READING SHAKESPEARE

Understanding the Bard

UNDERS TAN DIN G SHAKESPEAR E’S LANGUAGETo get the most from reading Shakespeare’s works,

• Watch for footnotes as you read. • Footnotes define archaic words or familiar

words with unfamiliar meanings.• Footnotes also explain idioms of the time

and historical background.• Let the punctuation guide your reading.

• Do not pause or stop at the end of a line unless you see punctuation there.

• Do pause or stop for punctuation that occurs in the middle of a line.

POETRY VS. PROSEDialogue in Shakespeare’s plays is presented in either poetry or prose form.

• Pay attention to which form a character’s speech uses, because the form can give you information about that character’s importance or rank.

• Poetry is usually used for the speech of important or noble characters.

• Prose is usually used for the speech of less-important or lower-ranking characters.

• In special situations, a high-ranking character may speak in prose or a low-ranking character may speak in poetry.

SHAKESPEARE’S USE OF POETRY

Poetic dialogue may be either blank verse or rhymed verse. • Blank verse is unrhymed but has a distinct rhythm.

Shakespeare’s poetry often follows a rhythm called iambic pentameter, in which ten syllables alternate between unstressed and stressed. Here is an example from Julius Caesar:

The evil that men do lives after them,

The good is oft interrèd with their bones.

˘ ´ ˘ ´ ˘ ´ ˘ ´ ˘ ´ ˘ ´ ˘ ´ ˘ ´ ˘ ´ ˘ ´

SHAKESPEARE’S USE OF POETRY

• Shakespeare sometimes divides a line of poetry between two or more characters. The division may be shown by beginning the next character’s part of the line just after, but one line below, the previous part. Here is an example from Julius Caesar:

˘ ´ Who’s there?

Casca. A Roman.

Cassius. Casca, by your voice.

˘ ´ ˘

´ ˘ ´ ˘ ´

Cassius.

LET’S PRACTICETry putting this passage from Julius Caesar into your own words:Brutus.

Let me see, let me see; is not the leaf turned down Where I left reading? Here it is, I think.[Enter the GHOST of Caesar.] How ill this taper burns. Ha! Who comes here? I think it is the weakness of mine eyes That shapes this monstrous apparition. It comes upon me. Art thou anything?

LET’S PRACTICEFirst, read the passage while paying attention to punctuation. Also, note what the use of poetry or prose might tell you about the character, subject, or tone.Brutus.

Let me see, let me see; is not the leaf turned down Where I left reading? Here it is, I think.[Enter the GHOST of Caesar.] How ill this taper burns. Ha! Who comes here? I think it is the weakness of mine eyes That shapes this monstrous apparition. It comes upon me. Art thou anything?

LET’S PRACTICEThen, pick out words or phrases that sound archaic or confusing. Use any footnotes provided.Brutus.

Let me see, let me see; is not the leaf turned down Where I left reading? Here it is, I think.[Enter the GHOST of Caesar.] How ill this taper burns. Ha! Who comes here? I think it is the weakness of mine eyes That shapes this monstrous apparition. It comes upon° me. Art thou anything?

ºupon: toward

LET’S PRACTICEHere is one way to rephrase the passage:

Brutus. Let me see, let me see; didn’t I dog-ear the page Where I left off reading this book? Here’s my place, I

think.[The GHOST of Caesar enters.] The light from this candle is weak. Hey! Who’s there? My vision is fuzzy; I must be seeing things. No, it’s coming toward me. What are you?