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FREEING SHAKESPEARE'S VOICE
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FREEING SHAKESPEARE'S VOICE
By: Kristin Linklater
Synopsis  |  Table of Contents
TABLE OF CONTENTS
 
Prologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
 
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . .3
 
THE CONTENT: Language  . . . . . . . . . . . . . . . . . . . . . .9
Chapter One: Vowels and Consonants . . . . . . . . . . . . . . . .11
Chapter Two: Words and Images  . . . . . . . . . . . . . . . . . .30
Chapter Three: Words into Phrases  . . . . . . . . . . . . . . . .45
Chapter Four: Organically, Cosmically, and Etymologically Speaking57
Chapter Five: Figures of Speech  . . . . . . . . . . . . . . . . .79
 
Interlude: Stage Directions; Double Meanings; Bawdry; Thee's, Thou's, and You's.... 90
 
THE FORM: VERSE AND PROSE  . . . . . . . . . . . . . . . . . . . .119
Chapter Six: Iambic Pentameter . . . . . . . . . . . . . . . . . .121
Chapter Seven: Rhyme . . . . . . . . . . . . . . . . . . . . . . .141
Chapter Eight: Line-Endings  . . . . . . . . . . . . . . . . . . .153
Chapter Nine: Verse and Prose Alternation  . . . . . . . . . . . .173
 
THE CONTEXTURE . . . . . . . . . . . . . . . . . . . . . . . . . .183
Chapter Ten: Today's Actor in Shakespeare's World  . . . . . . . .187
Chapter Eleven: Shakespeare's Voice in Today's World . . . . . . .193
Chapter Twelve: Which Voice? The Texts . . . . . . . . . . . . . .204
Chapter Thirteen: Whose Voice? The Man . . . . . . . . . . . . . .209
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