At the bottom of Shakespeare's ocean by Mentz, Steve; Shakespeare, William
By Mentz, Steve; Shakespeare, William
We desire a poetic heritage of the sea, and Shakespeare might help us locate one. there is extra actual salt within the performs than we'd count on. Shakespeare's dramatic ocean spans the God-sea of the traditional global and the significant blue vistas that early glossy mariners navigated. all through his occupation, from the outlet shipwrecks of The Comedy of blunders in the course of the Tempest, Shakespeare's performs determine the sea as surprising actual fact and mind-twisting image of swap and instability. To fathom Shakespeare's ocean - to move all the way down to its backside - this book's chapters concentrate on various things that people do with and in and close to the ocean: fathoming, conserving watch, swimming, beachcombing, fishing, and drowning.
Mentz additionally units Shakespeare's sea-poetry opposed to glossy literary sea-scapes, together with the large 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 global, this e-book attracts out the centrality of the ocean in our literary culture.
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Additional info for At the bottom of Shakespeare's ocean
Here Noah’s flood never subsides, here is world without end or limit. All subtle and submarine. Look into the fish’s eyes, and you see – nothing. No strange analogy to something in yourself. Passing five full fathoms colors darken and grow heavy. The ribs and terrors of the whale press down. Monsters swim, fast and fearful. No place to stay. They wink up at us from the depths, skulls with be-gemmed eyesockets, wedges of gold, encrusted anchors, heaps of pearl. Fish-gnawed men and what’s become of a thousand fearful wracks.
He stretches out before us, at our mercy but finally untouchable. Iago’s manipulative power lies miniaturized in these two resonant lines. 167). 1). In his final silence, Iago abandons the language he has done so much to corrupt and assumes the wordless stance of the sea: violent, distant, uninterpretable. ” He’s of the world, but not our world. From creatures like these, it’s not only words that move us. Sunken Treasure What pain is it, to go down, like Jonah, all the way? What do the waters want?
The offstage presence of the eastern Mediterranean creates a dense mercantile network, its seaways linking Syracuse, Ephesus, Corinth, Epidarus, and other cities. 33) and his oft-mentioned departure threatens to preempt the disentanglement of the plot, the sea’s transport-facilitating role underlies the play’s incessant mobility. Two famous speeches in The Comedy of Errors invoke water’s paradigmatic role as metaphor for unstable identity. Both the Syracusan Antipholus and Adriana imagine themselves as drops of water in a massive ocean, and each, in slightly different ways, finds this image destabilizing.