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Shakespeare Sonnets Program
Shakespeare Sonnets Caltech Playreaders, March 16, 2021 Directed by Ann K Lindsey Index: Introductions with Joanne Doyle and Ann Lindsey Part 1 Page 2….. Sonnet 20 sung by John Davidson to Music by Rufus Wainwright Sonnet 128 recited by Greta Davidson Page 3….. Sonnet 8 recited by Diana St James Sonnet 100 recited by Barbie Insua Part 2 Page 4….. Sonnet 105 recited by Cara King Sonnet 143 recited by Diana St James Page 5….. Sonnet 116 recited by Todd Brun Sonnet 25 recited by Carol Elaine Cyr Page 6….. Sonnet 126 recited by Kathryn Bikle Page 7….. Part 3 Hamlet's Soliloquy recited by Tiffany Kim 9 minute pre-taped discussion moderated by Kathryn Bikle Part 4 Page 8…... Sonnet 23 recited by Kathryn Bikle Sonnet 53 recited by Barbie Insua Page 9…... Sonnet 43 recited by Douglas Smith Sonnet 30 recited by Greta Davidson Page 10…. Sonnet 66 recited by Carol Elaine Cyr Part 5 Page 10….. Sonnet 56 recited by Douglas Smith Page 11….. Sonnet 33 recited by Cara King Sonnet 40 sung by Phoebe Kellogg to her original music Page 12….. Sonnet 87 recited by Todd Brun 19 minute pre-taped discussion moderated by Kathryn Bikle Upcoming Caltech Playreaders productions End credits Out-takes Page 2 of 12 Part 1 Sonnet 20 sung by John Davidson A woman's face with nature's own hand painted, Hast thou, the master mistress of my passion; A woman's gentle heart, but not acquainted With shifting change, as is false women's fashion: An eye more bright than theirs, less false in rolling, Gilding the object whereupon it gazeth; A man in hue all hues in his controlling, Which steals men's eyes and women's souls amazeth. -
W. Shakespeare – B. Pasternak – D. Shostakovich. Sonnet 66 (The Question of Artistic Translation)
The Turkish Online Journal of Design, Art and Communication TOJDAC April 2017 Special Edition W. SHAKESPEARE – B. PASTERNAK – D. SHOSTAKOVICH. SONNET 66 (THE QUESTION OF ARTISTIC TRANSLATION) Natalya Borisovna Zubareva Doctor of Arts, Assistant Professor of Theory and History of Music Department, Perm State Institute of Culture. 18 Gazety “Zvezda”st., Perm, Permskiy Krai, 614000 E-mail: [email protected] Tel.: +7-909-109-08-58 ABSTRACT The article is devoted to the 66th Shakespeare sonnet. It deals with the relationships between original text and its translations into another verbal language and language of another arts. The article focuses on intensive dramatic processes in the work caused by changes in the density of sound events and directly linked to the establishment of composition. The results of study allow to say with certainty that it is advisable to apply quantitative methods to evaluation the adequacy of literary translation. KEYWORDS: 66th Shakespeare sonnet, translated by B. Pasternak, D. Shostakovich’s romance, literary translation, quantitative methods of study, fuzzy sets theory. INTRODUCTION Out of all the 154 sonnets by Shakespeare Sonnet 66 stands apart. This sonnet, while having tremendous value in the art of the great poet, vastly impacted the creations of other masters, who translated Shakespeare to other verbal languages and the languages of other arts. At this intersection is the object of our study – Shostakovich romance with lyrics from Sonnet 66 translated by Pasternak. Here we deal with two types of translation: linguistic and musical. The Russian version of the sonnet poses the question of “how much Shakespeare is there in Pasternak’s translation” (Finkel 1968: 172), whereas the key question about Shostakovich romance is “to what extent can musical interpretation be regarded as a translation?” Literature Review Synopsis William Shakespeare was baptized on April 26, 1564, in Stratford-upon-Avon, England. -
Poetry As Correspondence in Early Modern England
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social -
