The Language of the Tempest

Home , Gonzalo (The Tempest), The Tempest

Joel Angiolillo

Wayland Public Library May 6, 2020

1 The Plague of 1603 Closes the Theaters for a Year

During the plague years, Shakespeare writes: Troilus and Cressida Othello Measure for Measure

In 1604 to 1607, he writes: Timon of Athens King Lear Macbeth Pericles

2 Tempest was written and first performed in 1611

The Tempest was the last play authored by Shakespeare alone, but the first in the First Folio (1623).

Two Noble Kinsmen – 1611 Henry VIII - 1613

First theater in London was 1576, only 35 years before the Tempest. 3 Act 1, Scene 1 – Aboard the Ship in the Storm

Boatswain: Hey, my hearts! Cheerly, cheerly, my hearts! Yare, yare! Take in the topsail. Tend to the master’s whistle. [To the tempest] Blow till thou bust thy wind, if room enough! Alonso: Good boatswain, have care. Where’s the master? [To the mariners] Play the men. Boatswain: I pray now, keep below. Antonio: Where is the master, bos’n? Boatswain: Do you not hear him? You mar our labour. Keep your cabins – you do assist the storm. Gonzalo: Nay, good, be patient.

4 Act 1, Scene 1 – Aboard the Ship in the Storm

Boatswain: When the sea is. Hence! What care these roarers for the name of king? To cabin; silence! Trouble us not. Gonzalo: Good, yet remember whom thou hast aboard. Boatswain: None that I love more than myself. You are a councilor; If you can command these elements to silence, and work the peace of the present, we will not hand a rope more – use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. [To the mariners] Cheerly, good hearts! [To the courtiers] Out of our way, I say!

… 5 Act 1, Scene 1 – Aboard the Ship in the Storm

Gonzalo: I have great comfort from this fellow. Methinks he hath no drowning mark upon him -- his complexion is perfect gallows. Stand fast, good Fate, to this hanging, make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is miserable. Boatswain: Down with the topmast! Yare! Lower, lower! Bring her to try with main-course. [a cry within] A plague upon this howling! They are louder than the weather or our office. [enter Sebastian, Antonio and Glonzalo] Yet again? What do you here? Shall we give o’er and drown? Have you a mind to sink? 6 Act 1, Scene 1 – Aboard the Ship in the Storm

Sebastian: A pox ‘o your throat, you bawling, blasphemous, incharitable dog! Boatswain: Work you, then. Antonio: Hang, cur, hang, you whoreson insolent noisemaker! We are less afraid to be downed that thou art.

7 What does it mean to “enjoy” a play?

Do we enjoy Shakespeare?

What do we need to “understand” to enjoy?

What did the “groundlings” in AFTER READING THE FIRST Elizabethan England understand? SCENE OF THE TEMPEST (And does it matter to us today?)

What, if anything, should, or can, we do to get more out of a Watching a play by Pierre Corneille, Molière, Jean Racine. performance? How is it different? 8 Characters in the Tempest

Antonio – Prospero’s Alonso – King of Naples Sebastian – Brother Brother -Disposed Helped to dispose Prospero to Alonso Prospero Prospero

Miranda - Daughter of Gonzalo – Trusted Prospero Counselor to Alonso

Ferdinand – Son of Alonso Stephano – Drunken Ariel Shipmate

Caliban Trinculo - Court Jester

9 Characters in the Tempest

Antonio – Prospero’s Alonso – King of Naples Sebastian – Brother Brother -Disposed Helped to dispose Prospero to Alonso Prospero Prospero

Miranda - Daughter of Gonzalo – Trusted Prospero Counselor to Alonso

Ferdinand – Son of Stephano – Drunken Ariel Alonso Shipmate

Trinculo - Court Jester Caliban

10 Prospero – The Miranda – Prospero’s Ariel – An airy spirit, controlled by Prospero rightful Duke of innocent daughter Caliban – An earthy “monster,” controlled by Prospero Milan (and magician)

