Works of Shakespeare and historical stylistics
Contents
Introduction
Chapter 1. William Shakespeare - the father of English literature and the great author of America
.1 Shakespeares place in English drama of 16th century
1.2 Shakespeares works: classification and chronology
1.3 Shakespeares influence on American English
Chapter 2. The Language of Shakespeare
2.1 Morphological peculiarities
2.2 Literary Devices in Shakespeares works
.3 The development of Shakespeares style
Conclusion
List of literature
Introduction
Shakespeare (26 April 1564 (baptised) - 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the worlds pre-eminent dramatist.that time England had become a powerful state, but there was not much change for the better in the life of the English people and the power of money grew stronger. Shakespeare saw these contrasts and showed them in his works.the writing of Shakespeare deal with love, life and death and these universal themes get beautiful touch by him. His poetry and dramas reflect that he had extraordinary knowledge of human psychology. Therefore, his characters have become memorable in the field of literature.explored poetry and drama but it is drama that brought fame for him. Even his dramas are poetically crafted. Poetry is inseparable from his writing. He has given immortal lines. To be or not to be is oft quoted line from Hamlet that is reflected in a modern man who is caught in the same idea of perplexity.work is relevant because with its help we can learn more about Shakespeares influence not only on English literature but language.
Words and phrases from Shakespeares writings have become part of the English language and are used by all. That is why, this theme is so actual.
The aim is to read the grammatical and stylistic techniques that were used by Shakespeare.object of work is a process of influencing of Shakespearian language on English literature and American English.subject is analysis of Shakespeares works.
The information base of investigation is journal and newspaper articles, articles published in scholarly books, textbooks, and publications on the Internet.
Chapter 1. William Shakespeare - the father of English literature and the great author of America
1.1Shakespeares place in English drama of 16th century
th century was the period of rapid literature development in England. Suppressive French influence on state sphere and culture was negotiated. National typography developed violently. Also many temporal and turned books appeared during that period. Bibles translation into English was of great importance. were two trends aught to the problem of regulatory language among the 16th century writers. Edmund Spenser was the representative of first trend and William Shakespeare - of second one.Spenser is recognized as one of the premier craftsmen of Modern English verse in its infancy, and is considered one of the greatest poets in the English language. Though Spenser was well read in classical literature, scholars have noted that his poetry does not rehash tradition, but rather is distinctly his. This individuality may have resulted, to some extent, from a lack of comprehension of the classics. Spenser strove to emulate such ancient Roman poets as Virgil and Ovid, whom he studied during his schooling, but many of his best-known works are notably divergent from those of his predecessors. The language of his poetry is purposely archaic, reminiscent of earlier works such as The Canterbury Tales of Geoffrey Chaucer and II Canzoniere of Francesco Petrarca, whom Spenser greatly admired.was called a Poets Poet and was admired by William Wordsworth, John Keats, Lord Byron, and Alfred Lord Tennyson, among others.Shakespeares lifetime, the English language experiences a significant growth spurt in both the number of words and the variety of syntactical structures in which words can be employed. While writers are bringing numerous words from Latin into English, they are also experimenting with syntax to achieve the accuracy and the expressive range of lost inflections. This freedom of experimentation is unhampered by established systems of rules and usage that might confine the range of meaning of individual words or that might restrict the ways in which words are combined and ordered. thus writes not only in a linguistically rich