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An Alternative Mode of Communication: Songs and Singing in Shakespeare's Tragedies

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An Alternative Mode of Communication: Songs and Singing in Shakespeare's Tragedies T. C. İstanbul Üniversitesi Sosyal Bilimler Enstitüsü Batı Dilleri ve Edebiyatları Anabilim Dalı İngiliz Dili ve Edebiyatı Bilim Dalı Doktora Tezi An Alternative Mode of Communication: Songs and Singing in Shakespeare’s Tragedies F. Zeynep Bilge 2502020012 Tez Danı şmanı Doç. Dr. Murat Seçkin İstanbul, 2008 “An Alternative Mode of Communication: Songs and Singing in Shakespeare’s Tragedies” F. Zeynep Bilge ÖZ Müzik ve tiyatro antik Yunan tragedyasının ortaya çıkı şından itibaren yakın ili şki içindedir. Antik Yunan tragedyasındaki “koro” şarkı söyleyerek oyunun içeri ği hakkında yorum yapan karakterler bütünü olarak dil ve müzik arasında bir köprü görevi üstlenmektedir. Batı dünyasında ataerkil toplum yapısının bir uzantısı olarak dil, egemen eril gücü elinde tutan beyaz, üst sınıf, Hıristiyan batılı erke ğe hizmet etmektedir. Bu tanımın dı şında kalan karakterler toplumu olu şturan tüm kurum ve katmanlardan dı şlanmakta, kenara itilmektedirler. Bu çalı şma müzik ve şarkının ileti şimsel i şlevlerini irdeledikten sonra, Öteki ve Ötekile ştirme kavramları ı şığında William Shakespeare’in Hamlet , Othello ve King Lear yapıtlarında şarkı söyleyen karakterlerin ataerkil toplum yapısı içindeki konumlarını ve bu karakterlerin söyledikleri balad ve şarkıların oyun içindeki ileti şimsel i şlevlerini incelemektedir. Bu çalı şma, ataerkin egemen oldu ğu toplum düzeninde dı şlanan karakterlerin ataerkil gelenek ve normlara yönelik ele ştirilerini ve oyun boyunca deneyimlediklerini yorumlayı şlarını şarkılar aracılı ğıyla dile getirdikleri öne sürmektedir. Bu amaçla tartı şma, hem şarkı söyleyen karakterlerin toplumdaki yerleri ile şarkıların içerikleri hem de şarkıların içerikleri ile söylendikleri ortam arasındaki ili şki üzerine kurulmaktadır. ABSTRACT Since the birth of ancient Greek tragedy, music and drama are known to have a close relationship. The Chorus, as the commentator in Greek tragedy, connects verbal language and singing on the stage. As an extention of the patriarchal structure verbal language is constructed by and for the patriarch, who is defined as the white, Christian, adult, upper class male. Those who are not defined through these terms are marginalized within the patriarchal structure. This study, after examining the communicative functions of music and songs, discusses the position of the singing characters in William Shakespeare’s Hamlet , Othello and King Lear as well as the communicative function of the ballads and songs that are sung in these plays through the notion of the Other. This study suggests that the marginalized characters in these tragedies criticize the patriarchal social order and comment upon their experiences through singing more freely than they do in verbal language. Hence, the discussion that is presented in this study is based upon the relationship between the song lyrics and the position of the singing characters within society as well as the relationship between the lyrics and the contexts in which they are sung. iii PREFACE Music and drama have had a close relationship since the birth of tragedy in ancient Greece. Through the chorus, which functions as a sort of commentator without being involved into the action, singing is introduced into tragedy. The singing characters in William Shakespeare’s tragedies, however, are involved into the action to the extent that varies from one play to the other. Nevertheless, it is clearly observed that these characters, like the chorus in ancient Greek tragedy, comment upon their personal experiences and criticize the patriarchal structure that introduces chaos, while trying to impose order and a certain hierarchy upon society. Moreover, it is significant to note that the uneasiness the singing characters feel about patriarchal structure is reflected in their relation to verbal language as well. In order to criticize the system that is understood be spread out in all institutions and levels of society, these characters, who are marginalized in various ways, use songs and singing as an alternative way of expression. Although the main focus of this study, the songs that are sung in Hamlet , Othello and King Lear , are a combination of lyrics and melodies, the main framework examines the lyrics in relation to the context the songs are sung as well as the singing characters’ relation to patriarchal power. The major problem about the analysis of songs is related to their melodies. Since there are no musical records surviving from the first production of these plays, there are various versions of most of the songs and ballads that are discussed in this study. It is also significant to note that the analysis of these melodies related to the psychology of the characters