Antonio – Prospero’s brother and usurping Duke of Milan

Alonso – The King of Ferdinand – Alonso’s Gonzalo – Alonso’s honest counselor Naples (helped Antonio innocent son to overthrow Prospero)

Sebastian – Alonso’s brother

Stephano – Drunken butler Trinculo – Fickle jester

11 The Tempest - Acts

Act 1 The shipwreck. The royal party is introduced. Alonso, Gonzalo, Sebastian, Antonio on the ship in the tempest. On the island, we find out the Prospero has conjured up the storm. Prospero tells his backstory to Miranda. Ariel and Caliban are introduced. Ferdinand, prince of Naples, is wandering alone. He meets Prospero and Miranda. Act 2 Two lost parties: (1) the “royals” – Antonio and Sebastian plot to kill Alonso, king of Naples, and his counselor Gonzalo. (2) the “drunkards” – Stephano, Trinculo, Caliban Act 3 Three still wandering without knowing if anyone else is alive: (1) Ferdinand and Miranda declare their love for each other. (2) Caliban, Stephano and Trinculo plot to kill Prospero. (3) The royal party is treated to a magic banquet. Act 4 The Masque – Three goddesses perform for Ferdinand and Miranda Caliban, Stephano and Trinculo continue their wanderings. Act 5 Everyone onstage at Prospero’s “cell” – Revelations and reconciliations.

12 Act 1, Scene 1 – Aboard the Ship in the Storm

Boatswain (CR) – Under the captain, the man who directs the crew CR = Cultural reference Cheerly (FF) – With spirit, energy, will (not happily) FF = False Friend Yare (A) – Quick A = Archaic word Topsail, master’s whistle, boatswain, rope, etc. (CR) – All nautical terms AE = Archaic expression Bust thy wind (AE) – Exhaust yourself FoA = Archaic forms of address

Good (FoA) - Goodman 13 Archaic Terms of Address – Roles and Ranks

Good Goodman, goodfellow, goodwomen Wench “lass”, not necessarily negative. Can be used affectionately Nuncle An uncle – used affectionately Sirrah Sir, usually used by a higher-ranking person for a lower-ranking (either insulting or showing warm familiarity, depending upon how it is used) Prospero to Stephano: “You’d be king of the isle, sirrah?”

Master > Boatswain > Mariners, Crew > Servants, Cabin Boy King (Queen, Prince, Princess) > Duke > Marquis > Earl > Viscount > Baron

14 Act 1, Scene 1 – Aboard the Ship in the Storm

Hence (A) What care these roarers for the name of king? – poetic language Mischance of the hour – poetic language?

15 Forms of Address - Second Person

Thou, thee, thy, thine, thyself You, your, yours, yourself, yourselves Upper to lower Child to parent Superior to inferior When addressing multiple people Master to servant Inferior to superior Parent to child Servant to master Usually friendly and loving, but can Sign of respect be insulting

Prospero and Ariel “thou” each other – even though it is a master and servant relationship.

The gradual evolution to a single form of “you” is happening at this time. 16 Act 1, Scene 1 – Aboard the Ship in the Storm

Methinks (A) – I think Stand fast (FF?) – Remain resolved, do not waiver Bring her to try with main-course (CR) – Bring the ship around Office (FF) – work, efforts What do you (AE) – What are you doing, why are you

17 Does vs Doth, Has vs Hath, etc.

Century before 1600 -- 1/5th “s” ending 4/5th “th” ending Century after 1600 -- reversed

Women quicker to adopt the new “s”

Some common words like “hath” were slower to change In the Tempest: 34 “has”, 21 “hast”, and 26 “hath” Tendency for younger characters and women to use “does” and “has”? Ratio of “has”/”hath” goes up as the play progresses.