field, but also in an age where there is little grammatical strictness. Like dictionaries, grammar books were written for (and associated with) foreign languages rather than English.most striking feature of Shakespeare is his command of language. It is all the more astounding when one not only considers Shakespeare's sparse formal education but the curriculum of the day. There were no dictionaries; the first such lexical work for speakers of English was compiled by schoolmaster Robert Cawdrey as A Table Alphabeticall in 1604. Although certain grammatical treatises were published in Shakespeare's day, organized grammar texts would not appear until the 1700s. Shakespeare as a youth would have no more systematically studied his own language than any educated man of the period.this, Shakespeare is credited by the Oxford English Dictionary with the introduction of nearly 3,000 words into the language. His vocabulary, as culled from his works, numbers upward of 17,000 words (quadruple that of an average, well-educated conversationalist in the language). has had a huge influence on the English language. Some people today reading Shakespeare for the first time complain that the language is difficult to read and understand, yet we are still using hundreds of words and phrases coined by him in our everyday conversation.are some of the most popular Shakespeare phrases in common use today[15]:
§A laughing stock (The Merry Wives of Windsor);
§A sorry sight (Macbeth);
§As dead as a doornail (Henry VI);
§Eaten out of house and home (Henry V, Part 2);
§Fair play (The Tempest);
§I will wear my heart upon my sleeve (Othello);
§In a pickle (The Tempest);
§In stitches (Twelfth Night);
§In the twinkling of an eye (The Merchant Of Venice);
§Mum's the word (Henry VI, Part 2);
§Neither here nor there (Othello);
§Send him packing (Henry IV);
§Set your teeth on edge (Henry IV);
§There's method in my madness (Hamlet);
§Too much of a good thing (As You Like It);
§Vanish into thin air (Othello).many cases, it is not known if Shakespeare actually invented these phrases, or if they were already in use during Shakespeare's lifetime. In fact, it is almost impossible to identify when a word or phrase was first used, but Shakespeares plays often provide the earliest citation.strength of Shakespeares plays lies in the absorbing stories they tell, in their wealth of complex characters, and in the eloquent speech - vivid, forceful, and at the same time lyric - that the playwright puts on his characters' lips. It has often been noted that Shakespeare's characters are neither wholly good nor wholly evil, and that it is their flawed, inconsistent nature that makes them memorable. Hamlet fascinates audiences with his ambivalence about revenge and the uncertainty over how much of his madness is feigned and how much genuine. Falstaff would not be beloved if, in addition to being genial, openhearted, and witty, he were not also boisterous, cowardly, and, ultimately, poignant. Finally, the plays are distinguished by an unparalleled use of language. Shakespeare had a tremendous vocabulary and a corresponding sensitivity to nuance, as well as a singular aptitude for coining neologisms and punning.is cited as an influence on a large number of writers in the following centuries, including major novelists such as Herman Melville[9], Charles Dickens[4], Thomas Hardy and William Faulkner[8]. Examples of this influence include the large number of Shakespearean quotations throughout Dickens writings[4] and the fact that at least 25 of Dickens titles are drawn from Shakespeare[6], while Melville frequently used Shakespearean devices, including formal stage directions and extended soliloquies, in Moby-Dick[7]. In fact, Shakespeare so influenced Melville that the novels main antagonist, Captain Ahab, is a classic Shakespearean tragic figure, a great man brought down by his faults[1]. Shakespeare has also influenced a number of English poets, especially Romantic poets such as Samuel Taylor Coleridge who were obsessed with self-consciousness, a modern theme Shakespeare anticipated in plays such as Hamlet. Shakespeare's writings were so influential to English poetry of the 1800s that critic George Steiner has called all English poetic dramas from Coleridge to Tennyson feeble variations on Shakespearean themes.
