Rhetoric Workshop Presentation: Rhetoric, Part I DENNIS KRAUSNICK DIRECTOR OF TRAINING SHAKESPEARE & COMPANY 70 KEMBLE STREET LENOX, MA 01240 Understanding and Using the First Folio On the cusp: Oral Culture to Literate Culture Editing Poetry for a Reading Audience Iambic Pentameter and Breath: the Line of Verse Elizabethan Long Spellings and what they mean Elizabethan Capital Letters and what they mean Elizabethan Punctuation and what it means Understanding Shakespeares Prose Vio. I left no Ring with her: what meanes this Lady? Fortune forbid my out-side haue not charm'd her: She made good view of me, indeed so much, That me thought her eyes had lost her tongue, For she did speake in starts distractedly. She loues me sure, the cunning of her passion Inuites me in this churlish messenger: None of my Lords Ring? Why he sent her none; I am the man, if it be so, as tis, Poore Lady, she were better loue a dreame: Disguise, I see thou art a wickednesse, Wherein the pregnant enemie does much. How easie is it, for the proper false In womens waxen hearts to set their formes: Alas, O frailtie is the cause, not wee, For such as we are made, if such we bee: How will this fadge? My master loues her deerely, And I (poore monster) fond asmuch on him: And she (mistaken) seemes to dote on me: What will become of this? As I am man, My state is desperate for my maisters loue: As I am woman (now alas the day) What thriftlesse sighes shall poore Oliuia breath? O time, thou must vntangle this, not I, It is too hard a knot for me t' vnty. VIOLA I left no ring with her: what means this lady? Fortune forbid my outside have not charm'd her! She made good view of me; indeed, so much, That sure methought her eyes had lost her tongue, For she did speak in starts distractedly. She loves me, sure; the cunning of her passion Invites me in this churlish messenger. None of my lord's ring! why, he sent her none. I am the man: if it be so, as 'tis, Poor lady, she were better love a dream. Disguise, I see, thou art a wickedness, Wherein the pregnant enemy does much. How easy is it for the proper-false In women's waxen hearts to set their forms! Alas, our frailty is the cause, not we! For such as we are made of, such we be. How will this fadge? my master loves her dearly; And I, poor monster, fond as much on him; And she, mistaken, seems to dote on me. What will become of this? As I am man, My state is desperate for my master's love; As I am woman,--now alas the day!-- What thriftless sighs shall poor Olivia breathe! O time! thou must untangle this, not I; It is too hard a knot for me to untie! Romeos Stars: Evolution of the text through performance? through editing? Folio printed from production copy? Loves Labours Lost : Variant spellings of me four times in four lines: indicating how the joke works. Rom. He jeasts at Scarres that never felt a wound, But soft, what light through yonder window breaks? It is the East, and Juliet is the Sunne, Arise faire Sun and kill the envious Moone, Who is already sicke and pale with griefe, That thou her Maid art far more faire then she: Be not her Maid since she is envious, Her Vestal livery is but sicke and greene, And none but fooles do weare it, cast it off: It is my Lady, O it is my Love, O that she knew she were, She speakes, yet she sayes nothing, what of that? Her eye discourses, I will answere it: I am too bold 'tis not to me she speakes: Two of the fairest starres in all the Heaven, Having some businesse do entreat her eyes, To twinckle in their Spheres till they returne. What if her eyes were there, they in her head, The brightnesse of her cheeke would shame those, As day-light doth a Lampe, her eye in heaven, Would through the ayrie Region streame so bright, That Birds would sing, and thinke it were not night: See how she leanes her cheeke upon her hand. O that I were a Glove upon that hand, That I might touch that cheeke. Information contained in Long Spellings and Capital Letters typographical errors:wh?chR&J (usually distinguishable from long spellings.) Compositor spelling preferences: Compositor A:doe, dearelyHistories, p 159 Compositor B:do, go, deere. HeereHistories, p 181 Add terminal e to words ending in a consonant: moon (short)moone (long)R&J Final consonant doubled and add terminal e: sun (short)sunne (long)R&J dog (short)dogge (long)MSND pin (short)pinne (long)Rich II Double sound of final consonant and add terminal e: musik (short)musicke (long)Hamlet Use y instead of i: died / dide (short)dyde (long)Macbeth Change u to w (or double-u)! pause (short)pawse (long)Hamlet Double an internal vowel: lose (short)looseHamlet Non- Rhetorical Spellings Variations: Some ways to Identify Long Spellings in the First Folio Text Ham. To be, or not to be, that is the Question: Whether 'tis Nobler in the minde to suffer The Slings and Arrowes of outragious Fortune, Or to take Armes against a Sea of troubles, And by opposing end them: to dye, to sleepe No more; and by a sleepe, to say we end The Heart-ake, and the thousand Naturall shockes That Flesh is heyre too? 