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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 Speaking | 57 | | 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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