1.2 Shakespeares works: classification and chronology
The chronology of Shakespeares plays is uncertain, but a reasonable approximation of their order can be inferred from dates of publication, references in contemporary writings, allusions in the plays to contemporary events, thematic relationships, and metrical and stylistic comparisons. His first plays are believed to be the three parts of Henry VI; it is uncertain whether Part I was written before or after Parts II and III. Richard III is related to these plays and is usually grouped with them as the final part of a first tetra logy of historical plays[13].these come The Comedy of Errors, Titus Andronicus (almost a third of which may have been written by George Peele), The Taming of the Shrew, The Two Gentlemen of Verona, Loves Labours Lost, and Romeo and Juliet. Some of the comedies of this early period are classical imitations with a strong element of farce. The two tragedies, Titus Andronicus and Romeo and Juliet, were both popular in Shakespeares own lifetime. these early plays, and before his great tragedies, Shakespeare wrote Richard II, A Midsummer Nights Dream, King John, The Merchant of Venice, Parts I and II of Henry IV, Much Ado about Nothing, Henry V, Julius Caesar, As You Like It, and Twelfth Night. The comedies of this period partake less of farce and more of idyllic romance, while the history plays successfully integrate political elements with individual characterization. Taken together, Richard II, each part of Henry IV, and Henry V form a second tetra logy of historical plays, although each can stand alone, and they are usually performed separately. The two parts of Henry IV feature Falstaff, a vividly depicted character who from the beginning has enjoyed immense popularity.period of Shakespeares great tragedies and the problem plays begins in 1600 with Hamlet. Following this are The Merry Wives of Windsor (written to meet Queen Elizabeths request for another play including Falstaff, it is not thematically typical of the period), Troilus and Cressida, All's Well That Ends Well, Measure for Measure, Othello, King Lear, Macbeth, Antony and Cleopatra, Coriolanus.familial, state, and cosmic levels, Othello, Lear, and Macbeth present clear oppositions of order and chaos, good and evil, and spirituality and animality. Stylistically the plays of this period become increasingly compressed and symbolic. Through the portrayal of political leaders as tragic heroes, Coriolanus and Antony and Cleopatra involve the study of politics and social history as well as the psychology of individuals.is not easy to categorically say whether a Shakespeare play is a tragedy, comedy or history because the Shakespeare blurred the boundaries between these genres. For example, Much Ado About Nothing begins like a comedy, but soon descends into tragedy - leading some critics to describe the play as a tragi-comedy.plays generally fall into four categories[12]:
1.Pre-1594 (Richard III, The Comedy of Errors);
2.1594-1600 (Henry V, Midsummer Night's Dream);
.1600-1608 (Macbeth, King Lear);
.Post-1608 (Cymbeline, The Tempest).some point in the early 1590s, Shakespeare began writing a compilation of sonnets. The sonnet was arguably the most popular bound verse form in England when Shakespeare began writing. Imported from Italy (as the Petrarchan or Italian sonnet), the form took on a distinctive English style of three distinctively rhymed quatrains capped by a rhymed couplet comprising 14 total lines of verse. This allowed the author to build a rising pattern of complication in a three-act movement, followed by the terse denouement of the final two lines. Conventional subject matter of the Elizabethan sonnet concerned love, beauty, and faith.as a poet could hardly have ignored the sonnet as a verse form. He appears to have written a sequence of them, dedicated to a Master W.H., and the sequence as a whole appears to follow a loose narrative structure. Of the 154 sonnets, there are three broad divisions [14]:
§Sonnets 1-126, which deal with a young, unnamed lord, the fair youth of the sonnets.
§Sonnets 127-152, which deal with the poet's relationship to a mysterious mistress, the dark lady of the sonnets.
§Sonnets 153-154, which seem to be poetic exercises dedicated to Cupid.
The sonnets are poignant musings upon love, beauty, mortality, and the effects of time. They also defy many expected conventions of the traditional sonnet by addressing praises of beauty and worth to the fair youth, or by using the third quatrain as part of the resolution of the poem.
1.3 Shakespeares influence on American English
people have forgotten (or never knew) the importance of the Bard on pop culture in Americas nineteenth century. Today, the common perception is that only elite academics can truly understand and enjoy Shakespeare, while the vulgar rabble may understand bits and pieces (often using his words and phrases, as we discussed above), they at best only appreciate (rather than love) the Bard. This belief exists as an eternal truism, and is therefore false on two fronts. First, the American vulgate of today do enjoy Shakespeare (as cinematic examples of proof, see the success of Romeo + Juliet [1996] or Shakespeare in Love [1998]). Second, for most of the nineteenth century, Americans could not get enough Shakespeare.