'Tis a consummation Deuoutly to be wish'd. To dye to sleepe, To sleepe, perchance to Dreame; I, there's the rub, For in that sleepe of death, what dreames may come, When we haue shuffel'd off this mortall coile, Must giue vs pawse. There's the respect hat makes Calamity of so long life: For who would beare the Whips and Scornes of time, The Oppressors wrong, the prowd mans Contumely, The pangs of dispriz'd Loue, the Lawes delay, The insolence of Office, and the Spurnes That patient merit of the vnworthy takes, When he himselfe might his Quietus make With a bare Bodkin? Who would these Fardles beare To grunt and sweat vnder a weary life, But that the dread of something after death, The vndiscouered Countrey, from whose Borne No Traueller returnes, Puzels the will, And makes vs rather beare those illes we haue, Then flye to others that we know not of. Thus Conscience does make Cowards of vs all, And thus the Natiue hew of Resolution Is sicklied o're, with the pale cast of Thought, And enterprizes of great pith and moment, With this regard their Currants turne away, And loose the name of Action. Capitol Letters: Masculine Intellectual Driving Long Spellings: Feminine Emotional Embracing Sententia: A complete universe of thought Note all sentences within the speech begin in the middle of the line of verse. Capitol Letters: Intellectual Drive Long Spellings: Emotional Content Sententia: A complete universe of thought. Note all sentences within the speech begin in the middle of the line of verse. Proper names are always Capitalized within the Folio text. Character names are always Capitalized and Italicized within the Folio text. Recognizing Non-Rhetorical Elements of Style: Rhetorical Punctuation: Understanding the Elizabethan sense of punctuation and how it supports the emotional and structural demands of rhetoric can increase the actors ability to add punctuation to her/his tool kit in making Shakespeares text accessible to a wider audience. 16 th Century writers used punctuation to shape thought rather than conform to a pre-existing set of rules governing the relationship between parts of speech. The dash: an emotional response to what is being spoken either by the speaker or another person. It may also indicate a character interrupted by another character or event. Parentheses: a further definition by the speaker, so light that it does not affect the development of thought The comma, a light shaping of the development of thought The semicolon: a development of thought driven by an emotional response to the phrase it follows The colon: a development of thought driven by an intellectual energy which propels and expands the thought The period (full stop): Marks the end of the universe of thought. After the period, the speaker enters an entirely new (not necessarily unrelated) thought. Parentheses : The lightest shaping of thought e.g: 1.Address 2. Address 3. Potential exception 4. Further specificity 5. Example 6. Direct to Audience Note that the information in the parenthesis does not alter the larger thought within which it is found. Uses of Parenthesis Comma Semi-colon Colon Period (in black) Demonstrating the chaotic disintegration of Leontes frantic, restless, desperate mind. Elizabethan Punctuation: information for the actor: It is most useful to consider the question mark and the exclamation point neither as major nor minor punctuation. They signal the potential of a question on the part of the speaker/writer; however that question may well be rhetorical: i.e. not expecting an articulated response. One way of thinking about the distinction between the exclamation point and the question mark is that the exclamation point signals a sudden illumination/insight which the speaker realizes is widely known, even as he/she speaks it: What a piece of work is a man! The question mark, on the other hand, may signal, not a question, but an in-the-moment realization on the part of the speaker who is expanding on this insight as he/she speaks: How noble in reason?Another way of describing this phenomenon is to say that for the Elizabethan, the question mark is sometimes a lower-case exclamation point Riverside What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving, how express and admirable in action, how like an Angel in apprehension, how like a god! the beauty of the world; the paragon of animals; And yet to me me what is this quintessence of dust? Man delights not meno nor woman neither, though by your smiling you seem to say so. First Folio What a piece of worke is a man! how Noble in reason? how infinite in faculty? in forme and moving how expresse and admirable? in Action, how like an Angel? in apprehension, how like a God? the beauty of the world, the Parragon of Animals; and yet to me, what is this Quintessence of Dust? Man delights not me; no nor Woman neither; though by your smiling you seeme to say so. Blue represents an element changed or lost in the Riverside. A modern editors changes in the First Folio lineation in order to make as many lines as possible fit the assumed superiority of iambic pentameter. Punctuation: Orlando: Opening of As You Like It As I remember Adam, it was vpon this fashion bequeathed me by will, but poore a thousand Crownes, and as thou saist, charged my brother on his blessing to breed mee well: and there begins my sadnesse: My brother Iaques he keepes at schoole, and report speakes goldenly of his profit: for my part, he keepes me rustically at home, or (to speak more properly) staies me heere at home vnkept: for call you that keeping for a gentleman of my birth, that differs not from the stalling of an Oxe? his horses are bred better, for besides that they are faire with their feeding, they are taught their mannage, and to that end Riders deerely hir'd: but I (his brother) gaine nothing vnder him but growth, for the which his Animals on his dunghils are as much bound to him as I: besides this nothing that he so plentifully giues me, the something that nature gaue mee, his countenance seemes to take from me: hee lets mee feede with his Hindes, barres mee the place of a brother, and as much as in him lies, mines my gentility with my education. This