All posts by keslrad

Nemesis Condemned (Shakespearean Sonnet)

Oh, I have done as you have judged, to live

And breathe my dark intent and so regret;

Forever cursed with mal contempt and give

A piece of my cold blackened heart, my debt,

To each one passers-by until I have

No part remaining that to give my sweet

Unrest; to soil go my bones but no salve

For my misdeed, for my lost mind you cheat;

Your cruel hand with weaving fingers sew,

And clip my wings, so morphèd me into

Such horrid fiends, and twisted words I crow

To never be remembered, lost anew;

Oh, goddess fair I ask but one of mercy

And rest, but leave me be, released of thee.

Sonnet 106

While reading Sonnet 106, I noticed that the notes at the bottom of the page seemed to flow in their own sort of jolted, poetic way. Putting it all together, I thought it fit quite nicely with the idea of not being able to find the right words and falling short of describing the true worth of someone that the sonnet revolves around.



Chronicle of wasted
Annals of all-wasting
Annalls of all wastinge
Rhyme mine of hand, of foot, of face, of hand
Of face of hands
Of eye, or eye of brow, or brow even
Their, mistakenly transcribed as ‘these’ in Oxford,
Are, were this, these, those
Days looked, saw, say divining, deceiving skill
Still style
Tucker, your, thy…me
Present pleasant tongues, tongue

Sisters Three (Shakespearean Sonnet)

Sister dear of lapis lazuli wishes,
Made from cloudless azure tinted washing,
Cerulean chilled waves crashing kisses
Smoothing stone of tourmaline and grieving.

Sister dear of shard and ruby flames so
Bright, on sparking wet stone sharpens fork tongue,
Words of fire and garnet lashing below,
Traitors, liars, thieves all carved too young.

Sister dear of true obsidian snow,
Faded onyx made from bone and steel with
Jaded fingers twisting jet, the heart crow
Engraved, hammered swift as falling sleet myth

Sisters dear of Onyx, Lapis, Ruby
Each hold fast your thread come winter to be.

[Only after I wrote it did I realize I mixed up the order of stressed syllables and unstressed syllables, but I liked it and decided to publish it all the same.]


Stratford’s King Lear

What a wonderful performance of King Lear. The whole film rounded out to about three hours, but it was so engaging that the time didn’t matter. The actors, the camera work, and the special effects held my attention the entire time. There was no time when the play seemed to be dragging on for too long, though I did appreciate the intermission. Filming the performance gave them the ability to focus in on certain characters in order to control who we looked at. One of the scenes that stood out to me the most for this was the one where King Lear is dividing up his land between his daughters. Unlike the Ian Mckellen version, there is more focus on Cordelia in the scene even before she says “Nothing”. While her sisters are making their speeches of love for their father, the camera cuts to Cordelia a few times and her reaction to what her father has asked them to do as well as her sisters’ words. She has a few asides that were not included in the Ian Mckellen version which gives her more importance earlier on in the scene and our anticipation of her own speech to her father is heightened. One part I especially liked was when King Lear takes Cordelia’s dowry, this act is emphasized even more by the king snatching the crown from her head, physically taking his favour from her.

Another difference between the Stratford Festival version and the Ian Mckellen version, is seen in Regan’s character. In the Mckellen version she has to be prodded by her husband to continue in her speech of love to her father instead of simply agreeing with what her sister says. This made it seem as though Regan’s actions are mostly caused by the positions and opinions of those around her. In the Stratford version, Regan walks right up to the king and puts her hands on his shoulders from behind as she makes her speech. There is no pause in her words, giving her the appearance of confidence as well as self-power instead of relying on others.

When it came to the effects, it was the lighting that caught my attention the most. Some scene changes were brought on merely by casting the back part of the stage in darkness and creating almost a second stage at the front for the next scene. This worked so that when the back part of the stage is lighted again they can return to the setting they had before without having to take it away and then put it back. The lighting was also used to create specific moods, especially in the case of Edmond. In one of the scenes he speaks to the crowd and the entire stage is darkened except for him, creating a more sinister feeling to his words.

The opening scene to the play was also different from the Mckellen version, as it started with a few homeless men wandering the stage before they’re scared off by a soldier. Perhaps they were using this as a foreshadowing to how the higher class, especially Edgar and Gloucester, end up falling to that level. One of the men also appears throughout the play as a sort of guide to Edgar. I believe this ties in quite nicely with the quote: “Tis the time’s plague, when madmen lead the blind” (4.1), spoken by Gloucester.

All in all it was a wonderful performance by Stratford and a pleasure to watch.