One distinction I would make between comedy and the sonnets is the embodiment of performativity. As we (sorta) talked about in class, the sonnets are performances in that they can be thought of as dramatic monologues. But the performativity is more diffused—it exists either solely on the page, or in the aural experience of someone reading the poem out loud. An interesting thing happens there where the reader inherently and I think unintentionally takes up that performance—but that seems different to me than actually taking on a role for a play. For the comedies, the performance is an embodied performance. It is deliberately written to exist beyond the page. That doesn’t mean we should discount the performativity that exists only on the page—because there definitely are plays that are never performed, and perhaps never intended to be performed—but in the case of Shakespeare, I would choose to privilege the performance over the page.