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Shakespeare’s Poetics

Shakespeare’s Poetics. Week 2 // Winter 2014. Analyzing Shakespeare. So far we have performed one or two readings built on an analysis of figurative language (pun, double-entendre, metaphor, image, pronoun usage).

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Shakespeare’s Poetics

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  1. Shakespeare’s Poetics Week 2 // Winter 2014

  2. Analyzing Shakespeare • So far we have performed one or two readings built on an analysis of figurative language (pun, double-entendre, metaphor, image, pronoun usage). • I want to try and incorporate a more detailed attention to poetics (rhythm, rhyme, metrics/scansion, musical effect) in our readings.

  3. Formal Analysis: Metrics/Scansion • Metrics is one terminology used by scholars to describe (specifically and objectively) the tonal and aural effects of language and music. • It is a way for you to say specifically what poetry sounds like, and can be helpful in generating interpretations based on tone, pace, and intonation. • It gives you a language to talk about how the sound and spirit of the poetry contributes to an overall meaning.

  4. Formal Analysis: Metrics/Scansion • According to Russ McDonald, in Shakespeare, “such subtle variations help to shape the mood and meaning of a speaker’s words” (52).

  5. Formal Analysis: Metrics/Scansion • Formally scan the poem, map out its metrics and look for patterns. • Look for other tonal effects: alliteration and assonance; natural pauses, tensions; pacing and types of rhythm • What does the poetry sound like when you read it carefully? What does your ear notice?

  6. Formal Analysis: Metrics/Scansion Antonio: If you but knew how you the purpose cherish Whiles thus you mock it; how, in stripping it, You more invest it! Ebbing men, indeed, Most often do so near the bottom run By their own fear or sloth. (36) ----------- Stephano: I shall no more to sea, to sea; Here shall I die ashore.

  7. Act III, Scene i Ferdinand. Admired Miranda! Indeed the top of admiration, worth What’s dearest to the world! Full many a lady I have eyed with best regard, and many a time Th’ harmony of their tongues hath into bondage Brought my too diligent ear. For several virtues Have I liked several women; never any With so full soul but some defect in her Did quarrel with the noblest grace she owed, And put it to the foil. But you, O you, So perfect and so peerless, are created Of every creature’s best. 40 45

  8. Act III, Scene ii 140 Caliban. Be not afeard; the isle is full of noises, Sounds and sweet airs that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears; and sometimes voices That, if I then had waked after long sleep, Will make me sleep again; and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me, that, when I waked, I cried to dream again. Stephano. This will prove a brave kingdom to me, where I shall have my music for nothing. 145

  9. Act IV, Scene i Prospero. You do look, my son, in a moved sort, As if you were dismayed; be cheerful, sir. Our revels now are ended. These our actors, as I foretold you, were all spirits and Are melted into air, into thin air; And, like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vexed. 150 155

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