Breaking the Code

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Breaking the Code

• Strategies for Unlocking Shakespeares Use of
  Language

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Why bother?

• Thinking about how language works helps one
• Interpret Shakespeares plays.
• Learn another language.
• Understand ones own language.
• Write more fluently and effectively.
• Perform well on standardized tests.

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Three Key Areas

• Diction.
• Syntax.
• Imagery.

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Other things that come in threes...
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The First Key DICTION

• Double Negatives.
• Double Superlatives.
• Difficult Vocabulary.
• Wordplay.

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Double Negatives

• I pray you, bear with me I cannot go no
  further. (As You Like It)

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Double Superlatives

• This was the most unkindest cut of all. (Julius
  Caesar)
• Oh that this too too solid flesh would melt.
  (Hamlet)
• Excellent, excellent well. (Hamlet)
• I must needs tell thee all. (Merchant of Venice)

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VocabularySame word, different meaning

• WS I would you had won the fleece that he had
  lost. (Merchant of Venice)
• US I wish you had won the fleece that he had
  lost.
• WS What find I here? Fair Portias
  counterfeit? (Merchant of Venice)
• US What do I find here? Fair Portias picture?

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VocabularyWord no longer used

• Come, bring me unto my chance. (Merchant of
  Venice)
• Come, bring me to my chance.
• I will anon. First let us go to dinner. (M. of
  Venice)
• I will soon. First let us go to dinner.
• Wherefore art thou Romeo? (Romeo Juliet)
• Why are you named Romeo Montague?

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Wordplay Puns

• One word that has two (or more) meanings (one of
  which is often obscene).
• Lancelet I beseech you, sir, go. My young
  master doth expect your reproach. Shylock So
  do I his.
• Lancelet uses reproach as approach Shylock
  uses reproach as reprimand or scold.
  (Merchant of Venice)

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The Second Key SYNTAX

• Unusual sentence structures.
• Words are arranged in an unusual order, or
  inverted.
• Words usually next to each other are separated.
• Words or parts of words are omitted.

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Why is the syntax so unusual?

• WS shifts words around
• for rhythmic effect.
• for rhyming effect.
• to emphasize certain words.
• to give certain characters unique voices or
  speech patterns.

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Inversion

• Subject verb.
• WS Away from light steals home my heavy son.
  (Romeo and Juliet)
• US My heavy son steals home away from light.
• US My heavy son steals home away from light.

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Inversion

• Subject verb object.
• WS Me they shall feel. (Romeo and Juliet)
• US They shall feel me.
• US They shall feel me.

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Inversion (continued)

• Subject verb object.
• WS This kindness will I show. (Romeo and
  Juliet)
• US I will show this kindness.
• US I will show this kindness.

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Inversion

• Subject verb compliment.
• WS Black and portentious must his humor prove.
  (Romeo and Juliet)
• US His humor must prove black and portentious.
• US His humor must prove black and portentious.

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Inversion (continued)

• Subject verb compliment.
• WS Such comfort as do lusty young men feel
  shall you this night. (Romeo and Juliet)
• US This night you shall feel such comfort as do
  lusty young men.
• US This night you shall feel such comfort as do
  lusty young men.

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Inversion

• Adjective placed after the noun.
• whether the body public be / A horse whereon
  the governor doth ride. (Measure for Measure)
• whether the public body be / A horse whereon
  the governor doth ride. (Measure for Measure)
• Consider little boy blue vs. little blue boy
  the soup spicy vs. the spicy soup.

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Separation

• Words usually next to each other are separated or
  interrupted (sometimes by many long, intervening
  phrases).
• And she was weaned (I never shall forget it) /
  Of all the days of the year, upon that day.
  (Romeo and Juliet)
• And she was weaned (I never shall forget it) /
  Of all the days of the year, upon that day.

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Baby, Bottle, and Mom Nurse
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Omission

• Words (or parts of words) are omitted.
• Lancelet I beseech you, sir, go. My young
  master doth expect your reproach. Shylock So
  do I his. (Merchant of Venice)
• So do I expect his reproach.
• WS I am glad on t. (Merchant of Venice)
• US I am glad on as in about it.

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The Third Key IMAGERY

• Metaphor.
• Implied Action.

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Metaphor

• One idea or object is expressed as if it were
  something else.
• WS often reinforces, echoes, or extends an image
  throughout a passage, scene, or entire play.

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Metaphor (continued)

• If I profane with my unworthiest handThis holy
  shrine, the gentle sin is thisMy lips, two
  blushing pilgrims, ready stand To smooth
  that rough touch with a tender kiss. (Romeo and
  Juliet)
• Profane, holy, shrine, sin, pilgrims
• Diction, syntax, as well as imagery are at work
  in this passage.

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What is a metaphor?
For putting cows in!
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Metaphor (continued)

• her sunny locks Hang on her temples like a
  golden fleece, Which makes her the seat of
  Belmont Colchos strond, And many Jasons come
  in quest of her. (Merchant of Venice)
• Temples (pun, too), golden fleece, Colchos,
  Jason, quest. (diction strond shore)

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Fun Shakespearean Images

• She is spherical, like a globe. I could find out
  countries in her. (Comedy of Errors)
• he has not so much brain as ear-wax. (Troilus
  and Cressida)
• when I shun Scylla your father, I fall into
  Charybdis your mother. (Merchant of Venice)

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Scylla and Charybdis
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Implied Action

• Lines are spoken at the same time the actors
  move, gesture, weep, shake their fists, draw
  swords, pick up objects, etc
• Watch for signals of stage directions in the
  language (stage the play in your imagination as
  you read).
• Nurse, give leave awhile. / We must talk in
  secret. Nurse, come back again. (RJ)
• Mercutio is killed under Romeos arm.

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Sword Fight!
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Put it all together

• WS There came divers of Antonios creditors in
  my company to Venice that swear he cannot choose
  but break. (Merchant of Venice)
• Divers several companygroup breakbankrupt
  (as in broke).
• US Several of Antonios creditors in my group
  that traveled to Venice swear he will surely go
  broke.
• Wow inversions, omissions, vocabulary all at
  work.

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Take these keys and use them

• Using these keys will enhance your understanding
  and enjoyment of Shakespeare, literature, and
  life.

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Thanks and Credit to

• N. F. Blake for writing Shakespeares Language
  An Introduction, a text heavily borrowed from to
  create this presentation, as well as Barbara A.
  Mowat and Paul Werstine, the editors of The New
  Folger Library Shakespeare drama series.