Understanding Shakespeare
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The Tragedy of Hamlet
THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf. -
Rhythm and Meter in Macbeth Iambic Pentameter (Nobles)
Grade 9 Analysis- Rhythm and Meter in Macbeth Iambic Pentameter (Nobles) What is it? Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Why does Shakespeare use it? When Shakespeare's characters speak in verse (iambic pentameter), they are usually the noble (aristocratic) characters, and their speech represents their high culture and position in society. It gives the play a structured consistency, and when this is changed in instances of prose such as when Macbeth writes to Lady Macbeth and when Lady Macduff talks with her son, these are normally instances where a situation is abnormal e.g. when the Porter babbles in his drunken haze. Trochaic Tetrameter (Witches) What is it? Trochaic tetrameter is a rapid meter of poetry consisting of four feet of trochees. A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom. Why does Shakespeare use it? The witches’ speech patterns create a spooky mood from the start of the scene. Beginning with the second line, they speak in rhyming couplets of trochaic tetrameter. The falling rhythm and insistent rhyme emphasize the witchcraft they practice while they speak—boiling some sort of potion in a cauldron. -
Metrical Feet Iamb (Iambic) Betray Anapest
Meter & Form Metrical Feet Iamb (iambic) betray Anapest (anapestic) intercede Trochee (trochaic) stupor Dactyl (dactylic) secondly Spondee (spondaic) stop light Pyrrhic a night / for the / ghosts Some Other Metrical Concerns caesuras end-stopped vs. enjambed lines rhyme ************************************ “It is not meters, but a meter-making argument that makes a poem.” Emerson “[Meter] can’t be merely a careless dash off, with no grip and no real hold to the words and sense.” Pound ************************************ According to Paul Fussell in Poetic Meter & Poetic Form, there are three principles of expression that metric variations convey: 1 A succession of stressed syllables without the expected intervening unstressed syllables can reinforce effects of slowness, weight, or difficulty; 2 A succession of unstressed syllables without the expected intervening stressed syllables can reinforce effects of rapidity, lightness, or ease; 3 An unanticipated reversal in rhythm implies a sudden movement, often of discovery or illumination; or a new direction of thought, a new tone of voice, or a change or intensification of poetic address. 1 Meter & Form Some Examples Listen! / you hear / the gra / ting roar / Of peb / bles which / the waves / draw back, / and fling, / At their / return, / up the / high strand, / Begin, / and cease, / and then / again / begin / . (Arnold, “Dover Beach”) . through many a dark and dreary Vale They pass’d, and many a Region dolorous, O’er many a Frozen, many a Fiery Alp, Rocks, Caves, Lakes, Fens, Bogs, Dens, and shades of death. (PL) Drove them before him Thunder-struck, pursu’d With terrors and with furies to the bounds And Crystal wall of Heav’n, which op’ning wide, Roll’d inward, and a spacious Gap disclos’d Into the wasteful Deep; the monstrous sight Strook them with hoor backward, but far worse Urg’d them behind; headlong themselves they threw Down from the verge of Heav’n, Eternal wrath Burnt after them to the bottomless pit. -
A Critical Analysis of the Sonnets of Charles Tenyson-Turner
RICE UNIVERSITY A CRITICAL ANALYSIS OF THE SONNETS OF CHARLES TENNYSON-TURNER by Wilkes Berry A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts Houston, Texas May 1962 TABLE OF CONTENTS Chapter Page 1. Introduction ..... 1 2. Versification 4 3. Themes and Topics 7 I. Poetry 8 II. Pessimism 11 III. Home and Patriotism 13 IV. Technological Progress 17 V. War 19 VI. Lovers ...... 23 VII. Death 27 VIII. The Passing of Time 32 IX. Birds, Beaits, and Insects 33 X. Land, Sea, and Sky 45 XI. History 5 2 4. Religion 58 5. Structure and Imagery 82 6. Conclusion 106 7. Appendix ..... 110 8. Footnotes 115 9. Bibliography . 118 INTRODUCTION Charles Tennyson-Turner was born in 1808 at Somersby, Lincolnshire. He was the second of the two older brothers of Alfred Tennyson, with whom he matriculated at Cambridge in 1828. Charles was graduated in 1832, and after his ordination in 1835 he was appointed curate of Tealby. Later the same year he became vicar of Grasby; then in 1836 he married Louisa Sellwood, sister to Emily Sellwood, who later married Alfred Tennyson. The next year he inherited several hundred acres of land from his great-uncle Samuel Turner of Caistor. At this time he assumed the additional surname of Turner which he used the rest of his life.* Shortly before his marriage Turner had overcome an addiction to opium which resulted from his using the drug to relieve neuralgic pain; however, he soon resumed the use of opium. His wife helped to free him of the habit once more, but, in so doing, she lost her own health and had to be placed under medical care. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
Hamlet on the Screen Prof
Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting. -
“I Will Never Play the Dane”: Shakespeare and the Performer's Failure