Exploring Shakespeare's Sonnets with SPARSAR
Linguistics and Literature Studies 4(1): 61-95, 2016 http://www.hrpub.org DOI: 10.13189/lls.2016.040110 Exploring Shakespeare’s Sonnets with SPARSAR Rodolfo Delmonte Department of Language Studies & Department of Computer Science, Ca’ Foscari University, Italy Copyright © 2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract Shakespeare’s Sonnets have been studied by rhetorical devices. Most if not all of these facets of a poem literary critics for centuries after their publication. However, are derived from the analysis of SPARSAR, the system for only recently studies made on the basis of computational poetry analysis which has been presented to a number of analyses and quantitative evaluations have started to appear international conferences [1,2,3] - and to Demo sessions in and they are not many. In our exploration of the Sonnets we its TTS “expressive reading” version [4,5,6]1. have used the output of SPARSAR which allows a Most of a poem's content can be captured considering full-fledged linguistic analysis which is structured at three three basic levels or views on the poem itself: one that covers macro levels, a Phonetic Relational Level where phonetic what can be called the overall sound pattern of the poem - and phonological features are highlighted; a Poetic and this is related to the phonetics and the phonology of the Relational Level that accounts for a poetic devices, i.e. words contained in the poem - Phonetic Relational View. -
Saudi Journal of Humanities and Social Sciences (SJHSS) ISSN 2415-6256 (Print) a Stylistic Approach of William Shakespeare's
Saudi Journal of Humanities and Social Sciences (SJHSS) ISSN 2415-6256 (Print) Scholars Middle East Publishers ISSN 2415-6248 (Online) Dubai, United Arab Emirates Website: http://scholarsmepub.com/ A Stylistic Approach of William Shakespeare’s “SONNET 138” Most Farhana Jannat* Lecturer, Department of English Bangladesh University of Professionals, Mirpur Cantonment, Dhaka, Bangladesh Abstract: This paper aims to analyze the sonnet 138 written by William *Corresponding author Shakespeare from a stylistic point of view. The division of Shakespeare‟s sonnets Most Farhana Jannat is shown. A short introduction to both style and stylistics in literature are written. For further facilitation, a short introduction to Shakespeare, the sonnet 138 and its Article History themes are given. The stylistic analysis of the sonnet is shown from four sides. Received: 23.11.2017 Graphological, grammatical, phonological and lexical analyses are shown. This Accepted: 04.12.2017 paper will help to understand the structure and style of Shakespeare‟s sonnet Published: 30.12.2017 number 138. Moreover, the themes and ideals of Shakespeare will also be understood. DOI: Keywords: Sonnet, style, stylistic, graphological analysis, lexical analysis, 10.21276/sjhss.2017.2.12.1 grammatical analysis, phonological analysis, Shakespeare INTRODUCTION William Shakespeare is well known worldwide for his 154 sonnets. The critics believe that, among them, the first 1-126 is about the Fair Youth or the Earl of Southampton while the rest of the sonnets are written about the dark lady. Sonnet 138, among all the other sonnets in the sequence, is one of the most well- known sonnets. In this particular sonnet, the poet continues in his quest of self- criticism but mixes it with a unique love for the dark lady. -
New Sonnets.Indd