From the large and often opulent theaters of major cities to the makeshift stages in halls, saloons, and churches of small towns and mining camps, Lawrence Levine writes, . . . Shakespeares plays were performed prominently and frequently [20]. In the 1880s, Karl Kurtz (a German visiting the United States) said:is, assuredly, no other country on earth in which Shakespeare and the Bible are held in such general high esteem as in America . . . If you were to enter an isolated log cabin in the Far West and even if its inhabitant were to exhibit many of the traces of backwoods living . . . you will certainly find the Bible and in most cases also some cheap edition of the works of the poet Shakespeare. (qtd. in Levine 17-18)was intimate and familiar to Americans, and not to just some city folk in the Northeast. Americans not only enjoyed him, they embraced the Bard as their own: James Fenimore Cooper . . . called Shakespeare the great author of America and insisted that Americans had just as good a right as Englishmen to claim Shakespeare as their countryman [20]. Parodies of Shakespeares work abounded in the nineteenth century - something only possible if a great number knew Shakespeares work to get the joke. Bardolators of today may look back in horror that Shakespeare was often performed alongside the playbill with dancing dogs, jugglers, and minstrel shows. People argued in print and in the streets whether the emotional Edwin Forrest was a better American Shakespearean actor than the cerebral Edwin Booth, with the same passion that sport fans argue on talk radio today. Indeed, the 1849 Astor Place Opera House Riot occurred because of such passions. While across town, Edwin Forrests Macbeth was getting raves, the Englishman William Charles Macreadys Macbeth was getting booed at Astor Place. His aristocratic demeanor annoyed the audience. Macready wanted to end the run of the production, but was persuaded to stay by people such as Washington Irving and Herman Melville. On May 10, eighteen hundred people packed Astor Place while ten thousand stood outside. A riot broke out, killing twenty-two people and injuring one hundred and fifty more. This is how much Shakespeare meant to Americans! Levine sums it up thus:
Shakespeare was performed not merely alongside popular entertainment as an elite supplement to it; Shakespeare was performed as an integral part of it. Shakespeare was popular entertainment in nineteenth-century America.Shakespeares influence on American culture assured, do we see the same kind of influence on American English? Yes. Early modern English was shaped by Shakespeare, Bloom tells us [10], but American English was shaped as well. We see this in two areas.first is grammatical fallacies. These fallacies are often pointed out by critics of American English (and English in general) as examples of our laziness and inability to be accurately articulate. However, Shakespeare himself used these same wrong constructions:
§You and me is correct, You and I is not. Yet around 400 years ago, Aitcheson writes, in Shakespeares The Merchant of Venice, the merchant Antonio says: All debts are cleared between you and I, so breaking the supposed rule that you and me is the correct form of the after a preposition [16].
§Double negatives are wrong. For emphasis, however, it seems accepted: most scholars agree that the more negatives there were in a sentence, the more emphatic the denial or rejection (Cheshire 120): have one heart, one bosom, and one truththat no woman has; nor never none mistress be of it, save I alone. (Twelfth Night III:i, qtd. in Cheshire 120)
§It is I is correct, It is me is not. It is Latin grammatical constructions that make It is me seem incorrect. But both forms are used in Twelfth Night (II.v):
MALVOLIO: You waste the treasure of your time with a foolish knight -ANDREW: Thats me, I warrant you.: One Sir Andrew.ANDREW: I knew twas I, for many do call me fool. (qtd. in Bauer 134).elitists bemoan American English as ungrammatical, we can see they are only following in the footsteps of that most influential author.second area where Shakespeare shapes American English is in our supposed pure language ancestry. Here, the influence is based on myth instead of fact, yet that does not diminish the importance Americans place on Shakespeare. In In the Appalachians They Speak Like Shakespeare, Michael Montgomery tackles this myth and reveals it to be false: Two things in particular account for its continued vitality: its romanticism and its political usefulness. Its linguistic validity is another matter. Montgomery cites several reasons why it is invalid; there is little evidence it is true, the little evidence that exists is not persuasive, and one incontrovertible fact: Shakespeare and Elizabeth I lived 400 years ago, but the southern mountains have been populated by Europeans for only half that length of time. Since no one came directly from Britain to the Appalachians, we wonder how they preserved their English during the intervening period. The myth persists, however. The fact that so-called uneducated rural dwellers would want to identify with Shakespeare show how much Americans revere and want to identify with him, even in the backwoods of the United States.
