quick quote question for the tempest

[massive]

Hey guys what technique would be in the line: "I am your wife, if you will marry me". This is in the duologue between Miranda and Ferdinand. (I could use duologue but i was just wondering if there's anything more specific)?

[literally lauren]

You could comment on the conditional language in "if you will marry me" or the way Miranda is implicitly reinforcing Ferdinand's authority (i.e. declaring herself to be "your wife" with the possessive/genitive determiner "your" suggesting that he has some ownership over her if he chooses to marry her). Even the second part of that line gives Ferdinand all the agency as the active subject of the sentence (i.e. "you will marry me" as opposed to 'we will get married'). It's also written in iambic pentametre, like most Shakespearean verse, if that's relevant:

weak-strong  weak-strong   weak-strong  weak-strong  weak-strong
    (i AM)         (your WIFE)     (if YOU)         (will MA)        (rry ME)

          = 10 beats per line; every second word is a heavier/stronger 'beat'

It depends what argument you're trying to make, but you could definitely unpack the language more if you wanted to delve into it beyond calling it a duologue

[massive]

You could comment on the conditional language in "if you will marry me" or the way Miranda is implicitly reinforcing Ferdinand's authority (i.e. declaring herself to be "your wife" with the possessive/genitive determiner "your" suggesting that he has some ownership over her if he chooses to marry her). Even the second part of that line gives Ferdinand all the agency as the active subject of the sentence (i.e. "you will marry me" as opposed to 'we will get married'). It's also written in iambic pentametre, like most Shakespearean verse, if that's relevant:

weak-strong  weak-strong   weak-strong  weak-strong  weak-strong
    (i AM)         (your WIFE)     (if YOU)         (will MA)        (rry ME)

          = 10 beats per line; every second word is a heavier/stronger 'beat'

It depends what argument you're trying to make, but you could definitely unpack the language more if you wanted to delve into it beyond calling it a duologue

WOOW that's so cool thanks!

Can I say this: Her newly found infatuation if further highlighted when she abruptly proposes to Ferdinand saying, "I am your wife, if you will marry me", where the genitive determiner "your" signifies her desperation to develop a link with him.

[skysailingaway]

You could comment on the conditional language in "if you will marry me" or the way Miranda is implicitly reinforcing Ferdinand's authority (i.e. declaring herself to be "your wife" with the possessive/genitive determiner "your" suggesting that he has some ownership over her if he chooses to marry her). Even the second part of that line gives Ferdinand all the agency as the active subject of the sentence (i.e. "you will marry me" as opposed to 'we will get married'). It's also written in iambic pentametre, like most Shakespearean verse, if that's relevant:

weak-strong  weak-strong   weak-strong  weak-strong  weak-strong
    (i AM)         (your WIFE)     (if YOU)         (will MA)        (rry ME)

          = 10 beats per line; every second word is a heavier/stronger 'beat'

It depends what argument you're trying to make, but you could definitely unpack the language more if you wanted to delve into it beyond calling it a duologue

^^^
I wish i had this type of information before.
hahah, that way i could've made any quote technique-ridden and relevent to my essay.

[massive]

Hey i have another quote that needs a technique (sorry), last one tho i promise.

"I feel not/ In the deity of my bosom"

what technique could I use here? (not enjambment tho coz i already used that)
Thanks!

[elysepopplewell]

Hey i have another quote that needs a technique (sorry), last one tho i promise.

"I feel not/ In the deity of my bosom"

what technique could I use here? (not enjambment tho coz i already used that)
Thanks!

On a quick observation, first person stands out to me. Also negation "not" as well as the syntactical placement of the negation. Deity - potentially an allusion if somewhere else in the text strengthens it. And often in Shakespeare's work, bosom is metonymy for heart/soul

[literally lauren]

WOOW that's so cool thanks!

Can I say this: Her newly found infatuation if further highlighted when she abruptly proposes to Ferdinand saying, "I am your wife, if you will marry me", where the genitive determiner "your" signifies her desperation to develop a link with him.

That would be fine, though it might be worth spelling out how the genitive determiner hints at her desire to become his possession and thus foster a strong connection with Ferdinand, rather than skipping straight to the 'strong connection' and leaving the assessor to fill in the blanks - just to be on the safe side!

Hey i have another quote that needs a technique (sorry), last one tho i promise.

"I feel not/ In the deity of my bosom"

what technique could I use here? (not enjambment tho coz i already used that)
Thanks!

On a quick observation, first person stands out to me. Also negation "not" as well as the syntactical placement of the negation. Deity - potentially an allusion if somewhere else in the text strengthens it. And often in Shakespeare's work, bosom is metonymy for heart/soul

Dammit - I was going to say metonymy!   

