1 / 47

Shakespeare’s Sonnets

Shakespeare’s Sonnets. Materiali per uso didattico Prof. D. Calimani. Il sonetto petrarchesco: Petrarca, Sonetto XXXV. Solo e pensoso i più deserti campi vo mesurando a passi tardi e lenti , e gli occhi porto per fuggire intenti ove vestigio uman l'arena stampi .

fionnuala-russell
Download Presentation

Shakespeare’s Sonnets

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Shakespeare’s Sonnets Materiali per uso didattico Prof. D. Calimani

  2. Il sonetto petrarchesco: Petrarca, Sonetto XXXV Solo e pensoso i più deserti campi vo mesurando a passi tardi e lenti, e gli occhi porto per fuggire intenti ove vestigio uman l'arena stampi. Altro schermo non trovo che mi scampi dal manifesto accorger de le genti; perché ne gliatti d'alegrezza spenti di fuor si legge com'io dentro avampi: sì ch'io mi credo omai che monti e piagge e fiumi e selve sappian di che tempre sia la mia vita, ch'è celata altrui. Ma pur sì aspre vie né sì selvagge cercar non so ch'Amore non venga sempre ragionando con meco, et io co llui.

  3. Petrarca e le traduzioni di Wyatt Petrarca, Sonetto CXXXIV Pace non trovo e non ò da far guerra, e temo e spero; ed ardo e son un ghiaccio; e volo sopra ‘l cielo e giaccio in terra: e nulla stringo, e tutto ‘l mondo abbraccio. Tal m’à in pregion, che non m’apre né serra, né per suo mi riten né scioglie il laccio; e non m’ancide Amor e non mi sferra, né mi vuol vivo né ni trae d’impaccio. Veggio senza occhi e non ò lingua e grido; e bramo di perir e cheggio aita; ed ò in odio me stesso ed amo altrui. Pascomi di dolor, piangendo rido; egualmente mi spiace morte e vita: in questo stato son, Donna, per voi. Thomas Wyatt I find no peace, and all my war is done ; I fear and hope, I burn, and freeze like ice; I fly aloft, yet can I not arise ; And nought I have, and all the world I seize on, That locks nor loseth, holdeth me in prison, And holds me not, yet can I scape no wise : Nor lets me live, nor die, at my devise, And yet of death it giveth me occasion. Without eye I see ; without tongue I plain : I wish to perish, yet I ask for health ; I love another, and thus I hate myself ; I feed me in sorrow, and laugh in all my pain. Lo, thus displeaseth me both death and life, And my delight is causer of this strife.

  4. Petrarca e le traduzioni di Wyatt Petrarca, Sonetto CLXXXIX Passa la nave mia colma d'oblio per aspro mare, a mezza notte il verno enfra Scilla et Caribdi; et al governo siede 'l signore, anzi 'l nimico mio. A ciascun remo un penser pronto et rio che la tempesta e 'l fin par ch'abbi a scherno; la vela rompe un vento humido eterno di sospir', di speranze et di desio. Pioggia di lagrimar, nebbia di sdegni bagna et rallenta le già stanche sarte, che son d'error con ignorantia attorto. Celansi i duo mei dolci usati segni morta fra l'onde è la ragion et l'arte, tal ch'incomincio a desperar del porto. Thomas Wyatt My galley, charged with forgetfulness, Through sharp seas in winter nights doth pass 'Tween rock and rock; and eke mine enemy, alas, That is my lord, steereth with cruelness; And every oar a thought in readiness, As though that death were light in such a case. An endless wind doth tear the sail apace Of forced sighs and trusty fearfulness. A rain of tears, a cloud of dark disdain, Hath done the wearied cords great hinderance; Wreathed with error and eke with ignorance. The stars be hid that led me to this pain; Drowned is reason that should me consort, And I remain despairing of the port.

  5. Henry Howard, Earl of Surrey The golden gift that Nature did thee give To fasten friends and feed them at thy will With form and favour, taught me to believe How thou art made to show her greatest skill, Whose hidden virtues are not so unknown But lively dooms might gather at the first: Where beauty so her perfect seed hath sown Of other graces follow needs there must. Now certes, lady, since all this is true, That from above thy gifts are thus elect, Do not deface them then with fancies new, Nor change of minds let not thy mind infect, But mercy him, thy friend, that doth thee serve, Who seeks alway thine honour to preserve.