Contents ____________________________________________ About This Volume . vii THE AUTHOR & HIS WORK Biography of William Shakespeare . 3 Shakespeare the Poet . 7 Introduction to Shakespeare's Sonnets . 14 The Lasting Allure of Shakespeare's Sonnets . 18 HISTORICAL & LITERARY CONTEXTS English Poetry in the Sixteenth Century . 29 Does Shakespeare's Life Matter? . 41 The Sins of the Sonnets . 51 Shakespeare (Not?) Our Contemporary: His Sonnets and More Recent Examples . 65 CLOSE READINGS OF 25 SONNETS Sonnet 1 . 75 Sonnet 18 . 77 Sonnet 19 . 79 Sonnet 20 . 81 Sonnet 29 . 83 Sonnet 30 . 85 Sonnet 31 . 87 Sonnet 53 . 89 Sonnet 54 . 91 Sonnet 57 . 93 Sonnet 73 . 95 Sonnet 90 . 97 Sonnet 94 . 99 Sonnet 97 . 101 Sonnet 98 . 103 Sonnet 102 . 105 Sonnet 104 . 107 Sonnet 106 . 109 Sonnet 109 . 111 Sonnet 116 . 113 Sonnet 129 . 115 Sonnet 130 . 117 Sonnet 141 . 119 v Sonnet 146 . 121 Sonnet 151 . 123 CRITICAL READINGS 1: FORM & TECHNIQUE The Form of Shakespeare's Sonnets . 127 Vocabulary and Chronology: The Case of Shakespeare's Sonnets . 137 Sound and Meaning in Shakespeare's Sonnets . 149 Ambiguous Speaker and Storytelling in Shakespeare's Sonnets . 170 Secrets of the Dedication to Shakespeare's Sonnets . 183 CRITICAL READINGS 2: MAIN THEMES Four Pivotal Sonnets: Sonnets 20, 62, 104, 129 . 195 Shakespeare's Sonnets and the History of Sexuality . 207 Shylock in Love: Economic Metaphors in Shakespeare's Sonnets . 223 Hoarding the Treasure and Squandering the Truth: Giving and Posessing in Shakespeare's Sonnets to the Young Man. .235 Without Remainder: Ruins and Tombs in Shakespeare's Sonnets . 245 Ecosystemic Shakespeare: Vegetable Memorabilia in the Sonnets . -
Sonnet 81 Your Name from Hence Immortal Life Shall Have I, Once Gone, to All the World Must Die Your Monument Shall Be My Gentle Verse 3 April 1601
1 THE “SHAKESPEARE” SACRIFICE YOUR MONUMENT DAY FIFTY-FIVE IN THE TOWER Sonnet 81 Your Name From Hence Immortal Life Shall Have I, Once Gone, To All The World Must Die Your Monument Shall Be My Gentle Verse 3 April 1601 Oxford records the reason for what will become "the Shakespeare mystery” in a single verse. He testifies that he faces the obliteration of his identity “to all the world” because of his sacrifice to gain ultimate liberation for his royal son, Henry Wriothesley, from the Tower of London. He vows to construct the Monument of the Sonnets to preserve this truth “which eyes not yet created shall o’er-read.” This sonnet is a glorious homage to Southampton as a king. Sonnet 81 Translation Or I shall live your Epitaph to make, Whether I survive to create your epitaph Or you survive when I in earth am rotten, Or you continue living when I am dead, From hence your memory death cannot take, From now on death can’t destroy your identity, Although in me each part will be forgotten. Even if everything about me is forgotten. Your name from hence immortal life shall have From now on, you will live forever as Henry IX, Though I (once gone) to all the world must die. Though I, when dead, cannot be linked with you. The earth can yield me but a common grave, I will go to my grave like a commoner, When you entombed in men’s eyes shall lie. While you live in these sonnets, which entomb you. -
HOGUE-DISSERTATION-2019.Pdf (1.297Mb)
LEAF, BARK, THORN, ROOT: ARBOREAL ECOCRITICISM AND SHAKESPEAREAN DRAMA by Jason Charles Hogue DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington May, 2019 Arlington, Texas Supervising Committee: Amy L. Tigner, Supervising Professor Stacy Alaimo Jacqueline Fay ABSTRACT Leaf, Bark, Thorn, Root: Arboreal Ecocriticism and Shakespearean Drama Jason Charles Hogue, Ph.D. The University of Texas at Arlington, 2019 Supervising Professor: Amy L. Tigner Leaf, Bark, Thorn, Root traces the appearance of trees and their constituent parts in five Shakespearean plays: Macbeth, The Tempest, 3 Henry VI, Richard III, and As You Like It. The dissertation shows how these plays reveal arboreal agencies intra-acting with the characters of the play-texts by assessing the mergings of human and arboreal bodies, as well as instances of hacking and hewing inflicted across these bodies. Taking a posthumanist approach informed by ecomaterialism, critical plant studies, and affect theory, I argue that these sites of