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Speaking, Reading and Enjoying Shakespeare An Elizabethan guide to acting, language, and punctuation
SHAKESPEARE’S METER <ul><li>Meter: </li></ul><ul><li>Iamb: </li></ul><ul><li>Iambic pentameter: </li></ul><ul><li>weakSTRO...
Definitions <ul><li>Meter= </li></ul><ul><li>a.  The measured arrangement of words in poetry, as by accentual rhythm, syll...
How do I speak this? <ul><li>Breaths  come after a line, never in </li></ul><ul><li>the middle of one </li></ul><ul><li>So...
Punctuation <ul><li>Commas = little speed </li></ul><ul><li>bumps (a pause but </li></ul><ul><li>with a slight lift) </li>...
Let’s try! <ul><li>What do we assume this character is saying? </li></ul><ul><li>ARIEL  Not a soul But felt a fever of the...
So, what does this mean? <ul><li>We, as an audience or </li></ul><ul><li>reader, can interpret a </li></ul><ul><li>charact...
Question the Punctuation! <ul><li>Modern editors add punctuation to text to “help” readers interpret Shakespeare’s intenti...
What about the spelling? <ul><li>When we look at the first folio, we can see that words are spelled strangely?  Why? </li>...
Spelling/Capitalization in the first folio <ul><li>1159:  Iago. If I can fasten but one Cup vpon him  1160:  With that whi...
The same scene? <ul><li>Modern text </li></ul><ul><li>ARIEL  Not a soul But felt a fever of the mad and play'd Some tricks...
Fun with language <ul><li>Shakespeare loves to play with words. </li></ul><ul><li>In  Romeo and Juliet , we see this in th...
Not Rated G <ul><li>If you think something might have a dirty meaning…chances are you’re RIGHT!!! </li></ul><ul><li>Why? B...
The audiences at the Globe <ul><li>The Globe Theatre wasn’t just the rich </li></ul><ul><li>Many of the people attending t...
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Reading, Speaking and Enjoying Shakespeare

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Reading, Speaking and Enjoying Shakespeare

