'Think on my words' : exploring Shakespeare's language by
For decades, people have been studying Shakespeare's life and times and in recent years there has been a renewed surge of interest in aspects of his language. So how can we better understand Shakespeare? David Crystal provides a lively and original introduction to Shakespeare's language, making his plays easily accessible to modern-day audiences. Covering the five main dimensions of language structure - writing system, pronunciation, grammar, vocabulary and conversational style - this book demonstrates how examining these linguistic'nuts and bolts'can help us achieve a greater appreciation of Shakespeare's linguistic creativity.
The Language of Shakespeare's Plays by
First published in 1952. This volume explores the function of verse in drama and the developing way in which Shakespeare controlled the rhetorical and decorative elements of speech for the dramatic purpose. The Language of Shakespeare's Plays explores the plays chronologically and so covers all the outstanding problems of Shakespearian language in a way that makes reference easy, without any loss of a continuing narrative.
Shakespeare's Verbal Art by
Shakespeare's Verbal Art is a profoundly important study of the newly rediscovered anagrams that lie hidden below the surface of all Shakespearean texts. It explains the essential role played by these concealed figures in Classical and Renaissance poetry, demonstrating the revelatory function of anagram by reference to the close analysis of a wide range of examples. Special attention is given to Shakespeare's use of these sub-textual devices to clarify meaning and intention. The focus is first on Shake-speares Sonnets of 1609, and secondly on Hamlet, Othello and Twelfth Night, all of which are found to be composed around the concealed anagrams that render these works self-interpreting. A new kind of language use is revealed, in terms of which pre-Enlightenment text is envisaged as existing in two distinct dimensions – the overt and the covert – both of which must be read if any particular poem or play is to be fully understood.
Shakespeare and Social Dialogue by
Shakespeare and Social Dialogue deals with Shakespeare's language and the rhetoric of Elizabethan letters. Moving beyond claims about the language of individual Shakespearean characters, Magnusson analyses dialogue, conversation, sonnets and particularly letters of the period, which are normally read as historical documents, as the verbal negotiation of specific social and power relations.
Shakespeare's Names by
How do names attach themselves to particular objects and people and does this connection mean anything? This is a question which goes as far back as Plato and can still be seen in contemporary society with books of Names to Give Your Baby or Reader's Digest columns of apt names and professions. For the Renaissance the vexed question of naming was a subset of the larger but equally vexed subject of language: is language arbitrary and conventional (it is simply an agreed label for a pre-existing entity) or is it motivated (it creates the entity which it names)? Shakespeare's Names is a book for language-lovers. Laurie Maguire's witty and learned study examines names, their origins, cultural attitudes to them, and naming practices across centuries and continents, exploring what it means for Shakespeare's characters to bear the names they do.
Making Sense in Shakespeare by
Etymologically speaking, the words “know” and “narrate” share a common ancestry. Making Sense in Shakespeare examines some of the ways in which this distant kinship comes into play in Shakespearean drama. The argument of the book is that at a time in European cultural history in which the problem of knowledge was a matter of intensifying philosophical concern, Shakespeare too was in his own way exploring the possibilities and shortcomings of the various interpretative models that can be applied to experience so as to make it intelligible. While modes of understanding based upon such notions as those of naturalistic causality or rational human agency are shown to be inadequate in Shakespeare's plays, his characters often impart form and significance to their experience through what are essentially narrative means, projecting stories onto events in order to make sense of them and to direct their activity accordingly. Narrative thus plays a crucial role in the construction of meaning in Shakespeare's plays, although at the same time, as the author emphasizes, his works are no less concerned to illustrate the perils inherent in the narrativizing strategies deployed by their protagonists which often render them self-defeating and even destructive in the end.
'Think on my words' : exploring Shakespeare's language by
'You speak a language that I understand not.' Hermione's words to Leontes in The Winter's Tale are likely to ring true with many people reading or watching Shakespeare's plays today. For decades, people have been studying Shakespeare's life and times, and in recent years there has been a renewed surge of interest in aspects of his language. So how can we better understand Shakespeare? How did he manipulate language to produce such an unrivalled body of work, which has enthralled generations both as theatre and as literature? David Crystal addresses these and many other questions in this lively and original introduction to Shakespeare's language. Covering in turn the five main dimensions of language structure - writing system, pronunciation, grammar, vocabulary and conversational style - the book shows how examining these linguistic 'nuts and bolts' can help us achieve a greater appreciation of Shakespeare's linguistic creativity.
Will in the World : How Shakespeare Became Shakespeare by
This volume is a biography on English poet and playwright, William Shakespeare. Shakespeare is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. In this work, the author attempts to provide a vivid and plausible version of the undocumented areas of Shakespeare's life. The author intends to demonstrate how an acutely sensitive and talented boy -- surrounded by the rich tapestry of Elizabethan life, full of drama and pageantry, and also cruelty and danger -- could have become the world's greatest playwright. He brings together little-known historical facts and little-noticed elements of Shakespeare's plays and makes connections between Shakespeare's life and his works.
Shakespeare's Language by
This book argues that something extraordinary happened to Shakespeare's language in midcareer, somewhere around 1600." "An initial discussion of some of the language of the earlier plays looks for signs as to what was afoot, and this leads to a treatment of the central turning point. The rest of the book provides close studies of what came after that, in the great works between Hamlet and The Tempest. Special attention is paid to many passages which are now so obscure that after all the work done by scholars they remain difficult. How could this be so, when Shakespeare was always a popular dramatist? How did this language develop, and how did it happen that in spite of everything Shakespeare had an audience capable of understanding Hamlet at the beginning of the decade and Coriolanus near the end of it?
Speaking Shakespeare by
Rodenburg uses ideas of dramatic resonance, breathing, placement, and preparation to show how to speak and act Shakespeare.
Brush up Your Shakespeare! by
Discussion of Shakespeare's linguistic brilliance as a part of everyday vocabulary.
Shakespeare's universe of discourse : language-games in the comedies by
This book makes ample use of approaches to language within linguistics, semiotics, the philosophy of language and sociology, in order to do justice to the subtlety of Shakespeare's verbal artistry. Keir Elam adopts a fresh approach to the language of Shakespeare's comedies, considering it not simply as 'style' but as the principal dramatic and comic substance of the plays. Traditional analysis of the language as 'diction', 'expression' or 'verbal structure' is not adequate to describe the range and importance of linguistic functions in these plays. This book shows that in Shakespearean comedy language, or rather 'discourse', language in use, is always a dynamic, active protagonist of the drama. The author explores the extraordinary gamut of verbal activities or 'language-games' that contribute to the rich rhetorical make-up of the comedies. The historical framework complements the application of critical theory which will assure a readership among students and teachers of Shakespeare as well as those interested in liguistics and semiotics.