painful human- arboreal encounter in Shakespeare’s plays initiate potentials for thinking-with and feeling-with, across not only species (in the spirit of Donna Haraway’s Companion Species Manifesto) but also across biological kingdoms. Throughout the dissertation, I complicate philosopher Michael Marder’s theories of plant-thinking via these early modern depictions of and relations to trees, whose complex existences inform the texts in multiple registers. The trees of Shakespeare offer ways into theorizing plant-being that not only reflect early modern preoccupations but also resonate across the centuries, potentially serving as a bridge between historicist and presentist methodological concerns, a useful nexus for facing looming ecological issues like climate change, the effects of which long-lived trees bear bodily witness in their annual growth rings and in the shifting of leaf longevity. -
With the Sonnets Now Solved... 1601
Vol.3:no.4 "Let me not to the marriage of true minds admit impediments..." Summer 2004 A year in the life With the Sonnets 1601: “authorize now solved... thy trespass is the debate resolved? with compare...” By William Boyle By Hank Whittemore n the 395 years since the 1609 his column ordinarily looks at quarto of Shake-speares Son- contemporary events of a given I nets was published more than T year in the life of Edward de 1,800 books have been written about Vere, 17th Earl of Oxford, and the them. The biggest problem in present chapter focusing on 1601 is achieving an understanding has no exception. This time, however, been that most of the authors have we also draw upon the collection had the wrong Shakespeare, which entitled Shake-Speares Sonnets, first immediately precluded ever deter- printed in 1609, as a genuine his- mining the actual circumstances torical and political document that under which they were written. complements and supplements the Even among Oxfordians (who as- official record. In doing so the col- sume of course that they do have umn introduces some of the themes the correct author) the Sonnets The most famous title page in and data compiled in my forthcom- have been a contentious conun- The notoriously enigmatic literary history, announcing ing book The Monument, a new dedication seems to cry out drum, with various Oxfordian au- to the world the poetry with edition of the Sonnets that sets cipher (and there is one there), thors over the years going in vari- which Shakespeare both un- forth (for the first time, we believe) but in the end the Sonnet ous directions searching for the locked his heart and told his solution is revealed only when ever-elusive “correct” answer to story. -
Shakespeare's Sonnets in Russian
Shakespeare’s Sonnets in Russian: The Challenge of Translation Elena Rassokhina Umeå Studies in Language and Literature 37 Department of Language Studies Umeå University 2017 Department of Language Studies Umeå University SE-901 87 Umeå http://www.sprak.umu.se This work is protected by the Swedish Copyright Legislation (Act 1960:729) © 2017 Elena Rassokhina ISBN: 978-91-7601-681-7 Front cover illustration: Elena Rassokhina, Aleksei Zakharov, Anja Rassokhina Electronic version accessible via http://umu.diva-portal.org/ Umeå Studies in Language and Literature 37 Printed by: Print & media, Umeå University Distributed by: eddy.se ab, Visby Umeå, Sweden 2017 To study Shakespeare in translation is just another way to find him. Ton Hoenselaars The translation of verse is impossible. Every time is an exception. Samuil Marshak Table of Contents Table of Contents i Abstract iii List of Articles v Acknowledgements vii A note on transliteration and translation ix Preface 1 1. Introduction 3 1.1. Shakespeare’s sonnets as a Russian literary phenomenon 3 1.2. Objectives of the research and methodology 5 1.3. Disposition of the thesis 6 1.4. Sources and limitations 7 1.5. Critical studies of the sonnets and their translations into Russian 8 1.6. Theoretical background 11 1.6.1. Translation and norms 11 1.6.2. Translation as rewriting 12 1.6.3. Translations and retranslations 13 1.6.4. Translatability and poetic translation 17 2. The context of Shakespeare’s sonnets 25 2.1. The sonnets and translation competence 25 2.2. Date of composition and the author’s intentions 26 2.3. -