18 Archaic Common EME Terms in the Tempest

Methinks Gonzalo: “Methinks he hath no drowning mark upon him.” (I think) Hence Boatswain to Gonzalo: “Hence! What cares these roarers for the name of king?” (here, now) Brave Miranda to Prospero: Lord, how it looks about! Believe me, sir, it carries a brave form. (splendid, good) Ere Miranda to Prospero: “I would have sunk the sea within the earth or ere it should the good ship so have swallow’d” (before) Pray / Mark Prospero to Miranda: “I pray thee mark me” (ask earnestly / attend, listen) Afeard Caliban: “Be not afeard: the isle is full of noise.” (afraid) Beseech Gonzalo: “Beseech you, sir, be merry.” (strong request) Bate Ariel: “Thou didst promise to bate me a full year.” (reduce, and other means as well) Severally “Exeunt Ferdinand and Miranda severally.” Separately (FF?)

19 Archaic Common EME Terms

Hither (hitherto, hitherward) here Hence (henceforth…) From now, therefore, away from here Thither (thitherward) there Thence Away from here Wither (somewhither) Whence (whencesoever) From which, from where

Perforce By your favor (with your permission) Soft! (wait a moment) Aught (anything) Save thee (God save thee) Mark! (pay attention) Full (meaning very) Presently (immediately) Lo (look) Ev’n (indeed) Severally (separately) How! (What! “how now”) Naught (nothing) That (so that) Ere (before) Yon, yond(er) Apace (quickly) Durst (dare) Hark (listen) Very (meaning truth) Anon (soon)

All meaning “If you please”: Please you, by your patience, by your pardon, by your leave, by your favor. All meaning “Please”: Prithee, pray you, beseech you. All meaning “I’m sorry, pardon me”: Cry your mercy, God save the mark, God bless the mark, save your reverence 20 Act 1, Scene 1 – Aboard the Ship in the Storm

Shakespearean insults

21 Archaic Swearing

Forsooth In truth By my troth By my word Pox, a pox Originally syphillus, evolved more generally - small pox, plague By Apollo Or By Jupiter, by Juno, by Jove, by Janus, ...

But for the Christian God, one much “hide” the swearing… ‘swounds, zounds By the wounds of Christ ‘sblood, bloody Christ’s blood By the rood By the cross of Christ Fut! Christ’s foot

22 Archaic Insults

Eater of broken meats Eater of leftovers, meat pieces reserved for animals Three-suited hundred-pound Not clear: Servants allowed three suits. May be a political comment. Worsted-stocking Wool stocking, inferior to linen or silk. A servants wear. Lily-livered Cowardly, having no blood in one’s liver. Action-taking knave Taking legal action (instead of manly action), “litigious knave” Whoreson Bastard Glass-gazing Fobbish dandy (spending one’s time looking into a mirrow) Super-serviceable Obsequious Finical (A) Affected, fussy One-trunk-inheriting slave Total possessions could be put into one trunk Bawd (A) Pimp Pandar (A) Pimp (from Panderus in the story of Cressida and Troilus) 23 Past Tense

Miranda O the heavens! What foul play had we, that we came from thence? there Or blessed wasn’t we did? Prospero Both, both my girl: By foul play, as thou say’st, we were heaved thence, But blessedly holp hither. past tense of help (archaic) Miranda O, my heart bleeds To think o’ the teen that I have turn’d you to, trouble (archaic, FF) Which is from my remembrance! Which I do remember (AE)

(Note how Miranda uses “you” to her father and he uses “thou.” She is a good girl. Compare with Goneril and Regan in King Lear.) 24 Archaic Past Tense

EME Modern English EME Modern English Celp Called Catched Caught Holp Helped Digged Dug Hild Held Showed Shown Chopt Chopped Bended Bent I durst I dared Spake Spoke Past = Present (often recently from Latin) Writ Wrote Dedicate Dedicated Drave Drove Create Created Bidden Bid Unite United Convict Convicted 25 Syntax

Present I try, I cook Present progressive I am trying, I am cook Past I tried, I cooked Past progressive I was trying, I was cooking

Prospero to Miranda Dost thou attend me? (Are you listening me?)

