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Shakespeare's Metrical Art, by George T. Wright
Ebook Shakespeare's Metrical Art, by George T. Wright
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This is a wide-ranging, poetic analysis of the great English poetic line, iambic pentameter, as used by Chaucer, Sidney, Milton, and particularly by Shakespeare. George T. Wright offers a detailed survey of Shakespeare's brilliantly varied metrical keyboard and shows how it augments the expressiveness of his characters' stage language.
- Sales Rank: #494267 in Books
- Brand: Brand: University of California Press
- Published on: 1991-11-18
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .82" w x 5.98" l, 1.10 pounds
- Binding: Paperback
- 363 pages
- Used Book in Good Condition
Review
"Wright's book is rare in its field in being extremely well-written and fascinating. . . . It is the best book about metre I have ever read, and one of the most helpful books about Shakespeare for some years."--Peter Levi, "Notes & Queries
About the Author
George T. Wright is Regents' Professor of English at the University of Minnesota and author of The Poet in the Poem and W. H. Auden.
Most helpful customer reviews
32 of 32 people found the following review helpful.
Best book on prosody, period.
By A Customer
This is more than a history of iambic pentameter and a brilliant analysis of its use in the hands of its greatest practitioner, it should probably also be read as the best general introduction to prosody available. Truly general introductions may touch on more forms and offer a more complete view of English poetic history, but none out there (that I've seen, at least) are as perceptive as Wright and none of them, perhaps because of their general natures, elucidate so fully the possibilities of expressive variation and mimetic form in poetry the way Wright does in such minute detail. Chapters like "Lines with extra syllables," or "Lines with omitted syllables," or "Play of phrase and line" may at first glance promise only dry reading, and it's probably hard to believe that a 300-page book on iambic pentameter could be one of the best works of literary criticism you could ever read. But this is an analysis of at least half of what poetry is all about and, more importantly, the half most rarely talked about (most college professors don't even know how to). Digest this rich and beautifully written book with a handful of Shakespeare's plays (you won't be able to stay away from them after reading it anyway) and you'll be ready to tackle and analyze most any other poet with relative confidence for yourself.
19 of 19 people found the following review helpful.
An introduction to the metrics of Shakespeare & his day.
By A Customer
George T. Wright's "Shakespeare's Metrical Art" is an
introduction not only to the art of Iambic Pentameter as
Shakespeare practiced it but also a starting point to an
understanding the art of Iambic Pentameter itself. Mr. Wright
argues that in Shakespeare the Iambic Pentameter meter found
its greatest and most flexible practitioner. In
appreciating the beauty of Shakespeare's artistry we also
come to appreciate the intrinsic artistry and beaty of the
meter. Mr. Wright's journey begins with Chaucer and Wyatt,
the former being the earliest practitioner of the Iambic
Pentameter line and also the greatest until Shakespeare. His
reading of Chaucer's lines, as most often Iambic Pentameter,
sometimes runs counter to accepted wisdom, yet, as with his
conception of the meter itself, his argument is well-reasoned
and convincing. More contraversial is his treatment of Wyatt's
often inconsistent use of meter. Yet, here again, Wright
offers the reader a plausible framework into which Wyatt's
poetry becomes another expression of the meter's vitality and
flexibility. From the further disintegration of the meter
after Wyatt, Wright begins his treatment of Shakespeare's
metrical art. Every facet of Shakespeare's flexible and
imaginative use of the meter (his diversions from its strict
course) is methodically examined and considered for its
possible influence upon the meaning of the text. These
diversions include Shakespeare's use of long and short lines,
syllabic ambiguity, lines with extra syllables, lines with
omitted syllables, trochees, false trochees and other such
variations as are possible within the iambic pentameter meter.
Wright rounds off the book with an all too short consideratiom
of the meters use after Shakespeare -- including the writers
Donne, Milton, and in passing twentieth writers Frost, Stevens,
and Eliot. With Mr. Wright's contention that the Iambic
Pentameter meter reached its zenith at Shakespeare's hands,
his argument comes to the inevitable conclusion that Shakespeare's
skill is one which later generations may echo, rarely equal, but never exceed.
This is a book both for the lover of Shakespeare and the
reader of poetry who wishes to better understand the art of
one of the english language's greatest trimphs.
11 of 11 people found the following review helpful.
An Excellent and Helpful Book
By Kent Richmond
If you are interested in prosody and want a brief introduction, I still recommend (now that it is back in print) Shapiro and Beum's The Prosody Handbook: A Guide to Poetic Form (Dover Books on Literature & Drama). It tells you just what you need to know, and you can comprehend it without a teacher's help. But if you want a greater understanding of the English language's most famous verse form, iambic pentameter, then I recommend George T.Wright's Shakespeare's Metrical Art.
Wright begins with a general description and history of iambic pentameter. We learn why it became such an important tool for English poets and see it at work in the hands of its various practitioners from Chaucer on. But the bulk of the book focuses on Shakespeare's use of the form. Using generous examples from the plays and statistical evidence, Wright shows how Shakespeare manipulated the iambic pentameter line to achieve dramatic effects and how Shakespeare's metrical choices changed over the span of his career.
Be prepared for quite a list of terms to describe Shakespeare's alterations and deviations--broken-backed lines, epic caesurae, double trimeters, amphibrach, enjambment, and so forth. If you do not have much background in the language of poetic rhythm, consider brushing up first on the basic terms (iambs, trochees, dactyls, anapests, spondees). Fortunately, Wright seems conscious of these difficulties and graciously uses self-explanatory terms--short lines, shared lines, long lines, extra syllables, omitted syllables--when he categorizes metrical deviations.
Another virtue of Wright's book is his cautious use of easily understood statistics to show the choices Shakespeare made. In its most basic sense, style means the repetition of certain elements, and the three tables in the appendix provide compelling evidence that Shakespeare did change his style as he matured as a dramatist and that he was also an accomplished writer of prose.
I need to state two caveats before fully endorsing the book. The book focuses on lines that deviate from the simplest conception of iambic pentameter in order to reveal elements of Shakespeare's art. But even at his wildest (Lear's banishment of Kent, for example), Shakespeare rarely wrote unmetrical lines. He stretched the meter without violating it, and that is why he is so good. Wright knows this, but by looking at unusual cases, he may give the impression that Shakespeare was indifferent toward meter and ignored its constraints. That notion is incorrect. Take a look at this twenty-syllable sentence: "Most English sentences have a rhythm/ that is not iambic pentameter." This sentence has the right number of syllables to form two lines of blank verse, but it violates Shakespeare's sense of iambic pentameter in two places. Shakespeare did not write verse lines with this rhythm. Such a line would be printed as prose. It is not Shakespearean verse.
I also worry that Wright allows for too much intentionality in Shakespeare's rhythmic choices. Shakespeare never really finished anything aside from the sonnets, and the plays we read today are often pieced together from the quarto, the folios, and actors' prompt books. I suspect Wright exaggerates the attention Shakespeare gave to his composition. In Wright's defense, there is no way to know what was craft and what was instinct. And there is no denying Shakespeare's ability to make iambic pentameter sound like natural speech. No other writer of his day that I know of matched Shakespeare's feel, grace, and timing.
On a personal note, Wright's book was invaluable in preparing me to write my verse translations of Shakespeare's plays. In rendering Shakespeare's lines into contemporary English, I had to make decisions as to what constituted a metrical line. When a line is deviant, was Shakespeare being careless, was the printer sloppy, or was it a part of Shakespeare's design? Should I carry that deviation over into my translation, or should I repair it? Wright's book was a definite help in deciding such things.
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