Faustus tutorial

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Open University module 'The Arts: Past and Present' (AA100) Dr Faustus tutorial

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  • Trochee Edgar Allan Poe 's " The Raven ": Ah , dis tinct ly I re mem ber it was in the bleak De cem ber; And each sep arate dy ing em ber wrought its ghost up on the floor . Tennyson used pyrrhics and spondees quite frequently. Here are some examples: Be near me when my light is low ,      When the blood creeps and the nerves prick      And ting le; and the heart is sick , And all the wheels of Be ing slow . — from In Memoriam. Anapest Twas the night before Christ mas and all through the house Byron, ‘ The Destruction of Sennacherib ’ The As syr ian came down like a wolf on the fold And his co horts were gleam ing in purp le and gold And the sheen of their spears was like stars on the sea When the blue wave rolls night ly on deep Gali lee . Yeats 's The Wanderings of Oisin . The im mor tal de sire of im mor tals we saw in their fac es and sighed . Dactyl This is the forest primeval. The murmuring pines and the hemlocks, Bearded with moss, and in garments green, indistinct in the twilight, Stand like Druids of old, with voices sad and prophetic, Stand like harpers hoar, with beards that rest on their bosoms.
  • http://www.youtube.com/watch?v=84gp252akGw Part 3 5.18
  • http://www.youtube.com/watch?v=84gp252akGw Part 3 5.18 DVD 25:25 (chapter begins with girl on slab)
  • Faustus tutorial

