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By Mentz, Steve; Shakespeare, William

We want a poetic heritage of the sea, and Shakespeare can assist us locate one. there is extra actual salt within the performs than we'd count on. Shakespeare's dramatic ocean spans the God-sea of the traditional global and the mammoth blue vistas that early sleek mariners navigated. all through his profession, from the outlet shipwrecks of The Comedy of mistakes in the course of the Tempest, Shakespeare's performs determine the sea as stunning actual fact and mind-twisting image of swap and instability. To fathom Shakespeare's ocean - to move right down to its backside - this book's chapters specialise in various things that people do with and in and close to the ocean: fathoming, preserving watch, swimming, beachcombing, fishing, and drowning.
Mentz additionally units Shakespeare's sea-poetry opposed to smooth literary sea-scapes, together with the monstrous 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 global, this publication attracts out the centrality of the ocean in our literary culture.

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Extra resources for At the bottom of Shakespeare's ocean

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Like Pip, they lose themselves in the sea. Mourning the loss of his family, the Syracusan Antipholus sees the ocean as an overidentity, a massive containing wholeness that frustrates his ability to know himself: I to the world am like a drop of water That in the ocean seeks to find another drip, Who, falling there to find his fellow forth, (Unseen, inquisitive) confounds himself. So I, to find a mother and a brother, In quest of them, unhappy, lose myself. 35–40) 42 At the Bottom of Shakespeare’s Ocean The ocean’s flexibility, the physical unity between any one drop and the whole sea, “confounds” Antipholus because it simultaneously defines him and frustrates definition.

Keeping Watch: Othello 21 I never did the like molestation view On the enchafed flood. 12–17) He makes sense of the storm by not-seeing it, through “seems” and “quench[ings]” and things “never . . ” Unlike Miranda, who has Prospero to lecture her after the storm, no one supplements these gentlemen’s interpretations with substantial knowledge. Watching a storm from the safety of land provides a privileged point of view from which insight is possible. For the Roman poet Lucretius, the shipwreck with spectator paradigm creates philosophy.

Melville’s variation of the ancient shipwreck topos emphasizes the terror of immersion. Pip swims in a theological vastness, a morethan-human immensity that, as it maddens him, reveals the kind of visions that Egeon stoically ignores. Pressed into service in the whaleboat, Pip twice leaps into the ocean in fear. After cutting his line and losing the whale the first time, Stubb abandons the cabin-boy: “Pip was left behind on the sea, like a hurried traveler’s trunk . . It was a beautiful, bounteous, blue day; the spangled sea calm and cool, and flatly stretching away, all round, to the horizon, like gold-beater’s skin hammered out to the extremest.

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