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Table of Contents | Message Board | Downloadable/Printable Version USE OF LANGUAGE Shakespeare’s regular verse is in pentameter. This he continually diversifies with metrical irregularities, introducing troches, spondes, anapests, dibrachs, tribrachs, and sometimes dactyles, in various parts of his lines. But his most frequent irregularity is by ending his verses with amphibrachs. This assists in preventing monotony. Fletcher’s use of this irregularity is for more frequent than Shakespeare’s, not less than two thirds of his lines and often a longer proportion. This can be observed in Cranmer’s long speech at the close of the play, Buckingham’s three speeches on going to his execution and so through all the Fletcherian portions of the play. Fletcher has another distinctive mannerism, frequently repeating a thought or fraction of a thought, with some variation of language; this can also be seen in the previous passages. The play is designed to extract the most theatrical appeal from its Elizabethan audience’s melancholy acquaintance with scaffold-speeches, breaking into elegies. The language of the play sometimes comes near to strangling itself in tears - this is an extension of the relationship the play tries to show between human actions and those impersonal events which the play’s muted imagery of sun, sea and rock steadily reinforces. The play’s pathos, misery and fears are its strongest theatrical effects.
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Table of Contents | Message Board | Downloadable/Printable Version |
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