  1. 1. Speaking, Reading and Enjoying Shakespeare An Elizabethan guide to acting, language, and punctuation
  2. 2. SHAKESPEARE’S METER <ul><li>Meter: </li></ul><ul><li>Iamb: </li></ul><ul><li>Iambic pentameter: </li></ul><ul><li>weakSTRONGweakSTRONGweakSTRONGweakSTRONGweakSTONG </li></ul><ul><li>“ I AM…” </li></ul><ul><li>I AM I AM I AM I AM I AM </li></ul><ul><li>“ I a m a p i r a t e w i t h a w o o d e n l e g . ” </li></ul><ul><li>I AM a PI rate WITH a WOOD en LEG </li></ul><ul><li>But soft: what light through yonder window breaks? </li></ul><ul><li>So foul and fair a day I have not seen. </li></ul><ul><li>I’m hungry. Is it almost time for lunch? </li></ul><ul><li>Not yet – the soup is heating on the stove. </li></ul>
  3. 3. Definitions <ul><li>Meter= </li></ul><ul><li>a. The measured arrangement of words in poetry, as by accentual rhythm, syllabic quantity, or the number of syllables in a line. </li></ul><ul><li>b. A particular arrangement of words in poetry, such as iambic pentameter, determined by the kind and number of metrical units in a line. </li></ul><ul><li>c. The rhythmic pattern of a stanza, determined by the kind and number of lines. </li></ul><ul><li>Iamb= </li></ul><ul><li>a metrical unit with unstressed-stressed syllables </li></ul><ul><li>Iambic Pentameter= </li></ul><ul><li>a common meter in poetry consisting of an unrhymed line with five feet or </li></ul><ul><li>accents, each foot containing an unaccented syllable and an accented syllable </li></ul>
  4. 4. How do I speak this? <ul><li>Breaths come after a line, never in </li></ul><ul><li>the middle of one </li></ul><ul><li>So, this means that I treat each </li></ul><ul><li>line as the punctuation? </li></ul><ul><li>YES!!! </li></ul><ul><li>Do I need to breathe after every </li></ul><ul><li>line? </li></ul><ul><li>No , you must Suspend the </li></ul><ul><li>Thought at the end of the line </li></ul><ul><li>(without a period) and </li></ul><ul><li>keep the intensity of the line but </li></ul><ul><li>you needn’t breath. </li></ul>
  5. 5. Punctuation <ul><li>Commas = little speed </li></ul><ul><li>bumps (a pause but </li></ul><ul><li>with a slight lift) </li></ul><ul><li>Colons = The statement </li></ul><ul><li>following the colon is one </li></ul><ul><li>step up from the statement </li></ul><ul><li>preceding the colon </li></ul><ul><li>Semi-colons = a “passionate </li></ul><ul><li>burst of vocal energy” </li></ul>
  6. 6. Let’s try! <ul><li>What do we assume this character is saying? </li></ul><ul><li>ARIEL  Not a soul But felt a fever of the mad and play'd Some tricks of desperation. All but mariners Plunged in the foaming brine and quit the vessel Then all afire with me the king's son, Ferdinand, With hair up standing, then like reeds not hair, Was the first man that leap'd; cried, 'Hell is empty And all the devils are here.' </li></ul>
  7. 7. So, what does this mean? <ul><li>We, as an audience or </li></ul><ul><li>reader, can interpret a </li></ul><ul><li>character’s thoughts </li></ul><ul><li>through the line breaks </li></ul><ul><li>and punctuation! </li></ul>
  8. 8. Question the Punctuation! <ul><li>Modern editors add punctuation to text to “help” readers interpret Shakespeare’s intentions. </li></ul><ul><li>Sometimes, however, the editors add a layer of meaning that may be more theirs than Shakespeare's. </li></ul><ul><li>What do I mean? </li></ul>
  9. 9. What about the spelling? <ul><li>When we look at the first folio, we can see that words are spelled strangely? Why? </li></ul><ul><li>First, Shakespeare is credited with creating over 1700 words! </li></ul><ul><li>Additionally, Shakespeare used spelling to help guide both actors and audience reaction. </li></ul><ul><li>What do I mean? </li></ul>
  10. 10. Spelling/Capitalization in the first folio <ul><li>1159: Iago. If I can fasten but one Cup vpon him 1160: With that which he hath drunke to night alreadie, 1161: He'l be as full of Quarrell, and offence 1162: As my yong Mistris dogge. 1163: Now my sicke Foole Rodorigo , 1164: Whom Loue hath turn'd almost the wrong side out, 1165: To Desdemona hath to night Carrows'd. 1166: Potations, pottle-deepe; and he's to watch. 1167: Three else of Cyprus, Noble swelling Spirites, 1168: (That hold their Honours in a wary distance, 1169: The very Elements of this Warrelike Isle) 1170: Haue I to night fluster'd with flowing Cups, 1171: And they Watch too. 1172: Now 'mongst this Flocke of drunkards 1173: Am I put to our Cassio in some Action 1174: That may offend the Isle. But here they come. </li></ul>
  11. 11. The same scene? <ul><li>Modern text </li></ul><ul><li>ARIEL  Not a soul But felt a fever of the mad and play'd Some tricks of desperation. All but mariners Plunged in the foaming brine and quit the vessel, Then all afire with me: the king's son, Ferdinand, With hair up-staring,--then like reeds, not hair,-- Was the first man that leap'd; cried, 'Hell is empty And all the devils are here.' </li></ul><ul><li>First Folio </li></ul><ul><li>Ar. Not a soule 323: But felt a Feauer of the madde, and plaid 324: Some tricks of desperation; all but Mariners 325: Plung'd in the foaming bryne, and quit the vessell; 326: Then all a fire with me the Kings sonne Ferdinand 327: With haire vp-staring (then like reeds, not haire) 328: Was the first man that leapt; cride hell is empty, 329: And all the Diuels are heere. </li></ul>
  12. 12. Fun with language <ul><li>Shakespeare loves to play with words. </li></ul><ul><li>In Romeo and Juliet , we see this in the puns- especially among young male characters! </li></ul>
  13. 13. Not Rated G <ul><li>If you think something might have a dirty meaning…chances are you’re RIGHT!!! </li></ul><ul><li>Why? Because you have a teenage mind-NO. </li></ul>
  14. 14. The audiences at the Globe <ul><li>The Globe Theatre wasn’t just the rich </li></ul><ul><li>Many of the people attending the theatre may have been illiterate. </li></ul><ul><li>“ Groundlings” and the three tiers of seating. </li></ul>

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