tlhIngan-Hol Archive: Sat Apr 06 17:14:14 1996
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Re: iambic pentameter, Hamlet, et al.
- From: Steven Boozer <[email protected]>
- Subject: Re: iambic pentameter, Hamlet, et al.
- Date: Sat, 6 Apr 96 19:13:16 CST
Hovjaj 96265.2 ghItlh SuStel:
>> Could someone please explain exactly what iambic pentameter is? I tried
>> looking it up in the dictionary, but that only led to a maze of other
>> definitions I had to look up. I've known this phrase for years, but I have
>> yet to find out precicely what it means! I understand only that it has to do
>> with whether syllables are long or short, and how they're arranged.
'ej SIbI' jang A. Sarah Ekstrom:
>Iambic pentameter is metered verse. That's the easy part. Iambic means that
>it's stressed-unstressed in pattern. I.e. the first syllable is stressed,
>the next unstressed, etc. Pentameter means that there are ten 'feet',
>or beats, or syllables to the line.
Not quite. "Pentameter" means that there are FIVE 'feet' to the line
("penta" is Greek for "five"), with each foot consisting of two syllables,
giving ten syllables in all. The first syllable is unstressed (u), the next
stressed (/), etc. Sarah's example, though, is correct:
> u / u / u / u / u /
>But soft! what light through yonder window breaks
>Of course, there are all sorts of rules for feminine endings, that give
>us eleven syllable lines, and whatnot. As a general rule, however, iambic
>pentameter is a smooth, lyrical type of speaking, making it all the more
>apparent just when and why it's broken. It is (was) also used to demonstrate
>pronunciations, dramatic pauses, and such.
When iambic pentameter is unrhymed, it's known as "blank verse." It was,
and to some extent still is, a popular form for drama because its easy
inflection and rhythm come closest to sounding like the natural speaking
voice, while possessing a formality and weight lacking in prose.
(Lawrence's "Hamlet Updates" over the past few weeks inspired me to brush
up my SeQpIr, and reread the play while waiting for my copy to arrive on
Thursday.)
>This has been a public service announcement from your friendly
>Klingon Shakespeare Restoration Project Co-Ordinator!
To Sarah and the rest of the KSRP, let me take this opportunity to add my
voice to the chorus of praise for an outstanding job. DojneS paqraj! As
others have mentioned, I wasn't sure what to expect, having previously
shelled out some hard-earned Huch for Proechel's rushed cut-and-pasted 72
page stapled fanzine, _Homlet, Prince of Qo'noS_. There is no comparison.
The book is physically stunning (Lawrence has high standards indeed) and
is, more importantly, a true rendering of the text, not just an
over-literal translation of the surface meaning of the English words into
tlhIngan Hol. Hoch SaHoy'!
What's next on the KSRP agenda? During the qepHey cha'DIch in February, I
suggested doing yulyuS qaySar (Julius Caesar). Not only did Nick mention
it a few times in his introduction and endnotes to Hamlet, but it has all
the elements dear to a Klingon's heart: political machinations and plots
in the yejquv (Senate), an assassination, military coups d'etat, stirring
oratory in just the right amount, and, above all, an obsession with one's
offended honor (especially Cassius). Here the protagonists take direct and
bloody action against those they feel have wronged them, unlike Hamlet.
Steven
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Steven L. Boozer Let the gods so speed me, as I love
[email protected] The name of honour more than I fear death.
University of Chicago Library -- Wm. Shakespeare (Julius Caesar)
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