Wednesday, August 2, 2017

Shakespeare attaining the farthest reaches of luminosity

The exploitation of a few technical forms produces mannerism, while the use of many produces style. A page of Shakespeare can be divided endlessly into technical devices (no doubt, for the most part, spontaneously generated): shifting rhythms within the blank verse, coincidences and contrasts of vowel quantity, metaphors, epigrams, miniature plot processes where in a few lines some subject rises, blossoms, and drops – while above the whole is the march and curve of the central plot itself. Yet even Shakespeare tends to bludgeon us at times with the too frequent use of metaphor, until what was an allurement threatens to become an obstacle. We might say that the hypertrophy of metaphor is Shakespeare at his worst, and fills in those lapses of inspiration when he is keeping things going as best he can until the next flare-up. And thus, as with the music of Bach, if he at times attains the farthest reaches of luminosity and intensity, he never falls beneath the ingenious. - Kenneth Burke, from “The Poetic Process” in Kenneth Burke on Shakespeare edited by Scott L. Newstok

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