1. Shakespeare’s Poetics Week 2 // Winter 2015

2. Paper grading Winter Paper Grading Rubric 5 pts – Analysis 5 pts – Claim 5 pts – Organization 5 pts – Method 20pts

3. Shakespeare Paper Two main requirements: 1.Formal analysis of the text 2.Claim about Shakespeare’s insights into language

4. Analyzing Shakespeare So far we have performed one or two readings built on an analysis of figurative language (pun, double-entendre, metaphor) and the theme of language. I want to try and incorporate a more detailed attention to poetics (rhythm, rhyme, metrics/scansion, musical effect) in our readings.

5. Formal Analysis: Metrics/Scansion Metrics is one terminology used by scholars to describe (specifically and objectively) the tonal and aural effects of language and music. It is a way for you to say specifically what poetry sounds like, and can be helpful in generating interpretations based on tone, pace, and intonation. It gives you a language to talk about how the sound and spirit of the poetry contributes to an overall meaning.

6. Formal Analysis: Metrics/Scansion According to Russ McDonald, in Shakespeare, “such subtle variations help to shape the mood and meaning of a speaker’s words” (52). In what way does rhythm/rhyme “shape meaning”? How does the play reflect upon the effect of sounds, music, etc?

7. Formal Analysis: Metrics/Scansion Formally scan the poem, map out its metrics and look for patterns. Look for other tonal effects: alliteration and assonance; natural pauses, tensions; pacing and types of rhythm What does the poetry sound like when you read it carefully? What does your ear notice?

8. Formal Analysis: Metrics/Scansion REMEMBER! – Repetition of sounds is what gives the words a musical quality. – AT THE SAME TIME, variationis more the rule than not, and creates its own interesting effects.

9. Formal Analysis: Metrics/Scansion By the shores of Gitche Gumee, By the shining Big-Sea-Water, Stood the wigwam of Nokomis, Daughter of the Moon, Nokomis. When I was one-and-twenty I heard a wise man say, 'Give crowns and pounds and guineas But not your heart away;

10. Formal Analysis: Metrics/Scansion Antonio: If you but knew how you the purpose cherish Whiles thus you mock it; how, in stripping it, You more invest it! Ebbing men, indeed, Most often do so near the bottom run By their own fear or sloth. (36) ----------- Stephano:I shall no more to sea, to sea; Here shall I die ashore.

11. Ferdinand. Admired Miranda! Indeed the top of admiration, worth What’s dearest to the world! Full many a lady I have eyed with best regard, and many a time Th’ harmony of their tongues hath into bondage Brought my too diligent ear. For several virtues Have I liked several women; never any With so full soul but some defect in her Did quarrel with the noblest grace she owed, And put it to the foil. But you, O you, So perfect and so peerless, are created Of every creature’s best. Act III, Scene i 40 45

12. Caliban. Be not afeard; the isle is full of noises, Sounds and sweet airs that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears; and sometimes voices That, if I then had waked after long sleep, Will make me sleep again; and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me, that, when I waked, I cried to dream again. Stephano. This will prove a brave kingdom to me, where I shall have my music for nothing. Act III, Scene ii 140 145

13. Prospero. You do look, my son, in a moved sort, As if you were dismayed; be cheerful, sir. Our revels now are ended. These our actors, as I foretold you, were all spirits and Are melted into air, into thin air; And, like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vexed. Act IV, Scene i 150 155

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