Today Present, Past, and Progressive forms have different meaning. Compare: What do you cook? What are you cooking? I cook Italian food. I am cooking Italian food.

But in 1600. I cook could mean either “I cook” or “I am cooking.” There was little use of the progressive. Usually not a problem, but can be confusing at times.

26 Why is Shakespeare so Darn Difficult? Spelling, Punctuation, Pronunciation, Syntax, Words

Archaic words and expressions False Friends (Words that have changed their meaning over 400 years) Connotation changes Unusual Syntax

27 Why is Shakespeare so Darn Difficult? … Also

Archaic Spellings Biblical & Classical References Pronunciation Biological References Verb Forms Terms of Address Pronoun Forms Professions, Rank, Poetical Language Cultural & Historic References Dialects and Change in Register

28 The BIG Question

1. What did the average playgoer in 1600 understand? 2. How is our understanding today different?

Does it MATTER? (Would we enjoy Shakespeare more or less if it was translated into modern English?)

29 Should We Translate Shakespeare into Modern English? And if so, how?

First Folio – 1623 ~52 y/o

1588 (24 years old) 1610 (46 y/o) 30 Should We Translate Shakespeare into Modern English? And if so, how?

First Folio – 1623 ~52 y/o

1588 (24 years old) 2017 (452 y/o) 1610 (40 y/o) 31 Globe

32 The Plays

Pre-Globe Globe 1589-91 Two Gentlemen of Verona 1599 Julius Ceasar 1590-91 The Taming of the Shrew 1599-1601 Hamlet 1591 Henry VI - Parts 1, 2 and 3 1601 Twelfth Night 1592-93 Richard III 1603-04 Measure for Measure 1592-93 Edward III 1603-04 Othello 1594 Comedy of Errors 1605-06 King Lear 1594-95 Love’s Labour’s Lost 1606 Macbeth 1595 Romeo and Juliet 1606 Antony and Cleopatra 1595 A Midsummer Night’s Dream 1608 Coriolanus 1596-97 The Merchant of Venice Blackfriers 1598-99 Much Ado About Nothing 1611 The Tempest

1612-13 Henry VIII 33 Language Change

Cultural Change 100 90 80 Food 70 Shakespeare 60 Clothing King James Bible 50 40 30 20 Beowolf Chaucer 10 0 800 1200 1600 2000 Language Food Clothes

34 Early Modern English

1417 Henry V publishes royal proclamations in English 1476 William Caxton starts printing in his Westminster shop 1525 Publication of William Tyndale’s English bible (banned)

1590 to 1612 – Shakespeare’s plays 1611 King James Bible

1623 First Folio of Shakespeare’s plays 1755 Publication of Samuel Johnson’s Dictionary

35 Beowulf – 900

36 Chaucer’s Canterbury Tales ~1400

37 Nicholas Udall’s Roister Doister ~1550

First known comedy in the English language.

38 Words Continue to Change Meaning – But More Slowly

In 1927, FCC tried to organize the radio dial into two types of stations: • General interest • Propaganda

Many companies had propaganda departments.

Many words could never be used the same after WWII Dictator, fascist, axis, Aryan, swastika, ghetto, concentration camp, Duce, Furher

(Imbecile, moron, retarded, … ) 39 Humor: Have we Lost it Today

2.2.93 Stephano comes across the “4-legged monster” Trinculo: Stephano! Stephano: Doth thy other mouth call me? Mercy, Mercy! This is a devil, and no monster. I will leave him: I have no long spoon. Trinculo: Stephano! If thou beest Stephano, touch me, and speak to me; for I am Trinculo – be not afead - thy good friend Trinculo. Stephano: If thou beest Trinculo, com forth. I’ll pull thee by the lesser legs – if any be Trinculo’s legs, these are they. [pulls him out from under the cloak] Thou art very Trinculo indeed! How cam’st thou to be the siege of this mooncalf? Can he vent Trinculos? 40 Humor: Have we Lost it Today

