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"what's
past is prologue"
The Tempest -
II, 1
This
section offers brief observations on the poetic diction of each
play. Every entry notes the percentage of prose and/or verse in
a given play, as well as the amount of rhyming verse, if significant.
It includes a sampling of contractions and of words that expand
to fulfill the demands of the meter. Some of these words may seem
unnatural or unfamiliar to the contemporary ear. While we believe
there is value in their usage, others may disagree and prefer
not to use them. Our attention to rhythm and Shakespeare's use
of metrics is intended to help the actor speak a living, breathing,
supple language (see more in Scanning).
We also give examples of words that require an unusual stress
on either their first or second syllables. For example, revenue
which is pronounced today with a stress on its first syllable
but often requires a stress on its second syllable in Shakespeare.
We direct readers to the appropriate sections for accents, dialects,
foreign languages, Latin, and words that might present unforeseen
difficulty.
All's Well That Ends Well
The amount of prose and verse in this play is almost equal. In
the gulling of Parolles, the soldiers speak linsey-woolsey
or choughs' language which are nonsense sounds meant
to intimidate and frighten. Parolles understands the sounds as
belonging to the Muskos regiment. This may indicate a
Russian flavored pronunciation. Lustick is possibly Dutch,
while Mort du vinaigre! is French. Capriccio,
which scans to three syllables, is Italianate. The s
in rope's @ IV, 2, 38 stands for "us." Some of the contractions
include I've for I have, you've for
you have, I'd for I would, and he'd
for he had. Soldier expands to three syllables
@ III, 2, 68. Words with a primary stress on the first syllable
include enjoined @ III, 5, 90, perfect @ IV,
4, 4, and perspective @ V, 3, 48. Words with a primary
stress on the second syllable include exploit @ I, 2,
17, contract @ II, 3, 177, and assay @ III,
7, 44. See dictionary entry for baring @ IV, 1, 47.
The Tempest
Seventy-one percent of this late play is in verse. There are numerous
short and shared lines. The text has frequent contractions including
heard'st, saw'st, canst, hadst,
seest, say'st and call'dst. Other possible
contractions include we're for we are, t'have
for to have and they're for they are.
Words that expand include valiant, vineyard
and celebration. Words with a primary stress on the first
syllable include perfected @ I, 2, 79, frustrate
@ III, 3, 10, and humane @ I, 2, 346. Words with a primary
stress on the second syllable include extirpate @ I,
2, 125, opportune @ IV, 1, 26, and solemnized
@ V, 1, 309. See dictionary entries for aches and throughly.
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