  6. ‘Droeshout portrait ‘dal frontespizio del First Folio (1623)

  7. ‘Chandos Portrait’

  8. Un teatro ai tempi di Shakespeare

  9. Teatro elisabettiano

  10. Il Globe ricostruito (1997)

  11. Il tetto di paglia (thatched roof) del Globe

  12. Il Globe, a cielo aperto

  13. Il Globe

  14. Palcoscenico del Globe

  15. Palcoscenico del Globe

  16. Palcoscenico del Globe

  17. Il pubblico del Globe.

  18. Il Globe circolare

  19. Teatri nella Londra elisabettiana

  20. Holbein il Giovane, Gli Ambasciatori (1533)

  21. Gli ambasciatori, dettaglio

  22. Velasquez, Las meninas (1656)

  23. Pere Borrell del Caso, Escapando de la critica (1874)

  24. John Donne, An Anatomy of the World, ‘The First Anniversary’ And new Philosophy calls all in doubt, The Element of fire is quite put out; The Sun is lost, and th'earth, and no man's wit Can well direct him where to look for it. And freely men confess that this world's spent, When in the Planets, and the Firmament They seek so many new; they see that this Is crumbl'd out again to his Atomies. 'Tis all in pieces, all coherence gone ; All just supply, and all relation: Prince, subject, Father, Son, are things forgot.

  25. Erotismo shakespeariano Venus: "I'll be a park, and thou shalt be my deer; Feed where thou wilt, on mountain or in dale: Graze on my lips; and if those hills be dry, Stray lower, where the pleasant fountains lie." Shakespeare, Venus and Adonis, 231-4

  26. L’immagine del maschio effeminato Some swore he was a maid in man’s attire, For in his looks was all that men desire 84 Marlowe, Hero and Leander (1593) He burns with bashful shame, she with her tears Doth quench the maiden burning of his cheeks 50 ……………… He saith she is immodest, blames her mis[behaviour] 53 Shakespeare, Venus and Adonis (1593) Small show of man was yet upon his chin 92 For maiden tongued he was 100 That he did in the general bosom reign Of young, of old, and sexes both enchanted 128 Shakespeare, A Lover’s Complaint (1609)

  27. Amore efebico The god* put Helle's bracelet on his arm, *Neptune And swore the sea should never do him harm. He clapped his plump cheeks, with his tresses played And, smiling wantonly, his love bewrayed*. *revealed He watched his arms and, as they opened wide At every stroke, betwixt them would he slide And steal a kiss, and then run out and dance, And, as he turned, cast many a lustful glance, And threw him gaudy toys to please his eye, And dive into the water, and there pry* *cercava Upon his breast, his thighs, and every limb, And up again, and close beside him swim, And talk of love. Leander made reply, "You are deceived; I am no woman, I." Thereat smiled Neptune, and then told a tale, How that a shepherd, sitting in a vale, Played with a boy so fair and kind, As for his love both earth and heaven pined; Marlowe, Hero and Leander (663-80)

  28. Marlowe, Hero and Leander (1593) : riassunto (Adattato da Wikipedia) Hero and Leander live in cities on opposite sides of the Hellespont. Hero is a priestess or devotee of Venus (goddess of love and beauty) in Sestos, who lives in chastity despite being devoted to the goddess of love. At a festival in honor of her deity, Venus and Adonis, she is seen by Leander, a youth from Abydos on the opposite side of the Hellespont. Leander falls in love with her, and she reciprocates, although cautiously, as her parents will not allow her to marry a foreigner. Leander convinces her to abandon her fears. Hero lives in a high tower overlooking the water; he asks her to light a lamp in her window, and he promises to swim the Hellespont each night to be with her. She complies. On his first night's swim, Leander is spotted by Neptune (Roman god of the sea), who confuses him with Ganymede and carries him to the bottom of the ocean. Discovering his mistake, the god returns him to shore with a bracelet supposed to keep him safe from drowning. Leander emerges from the Hellespont, finds Hero's tower knocks on the door, which Hero then opens to find him standing stark naked. She lets him "whisper in her ear, / Flatter, entreat, promise, protest, and swear," and after a series of coy, half-hearted attempts to "defend the fort" she yields to bliss. The poem breaks off as dawn is breaking. In view of Marlowe's generally free way with his sources and the detail of the bracelet, it seems possible that he might have changed the ending had he completed the poem, or even that the poem was itself complete as it stood. However, several hints in the lines of the poem that Marlowe did complete suggest that he would have ended the story in the traditional way, with Leander drowning and Hero committing suicide.

