reading, speaking and enjoying shakespeare

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Speaking, Reading Speaking, Reading and Enjoying and Enjoying Shakespeare Shakespeare An Elizabethan guide to An Elizabethan guide to acting, language, and acting, language, and punctuation punctuation

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Page 1: Reading, Speaking and Enjoying Shakespeare

Speaking, Reading and Speaking, Reading and Enjoying ShakespeareEnjoying Shakespeare

An Elizabethan guide to An Elizabethan guide to acting, language, and acting, language, and

punctuationpunctuation

Page 2: Reading, Speaking and Enjoying Shakespeare

SHAKESPEARE’S METERSHAKESPEARE’S METER

Meter:Meter: Iamb:Iamb: Iambic pentameter:Iambic pentameter:

weakSTRONGweakSTRONGweakSTRONGweakSTRONGweakSTONGweakSTRONGweakSTRONGweakSTRONGweakSTRONGweakSTONG

““I AM…”I AM…”I AM I AM I AM I AM I AMI AM I AM I AM I AM I AM

“ “ I a m a p i r a t e w i t h a w o o d e n l e g . ”I a m a p i r a t e w i t h a w o o d e n l e g . ”I AM a PI rate WITH a WOOD en LEGI AM a PI rate WITH a WOOD en LEG

But soft: what light through yonder window breaks?But soft: what light through yonder window breaks?

So foul and fair a day I have not seen.So foul and fair a day I have not seen.

I’m hungry. Is it almost time for lunch?I’m hungry. Is it almost time for lunch?Not yet – the soup is heating on the stove.Not yet – the soup is heating on the stove.

Page 3: Reading, Speaking and Enjoying Shakespeare

DefinitionsDefinitions

Meter=Meter=a. a. The measured arrangement of words in poetry, as by accentual rhythm, The measured arrangement of words in poetry, as by accentual rhythm,

syllabic quantity, or the number of syllables in a line.syllabic quantity, or the number of syllables in a line.

b. b. A particular arrangement of words in poetry, such as iambic pentameter, A particular arrangement of words in poetry, such as iambic pentameter, determined by the kind and number of metrical units in a line.determined by the kind and number of metrical units in a line.

c. c. The rhythmic pattern of a stanza, determined by the kind and number of lines.The rhythmic pattern of a stanza, determined by the kind and number of lines.

Iamb=Iamb=

a metrical unit with unstressed-stressed syllablesa metrical unit with unstressed-stressed syllables

Iambic Pentameter=Iambic Pentameter=a common meter in poetry consisting of an unrhymed line with five feet a common meter in poetry consisting of an unrhymed line with five feet

oror

accents, each foot containing an unaccented syllable and an accented accents, each foot containing an unaccented syllable and an accented syllable syllable

Page 4: Reading, Speaking and Enjoying Shakespeare

How do I speak this?How do I speak this?BreathsBreaths come after a line, never come after a line, never

ininthe middle of onethe middle of one

So, this means that I treat eachSo, this means that I treat eachline as the punctuation?line as the punctuation?

YES!!!YES!!!

Do I need to breathe after everyDo I need to breathe after everyline?line?

NoNo, you must , you must Suspend theSuspend theThoughtThought at the end of the line at the end of the line(without a period) and(without a period) andkeep the intensity of the line butkeep the intensity of the line butyou needn’t breath.you needn’t breath.

Page 5: Reading, Speaking and Enjoying Shakespeare

PunctuationPunctuation

CommasCommas= little speed= little speedbumps (a pause butbumps (a pause butwith a slight lift)with a slight lift)

ColonsColons= The statement= The statementfollowing the colon is onefollowing the colon is onestep up from the statementstep up from the statementpreceding the colonpreceding the colon

Semi-colonsSemi-colons= a = a “passionate“passionate

burst of vocal energy”burst of vocal energy”

Page 6: Reading, Speaking and Enjoying Shakespeare

Let’s try!Let’s try!

What do we assume this character is What do we assume this character is saying?saying?

ARIEL ARIEL Not a soulNot a soulBut felt a fever of the mad and play'dBut felt a fever of the mad and play'dSome tricks of desperation. All but marinersSome tricks of desperation. All but marinersPlunged in the foaming brine and quit the vesselPlunged in the foaming brine and quit the vesselThen all afire with me the king's son, Ferdinand,Then all afire with me the king's son, Ferdinand,With hair up standing, then like reeds not hair, With hair up standing, then like reeds not hair, Was the first man that leap'd; cried, 'Hell is emptyWas the first man that leap'd; cried, 'Hell is emptyAnd all the devils are here.'And all the devils are here.'

Page 7: Reading, Speaking and Enjoying Shakespeare

So, what does this mean?So, what does this mean?

We, as an audience We, as an audience oror

reader, can interpret reader, can interpret aa

character’s thoughtscharacter’s thoughts

through the line through the line breaksbreaks

and punctuation!and punctuation!

Page 8: Reading, Speaking and Enjoying Shakespeare

Question the Punctuation!Question the Punctuation!

Modern editors add punctuation to Modern editors add punctuation to text to “help” readers interpret text to “help” readers interpret Shakespeare’s intentions. Shakespeare’s intentions.

