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Douglas Bruster

Q1 Hamlet (1603) routinely sets prose speeches so that they appear to be blank verse. This article argues that such was an attempt to confer prestige upon the text, particularly in the wake of the saturation of Shakespeare books on the literary marketplace around 1600 – a phenomenon that saw his prose works achieve less favour than those in pentameter. The publishers of Q1 Merry Wives (1602) and Q1 Hamlet may have hedged their bets on these Shakespeare texts by amplifying their verse, long the gold standard of the Shakespearean brand. Like The True Tragedie of Richard III (published 1594) and The Famous Victories of Henry V (entered 1594), which presented their opening pages to readers as iambic pentameter, Q1 Hamlet seems to have beautified its dialogue for readers in the early modern book marketplace.

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A.D. Harvey

that we excuse it) in Shakespeare’s plays: the blank verse, the soliloquies, the metaphors, but they are not the aspect of Shakespeare’s work that make him still a current author. It is difficult to think of an older painter who is as current as

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The Perfect, Impossible Love

Three Egyptian Film Adaptations of Romeo and Juliet

Rafik Darragi

unrhymed, though still poetic, style – an early experiment with Arabic blank verse.) In the final years of the nineteenth century, the Egyptian population discovered and readily adopted another Western art: cafés in Cairo and Alexandria screened work by

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Eran Shuali

], Milton’s Paradise Lost in Hebrew Blank Verse . 9 [Ithiel the Cushite of Venice], Othello the Moor of Venice by Shakspeare Translated into Hebrew (Vienna: Spitzer & Holzwarth Jun., 1874). 10 Ben Koheleth nach Chr. Aug. Tidge’s Urania (Vienna: Georg

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Deproblematizing The Merchant of Venice

Text, and Pretexts for Changing Subtext

Roger Wooster

intended, but we would be reluctant to accept that he would condone his play being used to such ends. Clearly the text is truly ‘blankverse beneath which we can write a variety of subtexts. This subtext can be antisemitic (as was the case in the Third

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Beyond Colonial Tropes

Two Productions of A Midsummer Night’s Dream in Palestine

Samer Al-Saber

following words: jealousy ( ghīra ) with rare ( faqīra ), wilds ( barārī ) with water wheel ( sawāqī ), dance circles ( halaqātinā ) with disturb us ( tuz‘jinā ). By contrast, the lines in Shakespeare do not rhyme, but keep to blank verse. The translation

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Offshore Desires

Mobility, Liquidity and History in Shakespeare’s Mediterranean

Rui Carvalho Homem

by its bawdy prose from the blank verse of other scenes and the rhymed tetrameters of the Gower choruses. Pander’s initial injunction – ‘Search the market narrowly’ (IV. ii. 3) – still employs the word in its physical, topographical sense; but the