is it Adam that grieues me, and the spirit of my Father, which I thinke is within mee, begins to mutinie against this seruitude. I will no longer endure it, though yet I know no wise remedy how to auoid it. Enter Oliuer. As I remember Adam, it was upon this fashion bequeathed me by will, but poore a thousand Crownes, and as thou saist, charged my brother on his blessing to breed mee well: And there begins my sadnesse: My brother Iaques he keepes at schoole, and report speakes goldenly of his profit: for my part, he keepes me rustically at home, or (to speak more properly) staies me heere at home unkept: for call you that keeping for a gentleman of my birth, that differs not from the stalling of an Oxe? his horses are bred better, for besides that they are faire with their feeding, they are taught their mannage, and to that end Riders deerely hir'd: but I (his brother) gaine nothing under him but growth, for the which his Animals on his dunghils are as much bound to him as I: besides this nothing that he so plentifully gives me, the something that nature gave mee, his countenance seemes to take from me: hee lets mee feede with his Hindes, barres mee the place of a brother, and as much as in him lies, mines my gentility with my education. This is it Adam that grieves me, and the spirit of my Father, which I thinke is within mee, begins to mutinie against this servitude. I will no longer endure it, though yet I know no wise remedy how to avoid it. She should have dy'de heereafter; There would have beene a time for such a word: To morrow, and to morrow, and to morrow, Creepes in this petty pace from day to day, To the last Syllable of Recorded time: And all our yesterdayes, have lighted Fooles The way to dusty death. Out, out, breefe Candle, Life's but a walking Shadow, a poore Player, That struts and frets his houre upon the Stage, And then is heard no more. It is a Tale Told by an Ideot, full of sound and fury Signifying nothing. Sentencia: Macb. She should have dy'de heereafter; There would have beene a time for such a word: To morrow, and to morrow, and to morrow, Creepes in this petty pace from day to day, To the last Syllable of Recorded time: And all our yesterdayes, have lighted Fooles The way to dusty death. Out, out, breefe Candle, Life's but a walking Shadow, a poore Player, That struts and frets his houre upon the Stage, And then is heard no more. It is a Tale Told by an Ideot, full of sound and fury Signifying nothing. Comma,To morrow, and to morrow, and to morrow, Semicolon;She should have dy'de heereafter; There would have beene a time for such a word: Colon:There would have beene a time for such a word: To morrow, and to morrow, and to morrow, Colon:for such a word: (or in other words) To morrow, and to morrow, and to morrow, Creepes in this petty pace from day to day, To the last Syllable of Recorded time: (or in other words) Colon:Recorded time: And all our yesterdayes, have lighted Fooles The way to dusty death. Capital LettersLong Spellings MasculineFeminine IntellectualEmotional DrivingEmbracing VerticalLateral Developing, BuildingRemembering, Recollecting FuturePast ColonSemicolon These two columns of adjectives are an attempt to give an idea of the nature of the two kinds of energy of thought development in Rhetorical thought development. Oh what a Rogue and Pesant slaue am I? Is it not monstrous that this Player heere, But in a Fixion, in a dreame of Passion, Could force his soule so to his whole conceit, That from her working, all his visage warm'd; Teares in his eyes, distraction in's Aspect, A broken voyce, and his whole Function suiting With Formes, to his Conceit? And all for nothing? For Hecuba? What's Hecuba to him, or he to Hecuba, That he should weepe for her? What would he doe, Had he the Motiue and the Cue for passion That I haue? He would drowne the Stage with teares, And cleaue the generall eare with horrid speech: Make mad the guilty, and apale the free, Confound the ignorant, and amaze indeed, The very faculty of Eyes and Eares. Yet I, A dull and muddy-metled Rascall, peake Like Iohn a-dreames, vnpregnant of my cause, And can say nothing: No, not for a King, Vpon whose property, and most deere life, A damn'd defeate was made. Am I a Coward? Who calles me Villaine? breakes my pate a-crosse? Pluckes off my Beard, and blowes it in my face? Tweakes me by'th' Nose? giues me the Lye i'th' Throate, As deepe as to the Lungs? Who does me this? Ha? Why I should take it: for it cannot be, But I am Pigeon-Liuer'd, and lacke Gall To make Oppression bitter, or ere this, I should haue fatted all the Region Kites With this Slaues Offall, bloudy: a Bawdy villaine, Remorselesse, Treacherous, Letcherous, kindles villaine! Oh Vengeance! Lear Thou wert better in a Graue, then to answere with thy vncouer'd body, this extremitie of the Skies. Is man no more then this? Consider him well. Thou ow'st the Worme no Silke; the Beast, no Hide; the Sheepe, no Wooll; the Cat, no perfume. Ha? Here's three on's are sophisticated. Thou art the thing it selfe; vnaccommodated man, is no more but such a poore, bare, forked Animall as thou art. Off, off you Lendings: Come, vnbutton heere. Act III, Scene 4 Thou wert better in a Graue, then to answere with thy vncouer'd body, this extremitie of the Skies. Is man no more then this? Consider him well. Thou ow'st the Worme no Silke; the Beast, no Hide; the Sheepe, no Wooll; the Cat, no perfume. Ha? Here's three on's are sophisticated. Thou art the thing it selfe; vnaccommodated man, is no more but such a poore, bare, forked Animall as thou art. Off, off you Lendings: Come, vnbutton heere.