2.2.137 Stephano, Trinculo, and Caliban are getting progressively drunker Stephano: Come, swear to that: kiss the book. I will furnish it anon with new contents. Swear. Caliban Drinks Trinculo: By this good light, this is a very shallow monster! I afeard of him! A very weak monster! The man i‘ the moon! A most poor credulous monster! Well drawn, monster, in good sooth! Swear did not mean to utter profanities, but to make a formal promise. Kiss the book = kissing the bible was a serious act of public witness (but here Caliban kisses the bottle) Anon (A/U) = soon A = Archaic Afeard (A/U)= was afraid U = but Understandable Today Well drawn (FF)= good and drunk FF = False Friend In good sooth (AE/U) = truly, certainly, I do say AE = Archaic Expression 41 Archaic

1.2.1 Miranda to Prospero

If by your art, my dearest father, you have Put the wild waters in this roar, allay them. magical powers, black arts The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cheek, sky (A) Dashes the fire out. O, I have suffered With those that I saw suffer: a brave vessel, Who had, no doubt, some noble creature in her, Dash'd all to pieces. O, the cry did knock Against my very heart. Poor souls, they perish'd. Had I been any god of power, I would Have sunk the sea within the earth or ere It should the good ship so have swallow'd and The fraughting souls within her. fraught(A) – a ship’s freight 42 Archaic

2.2.63 Stephano first meets Caliban This is some monster of the isle with four legs, who hath got, as I take it, fevers, shakes an ague. 3.2.75 Trinculo yelling at Stephano A murrain on your monster, and the devil take your fingers! pestilence 3.2.87 Caliban asks Stephano to kill Prospero Batter his skull, or paunch him with a stake, paunch – stab Or cut his weasand with they knife. weasand - windpipe 3.2.113 Caliban to Stephano (both drunk) Thou makest me merry; I am full of pleasure: Let us be jocund: will you troll the catch sing the song You taught me but whilere? a little while before 4.1.237 Trinculo to Stephano as they are distracted by stealing the clothes Do, do; we steal by line and level, an’t like you grace. properly / if it pleases you 43 Why are Neologisms (Invented Words) a Problem?

1.2.177 Prospero to Miranda at the end of telling his history

Know thus far forth. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore; and by my prescience I find my zenith doth depend upon A most auspicious star, whose influence Shakespeare invention? If now I court not but omit, my fortunes Neglect, ignore Will ever after droop. Dates to at least 1300

Astrological and magical references: Forture, zenith, star, 44 Why are Neologisms a Problem?

Stephano The poor monster’s my subject and he shall not suffer indignity. Prospero Overprized all popular rate, in my false brother Caliban like hedgehogs which Lie tumbling in my barefoot way and mount their pricks at my footfall Ariel (song) Nothing of him that doth fade but doth suffer a sea-change into something rich and strange Caliban and I, thy Caliban, for aye thy foot-licker (also baseless, murkiest, printless, rootedly first used in the Tempest) Gonzalo All torment, trouble, wonder and amazement* Prospero of temporal royalties he thinks me now incapable* Ariel Then I beat my tabour; At which, like unback'd* colts, they prick'd their ears, Gonzalo I do beseech you that are of suppler* joints, follow them swiftly And hinder them from what this ecstasy may now provoke them to.