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library DOI: 10.1111/lic3.12470 ARTICLE “I will never play the Dane”: Shakespeare and the performer's failure Richard O'Brien University of Birmingham Abstract Correspondence Richard O'Brien, Department of Film and The cultural prestige accorded to Shakespeare's great roles Creative Writing, University of Birmingham, has made them high watermarks for ‘great acting’ in general. Birmingham, UK. Email: [email protected] They are therefore also uniquely capable of channelling a performer's sense of his own failure. The 1987 film Withnail &Ifamously ends with its title character, an out‐of‐work actor and self‐destructive alcoholic, delivering Hamlet's “What a piece of work is a man” to an audience of unre- sponsive wolves. And in 2014's The Trip to Italy, Steve Coogan plays a fictionalised version of himself: a comedian who fears he will never be remembered as a serious artist. On a visit to Pompeii, Coogan's delivery of Hamlet's speech to Yorick's skull similarly becomes a way of channelling the series's wider reflections on fame, mortality, and the value of the actor's art. Drawing on Marvin Carlson's argument that the role of Hamlet is unusually densely ghosted by its previous occupants, this article will explore how these two contemporary depictions of struggling performers evoke the received idea of the great Shakespearean role as the pinnacle of the actor's art to respond to the dilemma of how to cope with creative failure. -
Definitions & Identify 1. Which of the Following Is A
Check for Understanding: Definitions & Identify 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. 1 long syllable followed by another long syllable d. 1 long syllable followed by a short syllable 2. Which of these words is an iamb? a. Employ b. Coffee c. Drinking d. Eat 3. Which of these words is not an iamb? a. Unfit b. Unwell c. Behold d. Freedom 4. What is the definition of a metrical foot? a. A syllable b. A group of 5 or more syllables c. A rhyme scheme in a poem d. A group of 2-3 syllables that form a rhythmic unit 5. All of these are types of metrical feet except – a. Iamb b. Trochee c. Spondee d. Taradactyl e. Dactyl 6. True or False: A metrical foot can only be one word. a. True b. False 7. True or False: An iamb must be more than one word. a. True b. False 8. True or False: Poems that rhyme have meter. a. True b. False 9. True or False: Poems that do not rhyme have meter. a. True b. False 10. True or False: A poem’s meter cannot change throughout a poem. a. True b. False Answer KEY 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. -
Metacriticism in Salman Rushdie's Short Story Yorick*
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Hacettepe University Journal of Faculty of Letters Cilt/Volume: 35 Sayı/Number:1 Haziran/June 2018 doi:10.32600/huefd.438142 Metacriticism in Salman Rushdie’s Short Story Yorick* Salman Rushdie’nin Yorick Adlı Kısa Öyküsünde Üsteleştiri Seda ARIKAN** Abstract Salman Rushdie is mostly known for his usage of new techniques especially those of postmodernism. In his short story collection East, West, besides many postmodern techniques such as pastiche, parody, and metafiction, his focus on metacriticism is apparent in the short story titled “Yorick”. Rushdie’s “Yorick” that is based on an invented story about the character Yorick, the dead clown whose skull Prince Hamlet handles and makes his famous speech in Hamlet, appears as an example of creative metacriticism that depicts the place and function of literary criticism in a fictional work. Referring to theoretical criticisms of Hamlet, such as psychoanalysis and social theories, Rushdie uses criticism of literary criticism in his short story “Yorick”. Thus, he adds his postmodern interpretation into the analyses of literary criticism since antiquity. This study will firstly focus on the theoretical background of metacriticism, in general, and creative metacritcism, in particular. Later on, it will try to find out the traces of creative metacriticism in Rushdie’s short story “Yorick” in which he also deals with metafiction, the role of the writer, the function of the reader, writer- critic-reader collaboration, the objectivity or subjectivity of literary criticism, creative writing or creative reading, and the truth in storytelling. Analysing how metacriticism operates in the story, finally Rushdie’s ideas on what literary criticism is and should be will be clarified. -
Thinking in Song
THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition. -
Basic Guide to Latin Meter and Scansion
APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg. -
Alas Poor Yorick. Hamlet and Kristeva's Maginary Father
E. Denbo / PsyArt 21 (2017) 143–158 ‘Alas Poor Yorick!’: Hamlet and Kristeva’s Imaginary Father Elise Denbo Queensborough Community College City University of New York Most psychological approaches interpret Shakespeare’s Hamlet within a Lacanian/Oedipal revenge narrative. This paper, however, explores Shakespeare’s Hamlet through theories of Julia Kristeva, who develops a term called ‘the imaginary father,’ which she revisions from Freud’s ‘father of individual prehistory.’ The notion of an archaic/imaginary father as a hybrid locus (a mother-father amalgam) within the semiotic domain not only introduces new perspectives to consider the role of fatherhood but also the affective (and material) nature of transference/countertransference in Shakespeare’s plays. The dramatization of Hamlet’s “inner mystery” as opposed to his outer “show” has not been explored as an intrapsychic activity regarding an archaic father of imaginary ambivalence. Despite the scene’s brevity (5.1), considering Yorick as Hamlet’s father of individual prehistory reconfigures symbolic mastery to explore the unfolding development of Shakespearean character as a metaphorical process, a presymbolic activity rather than fixed representation, dramatizing the corporeal struggle for psychic and creative space. To cite as Denbo, E., 2017, ‘‘Alas Poor Yorick!’: Hamlet and Kristeva’s Imaginary Father’, PsyArt 21, pp. 143–158. Most playgoers are familiar with the unique encounter between Hamlet and Yorick, the long departed court jester unearthed from his grave, that Shakespeare positions in counterpoint to the early appearance of King Hamlet’s ghost, an event which combined with his mother’s sudden marriage to his uncle sets the play in motion.