William Shakespeare. Total Number of Sonnets – One Hundred and Fifty Four
Study material for second semester students CC- IV (section- A) Shakespeare’s sonnet sequence Writer – William Shakespeare. Total number of sonnets – one hundred and fifty four. Publication history- two of Shakespeare’s sonnets (sonnet 138 and 144) were first published in a collection titled The Passionate Pilgrim in the year 1599. Thomas Thorpe in the year 1609 published a quarto edition containing one hundred fifty four sonnets by Shakespeare. Dedication – The sonnet sequence is dedicated to a mysterious Mr. W.H. Division: the first one hundred twenty six sonnets (1-126) are dedicated to an unnamed young man often mentioned as the ‘Fair Youth’. The last two sonnets (153 & 154) are addressed to Cupid and the rest of the sonnets (127-52) are dedicated to a mysterious woman or the Dark Lady. There is a fierce debate regarding the true identity of the ‘Fair Youth’ and the Dark Lady among Shakespeare scholars. Though some scholars propose that either William Herbert, 3rd Earl of Pembroke or Henry Wriothesley, 3rd Earl of Southampton is most likely the mysterious young man and Mary Fitton is probably the Dark Lady of Shakespeare’s sonnet sequence, there is no irrefutable proof and therefore the debate is never resolved. Form – Barring a few exceptions, the sonnets of the sequence are written in Shakespearean sonnet style containing three quatrains and a final couplet. The sonnets generally are written in iambic pentameter. The sonnets follow the rhyme scheme abab cdcd efef gg. Exceptions- sonnet 99 has fifteen lines in stead of fourteen. Sonnet 126 has twelve lines written in the form of six couplets. -
Suggested Sonnets the English-Speaking Union National Shakespeare Competition INDEX of SUGGESTED SONNETS
Suggested Sonnets The English-Speaking Union National Shakespeare Competition INDEX OF SUGGESTED SONNETS Below is a list of suggested sonnets for recitation in the ESU National Shakespeare Competition. Sonnet First Line Pg. Sonnet First Line Pg. 2 When forty winters shall besiege thy brow 1 76 Why is my verse so barren of new pride 28 8 Music to hear, why hear’st thou music sadly? 2 78 So oft have I invok’d thee for my muse 29 10 For shame deny that thou bear’st love to any, 3 83 I never saw that you did painting need 30 12 When I do count the clock that tells the time 4 90 Then hate me when thou wilt, if ever, now, 31 14 Not from the stars do I my judgment pluck, 5 91 Some glory in their birth, some in their skill, 32 15 When I consider everything that grows 6 97 How like a winter hath my absence been 33 17 Who will believe my verse in time to come 7 102 My love is strengthened, though more weak… 34 18 Shall I compare thee to a summer’s day? 8 104 To me, fair friend, you never can be old, 35 20 A woman’s face with Nature’s own hand painted 9 113 Since I left you, mine eye is in my mind, 36 23 As an unperfect actor on the stage 10 116 Let me not to the marriage of true minds 37 27 Weary with toil, I haste me to my bed, 11 120 That you were once unkind befriends me now, 38 29 When in disgrace with fortune and men’s eyes 12 121 ’Tis better to be vile than vile esteemed, 39 30 When to the sessions of sweet silent thought 13 124 If my dear love were but the child of state, 40 34 Why didst thou promise such a beauteous day 14 126 O thou, my lovely boy, who in thy power 41 40 Take all my loves, my love, yea, take them all.