic, Religious Zealotry, and Reason of State in Early Modern Europe , trans. J. C...

... and humanity, and some of this literature Journal of Medieval and Early Modern Studies 45:1, January 2015 DOI 10.1215/10829636-2830004  © 2015 by Duke University Press would later help shape popular accounts that romanticized some criminals and their executions. More immediately...

... and choose “by one assent.” The division, if there is one, lies between the monarch and the subjects, not among the subjects themselves. Rastell thus departs entirely from the Tudor myth by never hinting at divine retribution for the deposition of an anointed monarch or blaming Richard’s murder...