In The Taming of the Shrew, nearly 4% of all lines (nearly 5% of poetic lines) are part of rhyming couplets. Now this is MUCH less than our first comedy (The Comedy of Errors which had over 20% rhymed couplets of all lines, 23% of all poetic lines), and while it’s expected to have more rhymed lines than our first tragedy (Titus Andronicus), it’s surprising that it has so fewer more rhyming couplets than last month’s play (which had just under 2.5% of both total and poetic lines).
Continue reading “Rhyming (I’m not so sure about this play, Part Two)”
OK, yesterday, we discussed the different rationales for using rhyme in the verse of the plays. Some of our purposes:
- singling out an entire body or block of content
- singling out a couplet of content (for emphasis, particularly at the end of a speech)
- content from outside the play itself–poems, songs, even entire plays that are performed within the context of the scene
- portrayal of other worldly-entities
Continue reading “Why Rhyme? Part II: The Answers–Episode Two: The Answers’ Answer”
Shakespearean use of rhyme within verse serves a number of different purposes:
Continue reading “Why Rhyme? Part II: The Answers”
OK, before we continue digging, a question:
Why, in a play that is mostly poetry (by my count, poetic lines make up over 86% of the total lines of the play), and mostly blank verse, UNrhymed iambic pentameter (and, again, by my count, over 75% of the poetic lines of the play are unrhymed)…
Why, then, does Shakespeare use 350+ lines of rhyming poetry in The Comedy of Errors?
more or less… I’m compulsive, but I’m not that anal…
No answers from Bill today… just leaving it all up to you in the blogosphere…
Respond, discuss, knock yourselves out… we’ll talk more about it at some future date…