Sometimes, however, the editors add Sometimes, however, the editors add a layer of meaning that may be more a layer of meaning that may be more theirs than Shakespeare's.theirs than Shakespeare's.

What do I mean? What do I mean?

Page 9: Reading, Speaking and Enjoying Shakespeare

What about the spelling?What about the spelling?

When we look at the first folio, we can When we look at the first folio, we can see that words are spelled strangely? see that words are spelled strangely? Why?Why?

First, Shakespeare is credited with First, Shakespeare is credited with creating over 1700 words!creating over 1700 words!

Additionally, Shakespeare used Additionally, Shakespeare used spelling to help guide both actors and spelling to help guide both actors and audience reaction.audience reaction.

What do I mean?What do I mean?

Page 10: Reading, Speaking and Enjoying Shakespeare

Spelling/Capitalization in the Spelling/Capitalization in the first foliofirst folio

1159: 1159: Iago.Iago.If I can fasten but one Cup vpon him If I can fasten but one Cup vpon him 1160: 1160: With that which he hath drunke to night alreadie, With that which he hath drunke to night alreadie, 1161: 1161: He'l be as full of Quarrell, and offence He'l be as full of Quarrell, and offence 1162: 1162: As my yong Mistris dogge. As my yong Mistris dogge. 1163: 1163: Now my sicke Foole Now my sicke Foole RodorigoRodorigo, , 1164: 1164: Whom Loue hath turn'd almost the wrong side out, Whom Loue hath turn'd almost the wrong side out, 1165: 1165: To To DesdemonaDesdemona hath to night Carrows'd. hath to night Carrows'd. 1166: 1166: Potations, pottle-deepe; and he's to watch. Potations, pottle-deepe; and he's to watch. 1167: 1167: Three else of Cyprus, Noble swelling Spirites, Three else of Cyprus, Noble swelling Spirites, 1168: 1168: (That hold their Honours in a wary distance, (That hold their Honours in a wary distance, 1169: 1169: The very Elements of this Warrelike Isle) The very Elements of this Warrelike Isle) 1170: 1170: Haue I to night fluster'd with flowing Cups, Haue I to night fluster'd with flowing Cups, 1171: 1171: And they Watch too. And they Watch too. 1172: 1172: Now 'mongst this Flocke of drunkards Now 'mongst this Flocke of drunkards 1173: 1173: Am I put to our Am I put to our CassioCassio in some Action in some Action 1174: 1174: That may offend the Isle. But here they come. That may offend the Isle. But here they come.

Page 11: Reading, Speaking and Enjoying Shakespeare

The same scene?The same scene?

Modern textModern text ARIEL ARIEL 

Not a soulNot a soulBut felt a fever of the mad and But felt a fever of the mad and play'dplay'dSome tricks of desperation. All Some tricks of desperation. All but marinersbut marinersPlunged in the foaming brine Plunged in the foaming brine and quit the vessel,and quit the vessel,Then all afire with me: the Then all afire with me: the king's son, Ferdinand,king's son, Ferdinand,With hair up-staring,--then like With hair up-staring,--then like reeds, not hair,--reeds, not hair,--Was the first man that leap'd; Was the first man that leap'd; cried, 'Hell is emptycried, 'Hell is emptyAnd all the devils are here.'And all the devils are here.'

First FolioFirst Folio Ar.Ar.

Not a soule Not a soule 323: 323: But felt a Feauer of the But felt a Feauer of the madde, and plaid madde, and plaid 324: 324: Some tricks of desperation; Some tricks of desperation; all but Mariners all but Mariners 325: 325: Plung'd in the foaming bryne, Plung'd in the foaming bryne, and quit the vessell; and quit the vessell; 326: 326: Then all a fire with me the Then all a fire with me the Kings sonne Kings sonne FerdinandFerdinand 327: 327: With haire vp-staring (then With haire vp-staring (then like reeds, not haire) like reeds, not haire) 328: 328: Was the first man that leapt; Was the first man that leapt; cride hell is empty, cride hell is empty, 329: 329: And all the Diuels are heere. And all the Diuels are heere.

Page 12: Reading, Speaking and Enjoying Shakespeare

Fun with languageFun with language

Shakespeare loves Shakespeare loves to play with words.to play with words.

In In Romeo and Romeo and JulietJuliet, we see this , we see this in the puns- in the puns- especially among especially among young male young male characters!characters!

Page 13: Reading, Speaking and Enjoying Shakespeare

Not Rated GNot Rated G

If you think If you think something might something might have a dirty have a dirty meaning…chances meaning…chances are you’re RIGHT!!!are you’re RIGHT!!!

Why? Because you Why? Because you have a teenage have a teenage mind-NO.mind-NO.

Page 14: Reading, Speaking and Enjoying Shakespeare

The audiences at the GlobeThe audiences at the Globe

The Globe Theatre The Globe Theatre wasn’t just the richwasn’t just the rich

Many of the people Many of the people attending the attending the theatre may have theatre may have been illiterate.been illiterate.

““Groundlings” and Groundlings” and the three tiers of the three tiers of seating.seating.