The Merchant of Venice - Act III (Transcription)

The Merchant of Venice - Act III‌

A Transcription of Shakespeare's Play by Ferrick Gray

Poetry Showcase

Volume 2, Issue 9

July 25

Prefatory Remarks

Concerning Elision and Contraction

(continuing from Act II)

Considering whether elision or contractions are appropriate in poetry leads to some debate. I will admit that in some instances they are appropriate, and this depends upon the poem. In others they are distracting, and often used to keep the meter. In the following, I have chosen to remove most elided forms and contractions. Those that remain make more sense to the narrative. Rather than repeat passages, the scansion and pronunciation of names follows that given in Acts I and II.

The Lost Hotels of Paris

by Jack Gilbert

Ferrick Gray

Snippets

Volume 2, Issue 4

July 16

Comments concerning Five Verses

Ginsberg came to my house one afternoon
and said he was giving up poetry
because it told lies, that language distorts.
I agreed, but asked what we have
that gets it right even that much.

I remember receiving the poem, The Lost Hotels of Paris through a mailing list for poetry. Mostly the poems that are sent to me are dull and uninspiring, but this was different.

I recall at the time (many years ago) that I had not heard of Jack Gilbert, and as a result had not read any of his poetry. This does not surprise me at all, somehow poets at the time vanished or seemed to disappear to a remote place on the earth to write, and nothing much was heard from them. It is very different now, and as it happens now I get sent all manner of things pretending to be poetry from people. No Gilberts or Ginsbergs in those.

The Merchant of Venice - Act II (Transcription)

The Merchant of Venice – Act II‌

A Transcription of Shakespeare's Play by Ferrick Gray

Poetry Showcase

Volume 2, Issue 8

July 3

Prefatory Remarks

Concerning Elision and Contraction

(a continuation from Act I)

Considering whether elision or contractions are appropriate in poetry leads to some debate. I will admit that in some instances they are appropriate, and this depends upon the poem. In others they are distracting, and often used to keep perfect meter. Frequently it is the anapest that will become the substitution for the iamb and at times the bacchic. It is a matter of prior reading that will have the rhythm come true. In the following, I have chosen to remove most elided forms and contractions. Those that remain make more sense to the narrative. Rather than repeat passages, the scansion and pronunciation of names follows that given in Act I.

The Merchant of Venice - Act I (Transcription)

The Merchant of Venice - Act I

A Transcription of Shakespeare's Play by Ferrick Gray

Poetry Showcase
Volume 2, Issue 7
June 14

Prefatory Remarks

The Title

The Merchant of Venice is a somewhat strange title for this play considering that the merchant, Antonio, has a relatively small part. It has been originally known as:

The Comical Historie of the Merchant of Venice, or Otherwise Called the Jew of Venice.

and

The most excellent Historie of the Merchant of Venice with the extreame crueltie of Shylock the Jewe towards the sayd Merchant, in cutting a just pound of his fleshe and the obtayning of Portia by the choyse of three chests.

The latter being more descriptive for the theater-goers, because they wanted to know if the entry fee was worth it. One might be tempted to say that they were discerning people. What follows is Act I, the remaining acts will be posted later.

Vol.2 (03) - Peacock Pie

Peacock Pie

Ferrick Gray

Snippets
Volume 2, Issue 3 (May 29)

Peacock Pie
A Book of Rhymes
by Walter de la Mare

with embellishments
by C. Lovat Fraser

Constable & Company Ltd. 1924

Prefatory Remarks

⠀ I would imagine that most readers of poetry have come across the work of Walter de la Mare, at least I would hope this is the case. He is widely known for his stories and poetry, especially children’s poetry. Peacock Pie is one of his best collections, and has certainly been one of his most successful publications.

Cruel Society

Ferrick Gray

Poetry Showcase
May 14

Prefatory Remarks

Elision

⠀ The three instances of common elision in this poem are essentially identical being for never and ever. These were initially elided to n’er and e’er. However, being the only three, they appeared rather strange when met in the verses. The reason for this elision was to keep with meter without lengthening the verses.

Stanza 1, Verse 2 (never for n’er)
Stanza 9, Verse 1 (ever for e’er)
Stanza 10, Verse 1 (never for n’er)

⠀ Reflecting on the reason for elision, I decided to replace the elided forms with their non-elided forms as the elided forms were distracting (to a point) and unnecessary. Those recognizing the meter as iambic pentameter would soon realize how to say these words without violating the meter. (See examples after the poem.)

Vol.2 (02) - "Come Hither"

“Come Hither”

A Collection of Rhymes & Poems for the Young of all Ages.

(Made By)
Walter de la Mare
1948 Reprint

Ferrick Gray

Snippets
Volume 2, Issue 2 (May 1)

Prefatory Comments

⠀ Often it is far better that when reviewing a collection of verses or essays, it is done using more quotes rather than rephrasing the author’s original words. In what follows, I have attempted this due to the unique nature of this volume.