  29. Shakespeare, Venus and Adonis (1593): riassunto (Adattato da Wikipedia) Venus 'sick-thoughted' with love, and hoists Adonis from the saddle of his horse. She then plies him with kisses, and arguments, but nothing she does or says can rouse him to sexual desire. This he repudiates. By the mid-point of the poem, Adonis has announced his intention to go boar hunting the next morning. Venus tries to dissuade him, and get him to hunt more timid prey. This he ignores, and breaks away from her. She spends the rest of the night in lamentation, at dawn, she hears the sound of the hunt. Full of apprehension, she runs towards the noise, knowing that, as the sound comes from just one place, the hunters are confronting an animal that isn't running away. She comes upon the body of Adonis, fatally gored by the boar's tusks. In her horror and sorrow, the Goddess of Love pronounces a curse upon love: that it will always end badly, and those who love best (like her) will know most sorrow. This curse provides an aetiology, a myth of causation, explaining why love is inseparable from pain (this is characteristic of the form).

  30. Shakespeare, The Rape of Lucrece (1594): riassunto (Adattato da Wikipedia) Lucrece draws on the story described in both Ovid's Fasti and Livy's history of Rome. In 509 BC, Sextus Tarquinius (Tarquinio Sestio), son of Tarquin (‘il superbo’), the king of Rome, raped Lucretia (Lucrece), wife of Collatinus, one of the king's aristocratic retainers. As a result, Lucrece committed suicide. Her body was paraded in the Roman Forum by the king's nephew. This incited a full-scale revolt against the Tarquins, lead by Lucius Junius Brutus, the banishment of the royal family, and the founding of the Roman republic.

  31. Shakespeare, A Lover’s Complaint (1609): riassunto (Adattato da Wikipedia) The speaker, an old shepherd, sees a young woman weeping at the edge of a river, into which she throws torn-up letters, rings, and other tokens of love. An old man asks the reason for her sorrow, and she responds by telling him of a former lover who pursued, seduced, and finally abandoned her. She concludes her story by conceding that she would fall for the young man's false charms again.

  32. Dedica dei Sonetti (1609)

  33. Per un’analisi del testo poetico: testo e spazialità Si sta come d’autunno sugli alberi le foglie.

  34. Arcaismi elisabettiani thou (you, II pers. sing., sogg.)– “But thou contracted to thine own bright eyes” thee (you, II pers. sing., ogg.-compl. ind.)- “Thy unused beauty must be tombed with thee” thy (agg. poss.) – “When forty Winters shall besiege thy brow” thine (pron. poss.) – “Whose influence is thine, and born of thee” (ma anche: “Thine eyes I love, and they as pitying me”) -’st (= II pers. sing) – “Why lov'st thou that which thou receiv'st not gladly” -eth (= -es, III pers. sing.) – “That this huge stage presenteth nought but shows” dost (= do, II pers. sing.) – “How sweet and lovely dost thou make the shame” doth (= does) – “Thou art the grave where buried love doth live” didst (did, II pers. passato)- “Why didst thou promise such a beauteous day” art (= are) – “Be wise as thouart cruel” wert (= were, II pers. sing, pass.) – “And for a woman wert thou first created”