If you want to build on that, you could link it to the enjambment and say the slight discordant rhythm that separates the sentence across two lines compounds his feelings of incompleteness and isolation or something like that, but otherwise, Elyse pretty much covered everything

[massive]

faar out thanks heaps!

You're really good at techniques. so I just have a quick question

My related text is a petrarchan sonnet called "On first looking into Chapman's Homer" by John Keats. I was just wondering whether the structure is like this: octave then sestet or if it was sestet then couplet then sestet,

Thanks heaaaps!

[jamonwindeyer]

faar out thanks heaps!

You're really good at techniques. so I just have a quick question

My related text is a petrarchan sonnet called "On first looking into Chapman's Homer" by John Keats. I was just wondering whether the structure is like this: octave then sestet or if it was sestet then couplet then sestet,

Thanks heaaaps!

You are talking to perhaps the greatest source of literary and linguistic knowledge on the East coast (sorry Lauren, need to make sure everyone in NSW knows your legend)

[literally lauren]

faar out thanks heaps!

You're really good at techniques. so I just have a quick question

My related text is a petrarchan sonnet called "On first looking into Chapman's Homer" by John Keats. I was just wondering whether the structure is like this: octave then sestet or if it was sestet then couplet then sestet,

Thanks heaaaps!

Okay, this is the version that I found online (#academicintegrity) so hopefully it's the right one - I've actually never heard of this poem before. but you can work out the rhyming scheme

On First Looking into Chapman's Homer
Much have I travell'd in the realms of gold,                       A (gold)
And many goodly states and kingdoms seen;                    B (seen)
Round many western islands have I been                         B (been)
Which bards in fealty to Apollo hold.                                A (hold)
Oft of one wide expanse had I been told                          A (told)
That deep-browed Homer ruled as his demesne;               B (demesne - pronounced 'di-mean')
Yet did I never breathe its pure serene                             B (serene)
Till I heard Chapman speak out loud and bold:                  A (bold)
Then felt I like some watcher of the skies                         C (skies)
When a new planet swims into his ken;                            D (ken)
Or like stout Cortez when with eagle eyes                        C (eyes)
He star'd at the Pacific — and all his men                         D (men)
Look'd at each other with a wild surmise —                       C (surmise)
Silent, upon a peak in Darien.                                          D (Darien)

So it's an octave that goes ABBAABBA + a sestet that goes CDCDCD, and the whole thing is in iambic pentametre (except for the line 'he star'd at the Pacific - and all his men' ...for some reason). Hope that helps!

[massive]

Okay, this is the version that I found online (#academicintegrity) so hopefully it's the right one - I've actually never heard of this poem before. but you can work out the rhyming scheme

On First Looking into Chapman's Homer
Much have I travell'd in the realms of gold,                       A (gold)
And many goodly states and kingdoms seen;                    B (seen)
Round many western islands have I been                         B (been)
Which bards in fealty to Apollo hold.                                A (hold)
Oft of one wide expanse had I been told                          A (told)
That deep-browed Homer ruled as his demesne;               B (demesne - pronounced 'di-mean')
Yet did I never breathe its pure serene                             B (serene)
Till I heard Chapman speak out loud and bold:                  A (bold)
Then felt I like some watcher of the skies                         C (skies)
When a new planet swims into his ken;                            D (ken)
Or like stout Cortez when with eagle eyes                        C (eyes)
He star'd at the Pacific — and all his men                         D (men)
Look'd at each other with a wild surmise —                       C (surmise)
Silent, upon a peak in Darien.                                          D (Darien)

So it's an octave that goes ABBAABBA + a sestet that goes CDCDCD, and the whole thing is in iambic pentametre (except for the line 'he star'd at the Pacific - and all his men' ...for some reason). Hope that helps!

THANKYOU that was beautiful!

[11190]

Hi guys, I was wondering if there are any techniques in the lines from The Tempest "The rarer action is in virtue than in vengeance" and "You taught me language and my profit on't is I know how to curse"

Thank you

[elysepopplewell]

Hi guys, I was wondering if there are any techniques in the lines from The Tempest "The rarer action is in virtue than in vengeance" and "You taught me language and my profit on't is I know how to curse"

Thank you

Okay!
The rarer action is in virtue than in vengeance - the alliteration is there. It is also a comparison, so the alliterative comparison is the technique I would use

You taught me language and my profit on't is I know how to curse - More tricky. I hate to admit defeat but I just can't see anything too noteworthy. First person narration, is one. If language is a metaphor for something like power, than that works too! But I don't know the context unfortunately!