singing them would be based on assumptions because there is no objective methodology on the relationship between music and the psychology of the musician or the singer. That is the reason why I have decided not to analyse the melodies I have found during my research on the subject. Instead, samples of musical sheets are presented in the Appendix to give the reader clues about the possible melodies of the songs in question. I feel obliged to state that, although this dissertation combines my two passions, music and Shakespeare, the writing process has been a great challenge. Hence, I am iv greatly indebted to certain people whose academic help and presence in my life encouraged me to complete this study. First of all, I would like to express my gratitude to my advisor Associate Professor Murat Seçkin for his intellectual guidance and moral support throughout the research and writing process. I feel blessed for being able to work with such a tolerant academician, who has been inspiring me for the last seven years. I would also like to express my gratitude to Professor Zeynep Ergun, who has encouraged me to study this particular subject. I am greatly indebted to her for her guidance, teaching and moral support, which have been enlightening my academic and personal life for the last thirteen years. I am also grateful to Professor Dikmen Gürün for her contribution and support during the writing process. Lecturer İpek Mine Altınel (Mimar Sinan University, State Conservatory) and Lecturer Aydın Büke (Yıldız Technical University, Art and Design Faculty) have been great help in discussing the melodies of the songs that are examined in this study. I also need to express my gratitude to my colleagues in the Department of English Language and Literature for their continuous moral and bureaucratic support. Professor Esra Meliko ğlu, Assistant Professor Canan Şavkay, Assistant Professor Yıldız Kılıç, Assistant Professor Arpine Mızıkyan, Lecturer Buket Akgün, Lecturer Ay şegül Toroser Ate ş, Research Assistant Şeyda İnceo ğlu, Research Assistant Nuri Ate ş, Research Assistant Ferah Yazıcı, Research Assistant Özlem Karada ğ and Research Assistant Sinem Yazıcıo ğlu (Department of Translation Studies) have brightened my mind and spirit, and showed patience with my never-ending questions and complaints. Another source of inspiration and motivation is Istanbul European Choir, which has been giving me the opportunity to perform the great compositions of classical music for the last nine years. I am thankful to the members of the choir for sharing music with me in all the good and bad times. Lastly, I would like to thank my mother Ay şe Bilge and my deceased father Ali Aydın Bilge for introducing music and literature into my life. They are the ones who taught me the merit of dedication, discipline and compassion. Without my mother’s enormous support, understanding and insight, I would never have been able to complete this study. v CONTENTS Öz / Abstract .................................................................................................................iii Preface ...........................................................................................................................iv Contents .........................................................................................................................vi Introduction ....................................................................................................................1 Chapter I. Singing as an Alternative Language............................................................12 A. The Birth of Tragedy and the Marginalized Character.................................12 B. The Communicative Aspect of Music and Songs.........................................36 Chapter II. “In youth when I did love, did love”: Songs of Love and Death in Hamlet ...........................................................................................................................53 Chapter III. “From this time forth I never will speak a word”: Songs from the Tavern and the Death-bed in Othello ..........................................................................................89 Chapter IV. “This cold night will turn us all to fools and madmen”: Songs of Folly in King Lear ......................................................................................................................130 Conclusion......................................................................................................................172 Appendix........................................................................................................................182 Bibliography..................................................................................................................186 Özgeçmi ş.......................................................................................................................202
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