Shakespeare’s meaning 4

Group 4 – Group 4 – 한혜민한혜민 , , 이진민이진민 , , 김혜지김혜지 , , 육리리육리리

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contents

•- Prologue / example : Henry Ⅴ - Prologue / example : Henry Ⅴ •Induction Induction •- Example : The Taming of the - Example : The Taming of the ShrewShrew•Example :A Midsummer Night’s Example :A Midsummer Night’s DreamDream•Example : HamletExample : Hamlet•ConclusionConclusion

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What is Prologue?

•ProloguePrologue• a speech of text that introduce a playa speech of text that introduce a play

•: outline the events / define the author’s aim: outline the events / define the author’s aims and intentions/ apologize for the deficiencies s and intentions/ apologize for the deficiencies of the coming performanceof the coming performance

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Effect of Prologue •heighten the spectator’s awareness heighten the spectator’s awareness

of the theatrical representation as of the theatrical representation as artifice. artifice. •  •For short time, after seeing For short time, after seeing prologue, audience remains alive to prologue, audience remains alive to the fact that the characters who the fact that the characters who succeed him on the stage are actors succeed him on the stage are actors in a play.in a play.

•And character who speaks the And character who speaks the prologue is detached from the prologue is detached from the persons of the play proper and he persons of the play proper and he does not belong to the same order does not belong to the same order of reality. of reality.

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Example – Henry Ⅴ

•The play opens with a powerful The play opens with a powerful introductory speech introductory speech •It insists about stage, act, and It insists about stage, act, and scene and emphasis the limitation of scene and emphasis the limitation of the actors in relation to their the actors in relation to their subject, thus-firmly establishes what subject, thus-firmly establishes what is to follow as a play – a mere is to follow as a play – a mere shadow of ‘realityshadow of ‘reality

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Henry Ⅴ - Prologue •O, for a Muse of fire, that would ascendO, for a Muse of fire, that would ascend

•The brightest heaven of invention;The brightest heaven of invention;•A kingdom for a stage, princes to actA kingdom for a stage, princes to act•And monarchs to behold the swelling scene!And monarchs to behold the swelling scene!•Then should the warlike Harry, like himself,Then should the warlike Harry, like himself,•Assume the port of Mars; and at his heels,Assume the port of Mars; and at his heels,•Leash’d in like hounds, should famine, sword, Leash’d in like hounds, should famine, sword, and fireand fire

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Function of Prologue

•invite toleration of the deficiencies invite toleration of the deficiencies of the actorsof the actors•implies the magnitude of the play’s implies the magnitude of the play’s subject.subject.•involves the spectator in the involves the spectator in the performance by stimulation his performance by stimulation his imaginationimagination

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•they are aware of themselves as they are aware of themselves as spectators, gathered together in a spectators, gathered together in a particular location to watch a particular location to watch a specific theatrical eventspecific theatrical event

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•Induction (prefatory playlet)Induction (prefatory playlet)• : short play: short play

•Play-within-the playPlay-within-the play

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The Taming of the Shrew

•-A frame plot : enfolds the -A frame plot : enfolds the principal plot (or plots) principal plot (or plots) within itself.within itself.

•-Heightens -Heightens watchers/readers awareness watchers/readers awareness of the theatricality of the of the theatricality of the inset action while inset action while diminishing involvement in a diminishing involvement in a play.play.

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The Taming of the Shrew

•-First Act: illustrates a self--First Act: illustrates a self-conscious use of the box-conscious use of the box-within-a-box structure.within-a-box structure.•-Storyline for Act I-Storyline for Act I•-An altercation between Sly -An altercation between Sly the Tinker and a Hostessthe Tinker and a Hostess•-Sly falls asleep-Sly falls asleep•-Lord finds Sly, dresses him -Lord finds Sly, dresses him in Lord’s clothes, treats him in Lord’s clothes, treats him as a noblemen, and watches as a noblemen, and watches his reaction.his reaction.

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The Taming of the Shrew •-Focus of attention-Focus of attention

•A character in Shakespeare’s play ->Lord’s A character in Shakespeare’s play ->Lord’s ->central member of a new internal audienc->central member of a new internal audiencee•-After the introduction of Lucentio-After the introduction of Lucentio•-Lucentio and his servant, Tranio, step asi-Lucentio and his servant, Tranio, step aside and watch the ‘show’de and watch the ‘show’•-The spectator watching a Lord -> watching -The spectator watching a Lord -> watching a Tinker -> watching a play about a young ma Tinker -> watching a play about a young man -> watching an old man with two daughtean -> watching an old man with two daughtersrs

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The Taming of the Shrew •-The adventures of Sly ->Sly -The adventures of Sly ->Sly

only functions to usher the play only functions to usher the play onto the stage.onto the stage.•-Elaborate sequence of internal -Elaborate sequence of internal audiences detach the spectator audiences detach the spectator from the action, making it from the action, making it ambiguous figure.ambiguous figure.•-Watching different characters -Watching different characters separately allows the spectator separately allows the spectator not to recognize the play as a not to recognize the play as a slice of ‘real’ life.slice of ‘real’ life.•-As a result, distance from the -As a result, distance from the central action, but draws central action, but draws attention to its theatricality.attention to its theatricality.

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The Taming of the Shrew •Induction of the play : Induction of the play :

•-Change of appearing status, not -Change of appearing status, not having right sense of sexualityhaving right sense of sexuality•-Disruption of the natural order, -Disruption of the natural order, mocking characters either for mocking characters either for failing to recognize or acting in failing to recognize or acting in conformity.conformity.•-However, the similarity -However, the similarity between the situation and the between the situation and the characters suggests that the characters suggests that the deficiencies are universal, not deficiencies are universal, not idiosyncratic.idiosyncratic.

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The Taming of the Shrew •The purpose of the frame plotThe purpose of the frame plot

•-Calls attention to the artifice of the princi-Calls attention to the artifice of the principal actionpal action•-Introduces the themes of the comedy-Introduces the themes of the comedy•-Derived through the actions, experiences, -Derived through the actions, experiences, and from the relationships on different realitand from the relationships on different realities.ies.•-Not always designed to emphasize the art-Not always designed to emphasize the artificiality of the dramatic representation.ificiality of the dramatic representation.•-The Taming of the Shrew : approximates t-The Taming of the Shrew : approximates to reality, enfolds actuality, and insets como reality, enfolds actuality, and insets commenting playlet.menting playlet.

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The Play Within a Play for “ A idsummer Night’s Dream”M

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“ A Midsummer Night’s Dream” •"A Midsummer Night's Dream" is on"A Midsummer Night's Dream" is on

e of Shakespeare's four major comede of Shakespeare's four major comedy y •Shakespeare just through “the play wShakespeare just through “the play within a play” to increase the effect of hithin a play” to increase the effect of his comedyis comedy•Through “the play within a play, he juThrough “the play within a play, he just stand his view for us– Creation in st stand his view for us– Creation in more important than the Mimicry.more important than the Mimicry.

The most Lamentable Comedy and most Cruel Death of Pyramus and Thisby

•The actor from the play The actor from the play just pay more attention just pay more attention on the literal meaning of on the literal meaning of the drama, they just the drama, they just ignored the real spirit of ignored the real spirit of the dramathe drama•Shakespeare through Shakespeare through them to prove his view—them to prove his view—over mimicry in a drama over mimicry in a drama just useless, even lead just useless, even lead the drama to the the drama to the ridiculous way.ridiculous way.

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Example•BOTTOM:That will ask some tears in the true performing of it. IBOTTOM:That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes; I will move storms; I f I do it, let the audience look to their eyes; I will move storms; I will condole in some measure. To the rest- yet my chief humour will condole in some measure. To the rest- yet my chief humour is for a tyrant. I could play Ercles rarely, or a part to tear a cat iis for a tyrant. I could play Ercles rarely, or a part to tear a cat in, to make all split. (ACTⅠSCⅡP20)n, to make all split. (ACTⅠSCⅡP20)

•COMPARECOMPARE

•BOTTOM. Let me play the lion too. I will roar that I will do any BOTTOM. Let me play the lion too. I will roar that I will do any man's heart good to hear me; I will roar that I will make the Dukman's heart good to hear me; I will roar that I will make the Duke say 'Let him roar again, let him roar again.' e say 'Let him roar again, let him roar again.' •QUINCE. An you should do it too terribly, you would fright the DQUINCE. An you should do it too terribly, you would fright the Duchess and the ladies, that they would shriek; and that were enuchess and the ladies, that they would shriek; and that were enough to hang us all.ough to hang us all.• ALL. That would hang us, every mother's son. ALL. That would hang us, every mother's son. （（ ACTⅠ SCⅡ,ACTⅠ SCⅡ,P23P23 ））

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During the rehearsal

•The problem become morThe problem become more and more badly e and more badly

•The players were restricteThe players were restricted by the literal meaning deed by the literal meaning deeplyply

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Example•SNOUT. Will not the ladies be afeard of the lion? SNOUT. Will not the ladies be afeard of the lion? •STARVELING. I fear it, I promise you. STARVELING. I fear it, I promise you. •BOTTOM. Masters, you ought to consider with yourself to bring BOTTOM. Masters, you ought to consider with yourself to bring in- God shield us!- a lion among ladies is a most dreadful thing; in- God shield us!- a lion among ladies is a most dreadful thing; for there is not a more fearful wild-fowl than your lion living; and for there is not a more fearful wild-fowl than your lion living; and we ought to look to't. we ought to look to't. •SNOUT. Therefore another prologue must tell he is not a lion. SNOUT. Therefore another prologue must tell he is not a lion. (ACTⅢ SCⅠP53)(ACTⅢ SCⅠP53)

