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Measure for Measure: midpoint, midpoint

Using Professor Rodes’ midpoint theory, let’s take a look at Measure for Measure.

There are 2594 lines in in the play, which means the midpoint is at line 1297, or at Act Three, Scene One, line 191. According to Dr. Rodes’ theory, you could find at this midpoint (or within twenty lines either way) a speech that perfectly sums up a major theme of the play. The 20-line leeway was to help remove the differences in prose line lengths between individual editions. Of course, with over 40% of this play in prose, we may need to expand that leeway.

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All’s Well That Ends Well – Pivot Point

Using Professor Rodes’ midpoint theory, let’s take a look at All’s Well That Ends Well.

There are 2807 lines in in the play, which means the midpoint is at line 1404, or at Act Three, Scene Two, line 104. According to Dr. Rodes’ theory, you could find at this midpoint (or within twenty lines either way) a speech that perfectly sums up a major theme of the play. The 20-line leeway was to help remove the differences in prose line lengths between individual editions; and since All’s Well That Ends Well has over 48% of its lines in prose (I mean, that’s almost half, people), I’m a little concerned this forty-line window may not be enough. Let’s find out…

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The heart of Hamlet: the play

Using Professor Rodes’ midpoint theory, let’s take a look at Hamlet.

There are 3728 lines in the play, which means the midpoint is at line 1864, or at Act Three, Scene Two, line 161. Now, Rodes’ theory postulated that you could find at the midpoint (or within twenty lines either way) a speech that perfectly summed up the major theme of the play. The 20-line leeway was to help remove the differences in prose line lengths between individual editions. Of course, given Hamlet’s amount of prose (a solid 27%) and its notorious differences between quarto and folio releases, you’ve got to wonder if this theory still works, or if there will be something rotten in the texts of Denmark.

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Twelfth Night: midpoint

Using Professor Rodes’ midpoint theory, let’s take a look at Twelfth Night.

There are 2462 lines in in the play, which means the midpoint is at line 1231, or at Act Three, Scene One, line 65. Now, Rodes’ theory postulated that you could find (within twenty lines either way) a speech that perfectly summed up the major theme of the play. The 20-line leeway was to help remove the differences in prose line lengths between individual editions; and in a play with as much prose as Twelfth Night (63% of the lines are prose), this forty-line window seems to be all the more important.

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Much Ado About Nothing: midpoint

Using Professor Rodes’ midpoint theory, let’s take a look at Much Ado About Nothing.

There are 2633 lines in in the play, which means the midpoint is at line 1317, or at Act Three, Scene Three, line 9. Now, Rodes’ theory postulated that you could find (within twenty lines either way) a speech that perfectly summed up the major theme of the play. The 20-line leeway was to help remove the differences in prose line lengths between individual editions; in a play with as much prose as Much Ado (77% of the lines are prose; only The Merry Wives of Windsor has more prose), this forty-line window is all the more important.

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As You Like It: Midpoint

Using Professor Rodes’ midpoint theory, let’s take a look at As You Like It.

There are 2678 lines in in the play, which means the midpoint is at line 1339, or at Act Three, Scene Two, line 213. This is the scene where everything regarding the Rosalind/Orlando relationship (and I mean just about EVERYthing) starts to come together: Orlando begins to hang poetry, Rosalind finds poetry, Celia finds more than poetry, and Orlando finds Ganymede.

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Over-Protective Fathers to Left of Me, Jealous Husbands to the Right, Here I am, Stuck in the Mid-Point withOUT You

Using Professor Rodes’ midpoint theory midpoint theory, let’s take a look at The Merry Wives of Windsor.
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Midpoint: Debunking a Legend

Using Professor Rodes’ midpoint theory, let’s take a look at Henry the Fifth.

There are 3228 lines in the play, so the midpoint takes place at line 1614, which occurs 46 lines into Act Three, Scene Seven. The scene takes place in the French camp the night before Agincourt. Our main (and titular) character is nowhere to be seen (or heard) in this scene. The exact center comes as the Dauphin discusses “the prescript praise and perfection of a good and particular mistress” (III.vii.45-46).

Only there’s one thing off here.

The Dauphin is talking about his horse.
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