Language
The use of language in Metamorphoses is to set up the fantastic yet easy to relate to world that will be seen on stage by the audience. While all the myths are poetic in nature, Zimmerman "has a great vision and her sense of humor intrudes on a regular basis, often with clever visual or aural touches." The imaginative use of the pool in the play of course helps in the setting up of the fantasy element of the play but the comedy elements make the play easy to be able to relate in the world today. For when an audience hears or reads the clever set of words set forth by Zimmerman, they can easily take in the experience of a well written play but will also be able to relate the lessons learned and information presented to their immediate lives.
The rhythm with which Zimmerman chose to write Metamorphoses is also a very key concept to understand. The quick scenes and down-to-the point dialogue is easy to follow and does not leave a great deal of silence and or pauses within many of the conversations. This upbeat rhythm shows up within separate lines themselves. "HERMES: The god of speed and distant messages, a golden crown above his shining eyes, his slender staff held out in front of him, and little wings fluttering at his ankles: and on his left arm, barely touching it: she." A device called dissonance is used heavily in this one particular line. Dissonance is a subtle sense of disharmony, tension, or imbalance within the words chosen in the play. The short stressed sounds are the ones that are emphasized in dissonance and it is a way for the playwright to accentuate the up-tempo rhythm that is being used throughout the play.
Read more about this topic: Metamorphoses (play)
Famous quotes containing the word language:
“This is of the loon—I do not mean its laugh, but its looning,—is a long-drawn call, as it were, sometimes singularly human to my ear,—hoo-hoo-ooooo, like the hallooing of a man on a very high key, having thrown his voice into his head. I have heard a sound exactly like it when breathing heavily through my own nostrils, half awake at ten at night, suggesting my affinity to the loon; as if its language were but a dialect of my own, after all.”
—Henry David Thoreau (1817–1862)
“Surrealism is not a school of poetry but a movement of liberation.... A way of rediscovering the language of innocence, a renewal of the primordial pact, poetry is the basic text, the foundation of the human order. Surrealism is revolutionary because it is a return to the beginning of all beginnings.”
—Octavio Paz (b. 1914)
“From a hasty glance through the various tests I figure it out that I would be classified in Group B, indicating “Low Average Ability,” reserved usually for those just learning to speak the English Language and preparing for a career of holding a spike while another man hits it.”
—Robert Benchley (1889–1945)