By Mentz, Steve; Shakespeare, William
We want a poetic background of the sea, and Shakespeare may also help us locate one. there is extra actual salt within the performs than we would count on. Shakespeare's dramatic ocean spans the God-sea of the traditional global and the massive blue vistas that early smooth mariners navigated. all through his profession, from the outlet shipwrecks of The Comedy of mistakes throughout 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 specialize 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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Additional resources for At the bottom of Shakespeare's ocean
368), his scene-ending soliloquies attempt to control each instant of the plot. Iago as anti-God of the sea exploits the dissolving force of salt water rather than the technical labors of seafaring men. 355). All that is solid melts, but into liquid not air. 367), and he insists that his tools can reorder his world. Iago presents himself as mastermind and improvisational artist, and it’s noteworthy that his early hymn to self-sufficiency operates in a landed context. 320–1), the land-centered image implies an Iago who cherishes life on shore.
At this moment, Iago resembles the sea. He no longer speaks the language of mariners who work on the waves, but instead represents the ocean as such: wordless, malign, opaque, amoral. His final lines vary the biblical cadences of his opening self-definition. Now that “I am not that I am” has modulated into “What you know, you know,” the evacuation of Iago’s humanity 32 At the Bottom of Shakespeare’s Ocean has become complete. He stretches out before us, at our mercy but finally untouchable. Iago’s manipulative power lies miniaturized in these two resonant lines.
Pip’s head of cloves makes him part of a bucolic scene, and the simile of the gold-beater’s skin suggests a working-together of different natural materials (in this case, ox intestine and gold leaf ) to create beauty. Only the first metaphor, of the errant traveler’s trunk, recalls the now-distant world of humankind. But that wandering voyager is long gone, and Pip’s new destination isn’t at all human. Alone in the “shoreless ocean,” abandoned to “heartless immensity” (321), Pip epitomizes swimming in its raw state.