Shakespeare Electronic Conference, Vol. 5, No. 0274. Sunday, 27 March 1994.
Date: Saturday, 26 Mar 1994 14:49:32 -0500 (EST)
I should be very interested in conversing with others concerned with shifts of
consciousness (emotional, logical, rhetorical) indicated in the line-endings of
Shakespeare's characters. This is one of the areas where the study and the
stage can profit from each other's perceptions and particularly from their
rhythmical and phonetic sensitivities. What Dryden noted as run-together
thoughts overriding the line break and its usual slight pause in THE TEMPEST,
for instance, is more probably the final and greatest flowering of S's already
established technique of directing the actors' emphases and inflections found
in great profusion if less "eccentricity" in the great plays at the climax of
Any thoughts on recent work being done around the question of Shakespeare as
his own vocal director will be most welcome.