    1. 1. Doctor Faustus (on Mars) 1 st March 2011
    2. 2. Aims of the Session <ul><li>Introduce the language of Doctor Faustus </li></ul><ul><li>Think about meter </li></ul><ul><li>Look at poetic imagery </li></ul><ul><li>Close analysis of text </li></ul>
    3. 3. Meter <ul><li>You’re only supposed to blow the bloody doors off </li></ul>
    4. 4. <ul><li>‘I ate his liver with some fava beans and a nice chianti ’ </li></ul>
    5. 5. <ul><li>‘You’re gonna need a bigger boat’ </li></ul>
    6. 6. <ul><li>‘I love the smell of napalm in the morning’ </li></ul>
    7. 7. Iambic Pentameter <ul><li>Poetic rhythm measured in small groups syllables: feet </li></ul><ul><li>Combination of stressed and unstressed syllables </li></ul><ul><li>Iambic: unstressed followed by stressed syllable: trapeze </li></ul>
    8. 8. Iambic Pentameter <ul><li>Number of feet in each line is measured and named </li></ul><ul><li>Pentameter has 5 feet in each line – 10 syllables. </li></ul><ul><li>Iambic Pentameter has 5 feet in each line, in each foot the stress falls on the second syllable – </li></ul><ul><li>da-DUM da-DUM da-DUM da-DUM da-DUM </li></ul>
    9. 9. Iambic Pentameter <ul><li>Shall I compare thee to a sum mer's day? </li></ul><ul><li>da-DUM da-DUM da-DUM da-DUM da-DUM </li></ul>
    10. 10. Iambic Pentameter <ul><li>How do I love thee? Let me count the ways. </li></ul><ul><li>da-DUM da-DUM da-DUM da-DUM da-DUM </li></ul>
    11. 11. Iambic Pentameter <ul><li>A horse, a horse, my kingdom for a horse </li></ul>
    12. 12. Robert Frost, ‘ Mending Wall ’ <ul><li>Something there is that doesn’t love a wall, </li></ul><ul><li>That sends the frozen-ground-swell under it, </li></ul><ul><li>And spills the upper boulders in the sun, </li></ul><ul><li>And makes gaps even two can pass abreast. </li></ul><ul><li>The work of hunters is another thing. </li></ul>
    13. 13. Tennyson, ‘Tithonus’ <ul><li>The woods decay, the woods decay and fall, </li></ul><ul><li>The vapours weep their burthen to the ground, </li></ul><ul><li>Man comes and tills the field and lies beneath, </li></ul><ul><li>And after many a summer dies the swan. </li></ul>
    14. 14. Other meters <ul><li>iamb goes: di-dum. </li></ul><ul><li>trochee goes: dum-di. </li></ul><ul><li>spondee goes: dum! dum! e.g. ‘Praise him’, well-loved </li></ul><ul><li>pyrrhic goes: di-di </li></ul><ul><li>anapest goes: di-di-dum </li></ul><ul><li>dactyl goes: dum-di-di </li></ul>
    15. 15. Trochees <ul><li>Double, double, toil and trouble; </li></ul><ul><li>Fire burn and cauldron bubble. </li></ul><ul><li>Peter, Peter pumpkin-eater </li></ul><ul><li>Had a wife and couldn't keep her. </li></ul>Tyger, Tyger, burning bright In the forests of the night
    16. 16. Variations and Disruptions <ul><li>Enjambement </li></ul><ul><li>the sentence runs on past the end of line, uninterrupted by punctuation (contrast with ‘end stopped’) </li></ul><ul><ul><ul><ul><ul><li>Why bother where I went? </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>for I went spinning on the </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>four wheels of my car </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>along the wet road until </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>I saw a girl with one leg </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>over the rail of a balcony </li></ul></ul></ul></ul></ul><ul><li>The Right of Way, William Carlos Williams, from Spring and All (1923) </li></ul>
    17. 17. Variations and Disruptions <ul><li>Caesura </li></ul><ul><li>Punctuation breaks the rhythm within a line. </li></ul><ul><li>How do I love thee? Let me count the ways. </li></ul>
    18. 18. Life on Mars – Part 1 <ul><li>Read John Sim’s comments on the character of Sam. </li></ul><ul><li>How would you direct your character in this scene? </li></ul><ul><li>How would you stage your scene? </li></ul>
    19. 19. Life on Mars – Part 2 <ul><li>Re-write your section of script in blank verse. You may wish to change the meter for effect! </li></ul><ul><li>You can change the words to fit the meter, but try to maintain the meaning and the tone. </li></ul><ul><li>Use your language to reflect Sam’s character </li></ul>
    20. 20. Metaphor and Simile <ul><li>Metaphor </li></ul><ul><li>the application of a name or a descriptive term to an object to which it is not literally applicable. </li></ul><ul><li>Don’t use ‘like’ or ‘as’ </li></ul><ul><li>A is B </li></ul><ul><li>‘ Love is a burning thing and it makes a fiery ring’ </li></ul><ul><li>Simile </li></ul><ul><li>A is as/like B </li></ul><ul><li>Jennie drinks like a fish </li></ul>
    21. 21. Everyday metaphors
    22. 22. Metaphor Activity <ul><li>Match the objects to the descriptions. </li></ul><ul><li>Make notes on why you think that they go together as you go. </li></ul><ul><li>Swap your list of matched metaphors with the next group. </li></ul><ul><li>Make notes on why you think that they have matched them as they have. </li></ul>
    23. 23. Making Metaphors: <ul><li>A: to find poetic metaphors for the following </li></ul><ul><li>B: to use the following as metaphors for something else </li></ul><ul><li>Cleopatra </li></ul><ul><li>Joy </li></ul><ul><li>Youth </li></ul><ul><li>Tiger </li></ul><ul><li>Fire </li></ul><ul><li>Desire </li></ul><ul><li>A river </li></ul><ul><li>the A23 </li></ul>
    24. 24. Close reading: Act 5, Scene 2, p. 109, ll. 66 – 87. <ul><li>Meter </li></ul><ul><li>Punctuation </li></ul><ul><li>Imagery </li></ul><ul><li>Language </li></ul><ul><li>Voice/tone </li></ul><ul><li>Staging? </li></ul><ul><li>Translation? </li></ul>
    25. 25. And finally . . . <ul><li>Why do you think that I chose Life on Mars ? </li></ul>
    26. 26. Jennie Osborn Email: jennie.osborn@open.ac.uk

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