By Germaine Greer
ISBN-10: 0061537160
ISBN-13: 9780061537165
Little is understood approximately Ann Hathaway, the spouse of England's maximum playwright; greatly has been assumed, none of it complimentary. In Shakespeare's Wife, Germaine Greer boldly breaks new floor, reclaiming this a lot maligned determine from generations of scholarly forget and misogyny. With deep perception and intelligence, she deals bold and considerate new theories in regards to the farmer's daughter who married Britain's immortal Bard, portray a brilliant portrait of a very extraordinary girl.
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Extra resources for Shakespeare's Wife
Sample text
The first syllable of "Now, sires" might be drawn out with ominous effect; the voice may run quickly over "if that," emphasize its first syllable, or linger somewhat on or after "that"; "so" may be given 26 Chaucer and Wyatt extra weight, and "leef" slowed slightly; the second line's midline pause may be expressive; the phrasal verb "turne up" retains the iambic stress on its second syllable, but "turne" offers opportunities for rich enunciation; and "this" may be pronounced in such a way (the s drawn out and the voice hesitating after it) as to suggest the enigma that is buried deep in the final phrase.
Swichfyn hath his estat real above, Swichfyn his lust, swichfyn hath his noblesse! Swichfyn hath false worldes brotelnesse! 1828-32) Yet, even as we admire Chaucer's metrical resourcefulness in such passages, we have to acknowledge that they are exceptional and that his variations are used for limited purposes. As Eleanor Prescott Hammond pointed out eighty years ago, there is a range of metrical subtlety, involving the use of such variations, which Chaucer does not essay (1908,488—90). It is not to disparage Chaucer's masterly control of meter to suggest that the exaggerated stress-contrasts in his syllables do not form a congenial metrical setting for Miltonic or even Shakespearean sound effects.
A s . . as is a .. "; "He was as ... as is the . . of. . " This is a stylistic feature especially familiar to readers of Chaucer; he invites the reader to race comparatively swiftly over the minor words to get to the words of greatest importance. This method is not entirely foreign to later poets; some write lines as rapid in movement as any of Chaucer's. But the combination of rapid movement and unusually strong stress contrasts helps to give Chaucer's verse its zestful pace and tone. With so few points of stress in the typical line, the narrative speeds along, dashing past minor words and syllables and hitting the major ones sharply.