* Shakespeare invented, but used in a play before The Tempest: Also: Amazement, bemocked, incapable, unbacked, insubstantial, suppler 45 What are “False Friends”

1.2.79 Prospero to Miranda, talking about his brother Antonio

Being once perfected how to grant suits, instructed, educated (FF) How to deny them, who to advance and who To trash for over-topping, new created leash, check (FF) The creatures that were mine, I say, or changed 'em, ministers, employees (P) Or else new form'd 'em; having both the key Of officer and office, set all hearts i' the state To what tune pleased his ear; that now he was The ivy which had hid my princely trunk, And suck'd my verdure out on't. Thou attend'st not! life, greenery (P)

FF = False Friend P = Poetic Language 46 False Friends Can Mislead

3.3.104 Gonzalo to Alonso in reference to the conspirators, Sebastian, Antonio, and knight

All three of them are desperate: their great guilt, reckless, dangerous (FF) Like poison given to work a great time after, Now 'gins to bite the spirits. I do beseech you That are of suppler joints, follow them swiftly And hinder them from what this ecstasy madness (F) May now provoke them to.

47 False Friends

3.7 Glouster to Regan who has begun to torture naughty = Wicked him ravish = pluck Naughty lady, These hairs, which thou dost ravish from my quicken = Come alive chin, Will quicken, and accuse thee: I am your favours = Features, face host: With robbers' hands my hospitable favours ruffle = handle roughly, You should not ruffle thus. What will you crudely do?

48 Some of the Most Troublesome False Friends

1600 Today 1600 Today Spinster Weaver Aunt Any older woman Pathetic Emotional Love / Make love Like / court Translate Transform Humorous Emotional Comedian Actor Cell Small humble dwelling Pale Fenced enclosure Fleet Assembly of anything Deface Cancel Swear Promise Owe Own Wench Woman Want Lack Nature Usually human nature Abroad In public Compact Well formed (not small)

Doubt Fear Silly Helpless, humble, simple 49 To Translate or Not to Translate: Connotation Changes

Meaning Broadened Over Time Meaning Narrowed Over Time In 1600 In 1600 Hound Any dog Novice Young man Engine Any mechanical device Companion Fellow, chum Grammar All scholarly study Office Church office / Effort Aunt Any older woman Success Any outcome Meaning Weakens Over Time Corn Any grain In 1600 Meat Any food (mincemeat) Nasty Very wicked Starve To die Worm Any legless animals Fancy (v) Fall in love with

50 Word Change – From Neutral to More Negative

Odor, odorous A smell of any kind Stink A smell of any kind (Old English “stincan”, past tense “stanc”, past participle “stuncen”, “Swote Stincan” = sweet smell) Vulgar Common (modern English, divulge) Villein Unfree peasant Swear Promise (“do you solemnly swear..”

And it goes the other way. “Prodigy” use to have a negative connotation or abnormal, monstrous.

“Knave”, “scurvy” were more negative. 51 Word Change – More Intense to More Neutral

Wonderful Awesome Awful Charmed, charming Amazing Fantastic

52 False Friends? – Multiple Meanings to Single Meaning

1600 Meaning 1 Meaning 2 (died out?) Nothing Nothing Nonsense “nonsense” as well as “not anything” Lewd Indecent Wicked “wicked” as well as “indecent” Ancient Old Experienced ALBANY: “Let’s then determine with the ancient of war on our proceedings.” Glass Glass Mirror FOOL: “For there was never yet fair woman but she made mouths in a glass.” (“Looking glass”) Profess Proclaim Do (for a LEAR to KENT: “What dost thou profess? What wouldst living) thou do with us?” (Profession) Temper Angry Balanced, LEAR to Fool: “O, let me not be mad, not mad, sweet disposition tested heaven keep me in temper: I would not be mad!” (“temper iron.”)

