prose and poetry. words or ideas are arranged in no fixed pattern of strong or weak beats often...
TRANSCRIPT
![Page 1: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/1.jpg)
Shakespeare’s Style:
Prose and Poetry
![Page 2: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/2.jpg)
Words or ideas are arranged in no fixed
pattern of strong or weak beats Often used for “common” speech, by lower
class characters Example: Sir Toby says, “What a plague
means my niece to take the death of her brother thus? I am sure care’s an enemy to life” (1.3.1-2).
Prose
![Page 3: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/3.jpg)
Up until the late 1500s, all English plays were
written in verse (poetry). Hence, playwrights in Shakespeare’s day were
called poets. Audiences in Shakespeare’s day expected to
hear the actors speak in verse. Shakespeare’s plays were meant to be heard
(they weren’t published in his day, and most of the population was illiterate anyway)
This rhythm made it easier to follow
Background: Poetry
![Page 4: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/4.jpg)
Place your right hand over your heart You’ll feel the familiar thump: DA-DUM, DA-
DUM, DA-DUM, DA-DUM This rhythm is called “iambic” in other words, the weak beat is first and the
strong beat is second: DA-DUM, DA-DUM
How the rhythm works: Iambic
![Page 5: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/5.jpg)
Although Because Unless Today Perhaps For sure I think Indeed delight
Some words with iambic rhythm:
![Page 6: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/6.jpg)
Trochaic rhythm puts stress on the first syllable: Happy Frightened Lovely Certain Starving Roasting Love it Bring it…. Shakespeare
Compare to trochaic rhythm:
![Page 7: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/7.jpg)
“Pente” means “five” “Pentameter” means 5 strong beats per line In total, there will be 10 syllables per line (5
strong beats and 5 weak beats) u / u / u / u / u / But soft what light through yonder window
breaks? (Romeo and Juliet)… OR… Conceal me what I am, and be my aid For such disguise as haply shall become The form of my intent. I’ll serve this Duke;
How it works: Pentameter
![Page 8: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/8.jpg)
Each line of iambic pentameter can be broken down
like this: How sweet (1) the moon (2) light sleeps (3) upon (4)
this bank! (5) If mu- (1) sic be (2) the food (3) of love (4) play on
(5) It is (1) to hard (2) a knot (3) for me (4) to untie (5) I wish (1) my class (2) would read (3) Twelfth Night
(4) at home (5) If on- (1) ly kids (2) could love(3) the Bard (4) like
me (5)
Iambic Pentameter
![Page 9: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/9.jpg)
Iambic pentameter that does not rhyme is
called blank verse Example: She made good view of me; indeed, so much That sure methought her eyes had lost her
tongue, For she did speak in starts distractedly. She loves me, sure; the cunning of her passion Invites me in this churlish messenger.
Blank verse…
![Page 10: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/10.jpg)
A 14 line poem Rhyme scheme: abab cdcd efef gg Shakespeare wrote 154 sonnets Sometimes characters’ lines combine to make
a sonnet
Sonnet
![Page 11: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/11.jpg)
ROMEO [To JULIET] If I profane with my unworthiest handThis holy shrine, the gentle fine is this:My lips, two blushing pilgrims, ready standTo smooth that rough touch with a tender kiss.
JULIET Good pilgrim, you do wrong your hand too much,Which mannerly devotion shows in this;For saints have hands that pilgrims' hands do touch,And palm to palm is holy palmers' kiss.
ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
JULIET Saints do not move, though grant for prayers' sake. ROMEO Then move not, while my prayer's effect I take.
Sonnet from Romeo and Juliet:
![Page 12: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/12.jpg)
Two rhyming lines are called a rhyming
couplet A rhyming couplet will usually complete a long
speech or a scene
Example: To woo your lady… yet, a barful strife! Whoe’er I woo, myself would be his wife. (1.4. 41-42)
Rhyming couplet
![Page 13: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/13.jpg)
Speech spoken by one person, seemingly to
himself/herself but really to inform the audience of his motives and to reveal true character. Often is it a kind of internal debate.
Example: Olivia, after Cesario departs in 1.5.297-301:
I do not know what, and fear to find Mine eye too great a flatterer for my mind. Fate, show thy force; ourselves we do not owe. What is decreed must be, and be this so.
Soliloquy
![Page 14: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/14.jpg)
Actor’s comment or a short speech meant to
be heard by the audience and not by other performers
Example: Viola to the Duke: I’ll do my best
To woo your lady; [Aside] yet, a barful strife! Whoe’er I woo, myself would be his wife.
(1.4.40-42)
Aside
![Page 15: Prose and Poetry. Words or ideas are arranged in no fixed pattern of strong or weak beats Often used for “common” speech, by lower class characters](https://reader036.vdocuments.net/reader036/viewer/2022081516/56649e8e5503460f94b9226a/html5/thumbnails/15.jpg)
Gibson, Rex, and Field-Pickering, Janet.
Discovering Shakespeare’s Language. Cambridge, UK: Cambridge University Press, 1998. Print.
“Stressing Shakespeare.” Literary Cavalcade 54.7 (2002): 10. Literary Reference Center Plus. Web. 16 May 2013.
Sources: