DIARY ENTRY DRAMA WITH YUSUF
1st Period
In today's lesson all of us were looking at rhythm-linked to Shakespeare. This is called 'Iambic Pentameter which is a line (usually poetry) that has 10 syllables in each line, but the alternate syllable is stressed. Also the term describes the particular rhythm that the words establish in that line and that rhythm is measured in small groups of syllables; these small groups of syllables are called ''feet''-the word ''Iambic'' describes the type of foot that is used by the word ''Pentameter'' which indicates that a line has five of these ''feet''. A standard line of Iambic Pentameter is five iambic feet in a row: da Dum da Dum da Dum da Dum da Dum.
But, soft! what light through yonder window breaks
x / x / x / x / x /
Sometimes, this rhythm is broken. It is most commonly broken to create an emphasis. There are different types of rhythmic variation.
Our task for today was to get with our partners that we are working with for our Shakespeare texts and for us to go through our scripts and identify irregular patterns and why we think they have been irregular. Unfortunately my partner (Prince) wasn't in so I had to go through the script myself and highlight words that have rhythm to them. By doing this I started to gain more knowledge about Macbeth and understood the language being used. Also by using the modern version of our script, it helped me understand the scene more (Act 5 scene 8) because it has given me a glimpse on how me and Prince should deliver our lines and how we should emphasise on certain words. Here's what I have highlighted in our text..............
[Enter MACBETH] EMPHASIS
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MACBETH
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Why should I play the Roman fool, and die = emphasis
x / x / x / x x /
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On mine own sword? whiles I see lives, the gashes
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Do better upon them.
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[Enter MACDUFF]
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MACDUFF
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Turn, hell-hound, turn!
x / x x
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MACBETH
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Of all men else I have avoided thee:
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But get thee back; my soul is too much charged
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With blood of thine already.
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MACDUFF
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I have no words
x / x /
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My voice is in my sword, thou bloodier villain
x / x / x / x / x
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Than terms can give thee out!
X / X / X /
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[They fight]
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MACBETH
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Thou losest labour:
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As easy mayst thou the intrenchant air = intrenchant = can't be cut/penetrated
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With thy keen sword impress as make me bleed:
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Let fall thy blade on vulnerable crests;
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I bear a charmed life, which must not yield,
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To one of woman born.
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MACDUFF
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Despair thy charm,
X / X
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And let the angel whom thou still hast served
X / X / X / X / X
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Tell thee, Macduff was from his mother's womb
/ X / X / X / X
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Untimely ripp'd.
X /
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MACBETH
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Accursed be that tongue that tells me so,
x / x / x / x /
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For it hath cow'd my better part of man!
x / x x / x / x /
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And be these juggling fiends no more believed,
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That palter with us in a double sense;
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That keep the word of promise to our ear,
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And break it to our hope. I'll not fight with thee.
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MACDUFF
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Then yield thee, coward: Yield = Surrender
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And live to be the show and gaze o' the time:
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We'll have thee, as our rarer monsters are,
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Painted on a pole, and underwrit,
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'Here may you see the tyrant.' = A cruel and oppresive ruler
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MACBETH
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I will not yield,
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To kiss the ground before young Malcolm's feet,
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And to be baited with the rabble's curse.
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Though Birnam wood be come to Dunsinane,
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And thou opposed, being of no woman born,
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Yet I will try the last. Before my body
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I throw my warlike shield. Lay on, Macduff,
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And damn'd be him that first cries, 'Hold, enough!'
As easy mayst thou the intrenchant air = intrenchant = can't be cut/penetrated | ||
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