53 Words That Had Two Meaning (One of Which Disappeared)

1600 Meaning 1 Meaning 2 (died out?) Clown Clown Peasant Color Color Disguise Round Round Frank Use Use Interest (gained from lending money) Conceive Give birth Understand (in Lear, Glouster puns on this dual meaning) Story Story History Revolve Turn over Ponder “If this [letter] falls into thy hands, revolve” Tell Tell Count (bank teller) Prove Prove Test (“proving ground,” “the proof of the pudding”) Shadow Shadow Actor Wit Funny (?) Intelligence (but “dimwitted, matching wits, wit’s end, ….) Sad Melancholy Grave, serious (John Adams “Sad men make the best politicians”

Tender Sweet Give (legal tender) 54 Famous Lines and Speeches

4.1.146 Prospero to Ferdinand, after Prospero Ye all which it inherit, shall dissolve stops the Masque And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff You do look, my son, in a moved sort, As dreams are made on, and our little life As if you were dismay'd: be cheerful, sir. Is rounded with a sleep. Sir, I am vex'd; Our revels now are ended. These our actors, Bear with my weakness; my, brain is As I foretold you, were all spirits and troubled: Are melted into air, into thin air: Be not disturb'd with my infirmity: And, like the baseless fabric of this vision, If you be pleased, retire into my cell The cloud-capp'd towers, the gorgeous palaces, And there repose: A turn or two I'll walk, The solemn temples, the great globe itself, To still my beating mind.

Into thin air, baseless, insubstantial – Shakespeare invention Rack = stage equipment to manage props, curtains, etc.

55 Famous Lines and Speeches

4.1.146 Prospero to Ferdinand, after Prospero stops the Masque ORIGINAL TRANSLATION We are such stuff … We are all made of the stuff of dreams, and As dreams are made on, and our little life our life stretches between the sleep before birth Is rounded with a sleep. Sir, I am vex'd; to the sleep after death. Sir, I’m upset. Please put Bear with my weakness; my, brain is troubled: up with this weakness of mine. My old brain is Be not disturb'd with my infirmity: troubled, but don’t be disturbed by it. If you If you be pleased, retire into my cell would like to, you can go to my cell and relax. I’ll And there repose: A turn or two I'll walk, take a little walk to calm my restless mind. To still my beating mind.

Translation from The Modern Shakespeare Library (has the original with translation, the original alone, and the translation alone.)

56 Famous Lines and Speeches

5.1.30 Prospero to the Alonso at the “catastrophe of the comedy”

Sir, I invite your highness and your train Where I have hope to see the nuptial To my poor cell, where you shall take your rest Of these our dear-beloved solemnized; For this one night; which, part of it, I'll waste And thence retire me to my Milan, where With such discourse as, I not doubt, shall make it Every third thought shall be my grave. Go quick away; the story of my life And the particular accidents gone by Since I came to this isle: and in the morn I'll bring you to your ship and so to Naples,

Cell (FF) – humble dwelling, cottage (did not have the connotation of confinement or prison) Waste (FF) – pass, use up (did not have connotation of excess or trash)

57 Famous Lines and Speeches

5.1.30 Prospero to the Alonso at the “catastrophe of the comedy”

TRANSLATION ORIGINAL And in the morning I’ll bring you to your ship and and in the morn we’ll all go to Naples, where I hope to see the I'll bring you to your ship and so to Naples, wedding our two beloved children. From there, Where I have hope to see the nuptial with my work completed, I will retire to Milan, Of these our dear-beloved solemnized; where I’ll spend my time contemplating my And thence retire me to my Milan, where coming death. Every third thought shall be my grave.

Translation from The Modern Shakespeare Library (has the original with translation, the original alone, and the translation alone.)

58 Famous Lines and Speeches

Epilog Spoken by Propero

Now my charms are all o'erthrown, Gentle breath of yours my sails And what strength I have's mine own, Must fill, or else my project fails, Which is most faint: now, 'tis true, Which was to please. Now I want I must be here confined by you, Spirits to enforce, art to enchant, Or sent to Naples. Let me not, And my ending is despair, Since I have my dukedom got Unless I be relieved by prayer, And pardon'd the deceiver, dwell Which pierces so that it assaults In this bare island by your spell; Mercy itself and frees all faults. But release me from my bands As you from crimes would pardon'd be, With the help of your good hands: Let your indulgence set me free.

