Ill Tell Thee Thou Dost Evil

Seminar paper from the year 2005 in the subject English Language and Literature Studies - Linguistics, grade: 1,7, University of Cologne (Englisches Seminar), course: English Grammar - synchronic and diachronic aspects, language: English, abstract: In Middle English and Early Modern English one could choose either You or Thou (and their respective variants see Simpson et al. 2005: entry Thou, pers., pron., 2nd sing.). Either choice carried a number of implications, depending on the period of time in the language (Barber 1976:204-210). This system, which exists in many (but predominately European) countries is generally referred to as the T/V distinction. Although similar to the German T/V distinction (Blake 1983:6), there is a phenomenon in Early Modern English, particularly in Shakespeare's plays, which sets the You/Thou distinction apart. Whereas in German, French or Italian, it would be very rare and even rude to switch back and forth from T to V or the other way around, this must have happened quite frequently in Early Modern English dialogues (Brown and Gilman 1960:274-275). Eventually, of course, the use of Thou declined leaving the English language with only one second person pronoun, serving all cases without alteration (except possessive Yours and determiner Your) and both singular and plural (Görlach 1991:85). A speaker of Early Modern English consequently had not only the option of choosing T or V once, he or she could also switch within a conversation, sometimes within a single utterance. The choice then would carry certain implications, about the emotions of the speaker, about his fondness or dislike of the addressee, or about the social ranks of both addresser and addressee. As a result, choosing the pronoun became a tool in dialogues that could be used to acknowledge or insult. The T/V distinction will be discussed, its appearance in Early Modern English and particularly Shakespeare's language. Then, in order to attain an achievable amount of researc

Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink

Seminar paper from the year 2005 in the subject English Language and Literature Studies - Linguistics, grade: 1,7, University of Cologne (Englisches Seminar), course: English Grammar – synchronic and diachronic aspects, language: English, abstract: In Middle English and Early Modern English one could choose either You or Thou (and their respective variants see Simpson et al. 2005: entry Thou, pers., pron., 2nd sing.). Either choice carried a number of implications, depending on the period of time in the language (Barber 1976:204-210). This system, which exists in many (but predominately European) countries is generally referred to as the T/V distinction. Although similar to the German T/V distinction (Blake 1983:6), there is a phenomenon in Early Modern English, particularly in Shakespeare’s plays, which sets the You/Thou distinction apart. Whereas in German, French or Italian, it would be very rare and even rude to switch back and forth from T to V or the other way around, this must have happened quite frequently in Early Modern English dialogues (Brown and Gilman 1960:274-275). Eventually, of course, the use of Thou declined leaving the English language with only one second person pronoun, serving all cases without alteration (except possessive Yours and determiner Your) and both singular and plural (Görlach 1991:85). A speaker of Early Modern English consequently had not only the option of choosing T or V once, he or she could also switch within a conversation, sometimes within a single utterance. The choice then would carry certain implications, about the emotions of the speaker, about his fondness or dislike of the addressee, or about the social ranks of both addresser and addressee. As a result, choosing the pronoun became a tool in dialogues that could be used to acknowledge or insult. The T/V distinction will be discussed, its appearance in Early Modern English and particularly Shakespeare’s language. Then, in order to attain an achievable amount of research for a paper of this size, one of Shakespeare’s plays will be regarded with some detail. The choice fell on King Lear...

Since the rediscovery of Elizabethan stage conditions early this century, admiration for Measure for Measure has steadily risen. It is now a favorite with the critics and has attracted widely different styles of performance. At one extreme the play is seen as a religious allegory, at the other it has been interpreted as a comedy protesting against power and privilege. Brian Gibbons focuses on the unique tragi-comic experience of watching the play, the intensity and excitement offered by its dramatic rhythm, the reversals and surprises that shock the audience even to the end. The introduction describes the play's critical reception and stage history and how these have varied according to prevailing social, moral and religious issues, which were highly sensitive when Measure for Measure was written, and have remained so to the present day.