• SNOUT. Doth the moon shine that night we play our play? SNOUT. Doth the moon shine that night we play our play? •BOTTOM. A calendar, a calendar! Look in the almanack; find oBOTTOM. A calendar, a calendar! Look in the almanack; find out moonshine, find out moonshine. ut moonshine, find out moonshine. •QUINCE. Yes, it doth shine that night. QUINCE. Yes, it doth shine that night. •BOTTOM. Why, then may you leave a casement of the great chBOTTOM. Why, then may you leave a casement of the great chamber window, where we play, open; and the moon may shine iamber window, where we play, open; and the moon may shine in at the casement. n at the casement. •(ACTⅢSCⅠP54)(ACTⅢSCⅠP54)

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The end of the play

•ExampleExample•HIPPOLYTA. It must be your imagination HIPPOLYTA. It must be your imagination then, and not theirs. then, and not theirs. •THESEUS. If we imagine no worse of thTHESEUS. If we imagine no worse of them than they of themselves, they may pem than they of themselves, they may pass for excellent men. Here come two noass for excellent men. Here come two noble beasts in, a man and a lion.(ACTⅤ, ble beasts in, a man and a lion.(ACTⅤ, SCⅠP116)SCⅠP116)

•Shakespeare just through the conversaShakespeare just through the conversation between Hippolyra and Theseus to stion between Hippolyra and Theseus to show us the actor’s ability of creative is show us the actor’s ability of creative is so important for a play and audience.o important for a play and audience.

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Conclusion

•Show us Shakespeare’s Show us Shakespeare’s illusionist symbolism.illusionist symbolism.• All the poor players just use All the poor players just use the this kind of anti-illusion to the this kind of anti-illusion to add more comic effect on this add more comic effect on this drama. drama. •Drama can not restricted by Drama can not restricted by the mimicrythe mimicry•Drama need player’s creation Drama need player’s creation and audience’s imaginationand audience’s imagination

The Tempest •Prospero was banished from his Prospero was banished from his

dukedom by his brother and became dukedom by his brother and became lord of an island, with his daughter lord of an island, with his daughter and spiritual servants. And he has and spiritual servants. And he has taken advantage of the providential taken advantage of the providential proximity of his enemies to proximity of his enemies to shipwreck his former foes on his shipwreck his former foes on his own shores. own shores.

•Prospero has the power to control Prospero has the power to control others through magic. others through magic. •He uses the art to control the He uses the art to control the characters action. characters action. • So, the events that take place on So, the events that take place on the island are the play-within-a-playthe island are the play-within-a-play

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A play-within-a-play within a play.

•Ferdinand and Miranda forms Ferdinand and Miranda forms another frame another frame •which make it double frames of which make it double frames of play-within-play.play-within-play.•AndAnd•Prospero use another vision by a Prospero use another vision by a masque to Ferdinand. masque to Ferdinand.

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•Prospero, who has functioned as an internal audience tProspero, who has functioned as an internal audience throughout, while being changed by the play he has witnehroughout, while being changed by the play he has witnessed, now as a audience he delivered epilogue. ssed, now as a audience he delivered epilogue. •Now my charms are all o’erthrown,Now my charms are all o’erthrown,•And what strength I have’s mine own,And what strength I have’s mine own,•Which is most faint: now, ‘tis true,Which is most faint: now, ‘tis true,•I must be here confin’d by you,I must be here confin’d by you,•Or sent to Naples. Let me not,Or sent to Naples. Let me not,•Since I have my dukedom got,Since I have my dukedom got,•And pardon’d the deceiver, dwellAnd pardon’d the deceiver, dwell•In this bare island by your spell;In this bare island by your spell;•This is the speech a round of applause to conclude the This is the speech a round of applause to conclude the performance, but it is also serves a much more importanperformance, but it is also serves a much more important purpose. In the fist eight lines, Prospero places the met purpose. In the fist eight lines, Prospero places the members of the theatre audience in the same relation to himbers of the theatre audience in the same relation to himself as he stood in relation to the play of the courtiers.mself as he stood in relation to the play of the courtiers.

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Presented with a multi-layered structure

•A play-within-a-play may appear A play-within-a-play may appear just for entertaining diversion for just for entertaining diversion for those inside and outside the play those inside and outside the play world, it brings the meaning of the world, it brings the meaning of the drama as a whole. drama as a whole.

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