Bands = bonds Good hands = applause Want = need Indulgence = forgiveness of sin 59 Why Do We Feel So Inadequate?

From Folger Shakespeare Library publication: “For many people today, reading Shakespeare’s language can be a problem – but it is a problem that can be solved. Those who have studied Latin (or even French or German or Spanish), and those who are use to reading poetry, will have little difficulty understanding the language of Shakespeare’s poetic drama.”

60 Why Do We Feel So Inadequate?

From David Crystal “All fluent modern English speaker have an immensely powerful start, in that they already know over 90 per cent of the language that Shakespeare uses. That remaining 10 percent … should be seen as an opportunity … not as a barrier to be evaded. The sense of achievement, once the energy has been devoted to the task, is tremendous.”

61 Paula Blank

Shakespeare writes in what today we hear as “heightened” language because it is unfamiliar to us. It can seem more creative, poetic, novel than it might have in 1600.

There was no “one” Shakespeare then and there is no “one” Shakespeare today. Each viewer, each generation brings a new understanding to the plays, which is as it should be.

(There is evidence from writings in the 1600s that people have difficulty with the language back then, especially with the later plays.)

62 John McWhorter

… much of Shakespeare’s language is (After watching As You Like It, impossible to comprehend performed by the RSC.) meaningfully in real time, so much I was with four experienced so that most first-time viewers of a theatergoers, and all agreed that the Shakespeare play are understanding scenes I recalled as opaque were grievously less of the meaning than equally so to them as well. I came they are aware. away thinking that one approach to this language issue is to suppose that I am not arguing that Shakespeare’s it is okay to typically miss about a language can be too “dense” or fifth of what Shakespeare’s “poetic,” but that it can be simply characters mean … But I have always incomprehensible because of the yearned for better than this, for passage of time. myself and for everybody else.

63 Reasons to Translate Shakespeare

Nay Yea But, it is Shakespeare I know, but I want to increase my understanding and enjoyment Oh, come on, it really isn’t that hard with a bit There is no way anyone today will understand some of work (?) of the words and expressions Part of the interest is in the history of the Yes, so if you are a linguist, read the original, but language provide me with an alternative Geeze, instead of ONE version, now there will There are multiple versions anyway be multiple Stop complaining and get a version with the Constantly jumping back and forth between the text footnotes and the notes is a pain – one loses the flow Most of the “easy” Shakespeare versions are True - there are better ways to translate laughable at best (painful at worst) It is a slippery slope. Once you start Yes, it is a problem. 64 translating, you can’t start 65 66 67 Shakespeare by the Numbers

36 Plays in the First Folio (1623) of approx. ~38 plays. (John Heminge and Henry Condell) 234 Surviving copies of First Folio from 700 to 1000 printed. 18 Plays printed in Shakespeare’s lifetime (the quartos) 20,000 Words used in Shakespeare’s plays (King James Bible = 8000 words) 7000 Words used only once in his plays 10% Words in Shakespeare’s plays never seen in print before 2000 New words introduced by Shakespeare into English (some estimate 3000 words) 3000 Plays staged in London between 1570 and 1620, 230 plays still exist, ~38 are from Shakespeare. 50000+ Books about Shakespeare and his plays according to one bibliography 4000 Articles and books on Shakespeare published each year. 5000 Books have been published that claim that someone else wrote Shakespeare’s plays and/or sonnets. 68 John McWhorter

John McWhorter, NPR Interview, commenting on a new modern language translation Shakespeare was an entertainer, loved Sometimes, you’d end up losing some crowds, and wanted people of all magnificent structural details. But the question is, what do you want? Do you classes to enjoy his plays. … He would want to listen to an English that we be very down with this. Shakespeare really can no longer take in without would be depressed to watch us sitting being scholars, or will we sacrifice some and pretending to understand one of that exquisiteness so that we can get, tenth of King Lear and going to his say, 90, 95 percent of what the man plays often as a kind of duty. Why don’t meant? we do him proud?