  35. Pierre de Ronsard (1524-1585)Quand vous serez bien vieille, au soir à la chandelle,Assise auprès du feu, dévidant et filant,Direz chantant mes vers, en vous émerveillant :« Ronsard me célébrait du temps que j’étais belle. »Lors vous n’aurez servante oyant telle nouvelle,Déjà sous le labeur à demi sommeillant,Qui au bruit de « Ronsard » ne s’aille réveillant,Bénissant votre nom, de louange immortelle.Je serai sous la terre et fantôme sans os ;Par les ombres Myrteux je prendrai mon repos ;Vous serez au foyer une vieille accroupie,Regrettant mon amour, et votre fier dédain.Vivez, si m’en croyez, n’attendez à demain ;Cueillez dès aujourd’hui les roses de la vie.Quando Vecchia sarete, la sera, alla candela,seduta presso il fuoco, dipanando e filando,ricanterete le mie poesie, meravigliando:Ronsard mi celebrava al tempo ch’ero bella.Serva allor non avrete ch’ascolti tal novella,vinta dalla fatica già mezzo sonnecchiando,ch’al suono del mio nome non apra gli occhi alquanto,e lodi il vostro nome ch’ebbe sì buona stella.Io sarò sotto terra, spirto tra ignudi spirti,prenderò il mio riposo sotto l’ombre dei mirti.Voi presso il focolare una vecchia incurvita,l’amor mio e ‘l fiero sprezzo vostro rimpiangerete,Vivete, date ascolto, diman non attendete:cogliete fin da oggi le rose della vita. (trad. Mario Praz)

  36. Sonetti 135-136 135 Whoever hath her wish, thou hast thy will, And 'Will' to boot, and 'Will' in over-plus, More than enough am I that vex thee still, To thy sweet will making addition thus. Wilt thou whose will is large and spacious, Not once vouchsafe to hide my will in thine? Shall will in others seem right gracious, And in my will no fair acceptance shine? The sea all water, yet receives rain still, And in abundance addeth to his store, So thou being rich in will add to thy will One will of mine to make thy large will more. Let no unkind, no fair beseechers kill, Think all but one, and me in that one 'Will.’ 136 If thy soul check thee that I come so near, Swear to thy blind soul that I was thy 'Will', And will thy soul knows is admitted there, Thus far for love, my love-suit sweet fulfil. 'Will', will fulfil the treasure of thy love, Ay, fill it full with wills, and my will one, In things of great receipt with case we prove, Among a number one is reckoned none. Then in the number let me pass untold, Though in thy store's account I one must be, For nothing hold me, so it please thee hold, That nothing me, a something sweet to thee. Make but my name thy love, and love that still, And then thou lov'st me for my name is Will.

  37. Bawdy in Shakespeare Romeo and Juliet Juliet: “Give me my Romeo; and, when I shall die” (III.ii.21) Mercutio: O, Romeo, that she were, O that she were An open et cetera, thou a pop'rin* pear! (II.i.37-40) *[Poperinghe –nelle Fiandre; ‘pop-her-in’ – entrare da lei]

  38. Dowland (1563-1626), Come Again Come again! sweet love doth now invite Thy graces that refrain To do me due delight, To see, to hear, to touch, to kiss, to die, With thee again in sweetest sympathy. Come again! that I may cease to mourn Through thy unkind disdain; For now left and forlorn I sit, I sigh, I weep, I faint, I die In deadly pain and endless misery. All the day the sun that lends me shine By frowns doth cause me pine And feeds me with delay; Her smiles, my springs that makes my joys to grow, Her frowns the winters of my woe. All the night my sleeps are full of dreams, My eyes are full of streams. My heart takes no delight To see the fruits and joys that some do find And mark the stormes are me assign'd. But alas, my faith is ever true, Yet will she never rue Nor yield me any grace; Her Eyes of fire, her heart of flint is made, Whom tears nor truth may once invade. Gentle Love, draw forth thy wounding dart, Thou canst not pierce her heart; For I, that do approve By sighs and tears more hot than are thy shafts Do tempt while she for triumphs laughs.

  39. Dowland, Come Heavy Sleep Come heavy sleep, the image of true death; and close up these my weary weeping eies: Whose spring of tears doth stop my vitall breath, and tears my hart with sorrows sigh swoln cries: Come and possess my tired thoughts, worne soule, That living dies, till thou on me be stoule. Come shadow of my end, and shape of rest, Allied to death, child to his blackfac’d night: Come thou and charm these rebels in my breast, Whose waking fancies doe my mind affright. O come sweet sleepe; come, or I die for ever: Come ere my last sleep comes, or come never.

More Related