shakespeare drama english literature
Chapter 2. The Language of Shakespeare
2.1 Morphological peculiarities
Shakespeare lived at a time when England was undergoing the revolution in ritual theory and practice we know as the English Reformation. With it came an unprecedented transformation in the language of religious life. Whereas priests had once acted as mediators between God and men through sacramental rites, Reformed theology declared the priesthood of all believers. What ensued was not the tidy replacement of one doctrine by another but a long and messy conversation about the conventions of religious life and practice[11].the England of Shakespeare's time, English was a lot more flexible as a language. In addition, Shakespeare was writing as a dramatic poet and playwright, not as a scholar or historian. Combine the flux of early modern English with Shakespeare's artistic license (and don't forget to throw in a lot of words that have either shifted meaning or disappeared from the lexicon entirely), and there are some subtle difficulties in interpreting Shakespeare's meaning some 400 years after the fact. As with most popular playwrights of any era, Shakespeare uses language with facility and power, but with a colloquial freedom as well.English, one word can be as a noun, an adjective or a verb. And Shakespeares period marks out greatly. It was a time, when there were new grammatical functions for many words. And William Shakespeare stood on the first stage among his contemporaries. In his works, a word can be turned to another grammatical category. s innovative use of grammar, however, set him apart from his contemporaries. Shakespeare completely reinvented grammar, breaking away from the conformity of traditional rules[16].have to highlight a passage from Hamlet (III:4), where Shakespeare plays with the normal rules of English that demand a sentence is structured with the order; subject, verb, object. In the scene the queen says to her son: Hamlet, thou hast thy father much offended. Nowadays, we would expect, Thou has much offended thy father Hamlet.used a great deal of SOV (Subject-object-verb) inversion, which renders the sentence as John the ball caught. This order is commonly found in Germanic languages (more so in subordinate clauses), from which English derives much of its syntactical foundation. Shakespeare also throws in many examples of OSV construction (The ball John caught.). Shakespeare seems to use this colloquially in many places as a transitory device, bridging two sentences, to provide continuity. Shakespeare (and many other writers) may also have used this as a device to shift end emphasis to the verb of a clause. Also, another prevalent usage of inversion was the VS order shift (caught John instead of John caught), which seems primarily a stylistic choice that further belies the Germanic root of modern English[16].Shakespeares noun-to-verb conversions what are thought of as stable objects . . . are wrenched from their passivity to acquire new vigour as actions, observing further that metaphor harmonizes well with the flexibility of conversion. This union of metaphor and grammatical conversion is evident throughout Antony and Cleopatra, where shifts from noun to verb simultaneously affirm the fertility of metaphor and displace action from the material to the more fluid metaphorical realm. Whether the characters be Roman or Egyptian, their language persistently coins new words by incubating the solidity of nouns and adjectives into the dynamic liquidity of verbs. Thus, joint becomes a verb at 1.2.91, safe at 1.3.55, dumb at 1.5.50, spaniel at 4.7.21, and boy at 5.2.220, while candy melts itself into discandy at 3.13.166 and 4.12.22. These conversions garner tremendous dramatic advantages. For instance, Terttu Nevalainen notes that by turning dumb from an adjective into a verb, instead of using the already-available verb silence, Shakespeare gains both the solidity of an Anglo-Saxon root word (instead of the more abstract, Latinate silence) and an association with the inarticulacy of beasts - beasts were and are commonly described as dumb rather than mute. Such advantages supplement what is always present in Shakespeares functional conversion of nouns and adjectives into verbs, the dramatic energy and economy of expression[14].are freely used by Shakespeare as adverbs:
§I do know, when the blood burns, how prodigal the soul lends the tongue vows. (Polonius to Ophelia in Hamlet I:3);
§And you, my sinews, grow not instant old. (Hamlet I:5);
§Which the false man does easy (Macbeth II: 3).find the two forms of the adverb side by side in:
§She was new lodged and newly deified. (A Lover's Complaint. 84).
The position of the article shows that mere is an adverb in:
§Heaven and our Lady gracious has it pleasd. (First Part of King Henry the Sixth);
§Ay, surely, mere the truth. (All's Well That Ends Well III:5 ).
Such transpositions as our lady gracious, (adj.) where gracious is a mere epithet, are not common in Shakespeare. For example:
§My lady sweet, arise, (Cymbeline II:3).
My-lady is more like one word than our lady, and is also an appellative. In appellations such transpositions are allowed. the two forms occur together:
§And she will speak most bitterly and strange.