By Mentz, Steve; Shakespeare, William
We want a poetic historical past of the sea, and Shakespeare might help us locate one. there is extra genuine salt within the performs than we'd count on. Shakespeare's dramatic ocean spans the God-sea of the traditional international and the giant blue vistas that early glossy mariners navigated. all through his occupation, from the outlet shipwrecks of The Comedy of blunders throughout the Tempest, Shakespeare's performs determine the sea as stunning actual truth and mind-twisting image of swap and instability. To fathom Shakespeare's ocean - to move right down to its backside - this book's chapters specialise in various things that people do with and in and close to the ocean: fathoming, holding watch, swimming, beachcombing, fishing, and drowning.
Mentz additionally units Shakespeare's sea-poetry opposed to glossy literary sea-scapes, together with the huge Pacific of Moby-Dick, the rocky coast of Charles Olson's Maximus Poems, and the lyrical waters of the postcolonial Caribbean. Uncovering the depths of Shakespeare's maritime international, this publication attracts out the centrality of the ocean in our literary culture.
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Extra resources for At the bottom of Shakespeare's ocean
123), with the anonymity of drops in the “breaking gulf,” she celebrates the loss of self that the Syracusan Antipholus defines in metaphor and Egeon in narrative. 112) – but she pleads that her husband join her in an all-embracing sea. At the comedy’s center, two landlocked women – Adriana who find unity in the waters, and Luciana the misidentified “mermaid” – provide chains that finally anchor this maritime family in Ephesus. These women’s refusal of sea travel, which contrasts sharply with Desdemona’s fatal embrace of it, creates a pattern in which domestic concerns – marriages, kitchens, even paying bills – provide buffers against the shock of immersion.
17–24) The passage’s double movement captures Edgar’s attempt to theatricalize the sea. He does not humanize the waters so much as internalize Fathoming: The Tempest and King Lear 17 their disorder. His imaginary kingdom, still at “fathom and half ” depth, opens itself to oceanic chaos and change. In this world, big things get smaller: men are mice, barques cock-boats, and cock-boats buoys. ” The ocean isn’t hungry but peaceful. This sea, however, is both fictional and distant; its song “cannot be heard so high,” and the image taken whole – the sea and the cliff – disorients Edgar.
Acting pits itself against the sea, and momentarily the waters shrink and seem less terrifying: The fishermen that walk on the beach Appear like mice, and yon tall anchoring barque Diminished to her cock, her cock a buoy Almost too small for sight. The murmuring surge That on th’unnumbered idle pebble chafes, Cannot be heard so high. I’ll look no more, Lest my brain turn and the deficient sight Topple down headlong. 17–24) The passage’s double movement captures Edgar’s attempt to theatricalize the sea.
At the bottom of Shakespeare's ocean by Mentz, Steve; Shakespeare, William