Iambic pentameter

Iambic pentameter is a form of verse, like a frame work on how to rhythmically say Shakespearian text. The words iambic pentameter means five sets of two syllable sections and is sometimes referred to as feet. Sometimes iambic pentameter is not used and replaced with rhyming couplets or no verse form is used and this is when the text is written in pros, following no form of rules.     Iambic pentameter follows a De-dumb De-dumb De-dumb De-dumb De-dumb rhythmic pattern with the occasional extra De at the end; this is called a soft ending. There is an emphasis on each dumb as they are stressed.         The typical way Shakespeare highlights the status of a character is if their text is written in pros or iambic pentameter. For example if you are a dumb comical character your text will be in pros whereas higher status character such as my character Miranda in The Tempest will speak in iambic pentameter but also used pros such as in her line 'oh heavens' with the occasional extra syllable at the end of each section, this highlights how she is a sideline character rather than a comical or main character.    Some say that iambic pentameter is used as it mimics the sound of the human heart are beat which is natural and produces a calming rhythm. Others say that it is used as is copies the way people speak everyday with its stressed syllables and variations. Through using iambic pentameter the text stays interesting and it eliminates and monotone aspects to the text and prevents it becoming dull.    Iambic pentameter has a specific purpose and it is to inform the actor that they need to come straight in with their lines to keep the rhythm flowing not let the pace drop. There is one rule when using iambic pentameter and it is to make use of the pauses in the text when punctuation occurs and not to stop speaking at the end of a sentence unless there is punctuation indicating you to.
Here's and example of Iambic Pentameter:

If music be the food of love, play on; -  this is a good example of Iambic pentameter as it clearly 
                                                               shows 5 sets of 2 syllable phrases.
Give me excess of it, that, surfeiting, -
The appetite may sicken, and so die.
That strain again! it had a dying fall:
O, it came o'er my ear like the sweet sound,
That breathes upon a bank of violets,
Stealing and giving odour! Enough; no more:
'Tis not so sweet now as it was before. - this phase show the use of a soft ending.
O spirit of love! how quick and fresh art thou,
That, not withstanding thy capacity
Receiveth as the sea, nought enters there,
Of what validity and pitch soe'er,
But falls into abatement and low price,
Even in a minute: so full of shapes is fancy
That it alone is high fantastical.

The scene between me and Dan's work is more complex and highlights how iambic pentameter can move onto another characters speech.

O most dear mistress,
The sun will set before I shall discharge What I must strive to do. If you'll sit down, This shows clearly how iambic pentameter follows onto my character Miranda's lines. I'll bear your logs the while: pray, give me that; I'll carry it to the pile. Iambic pentameter workshop
During the first session looking at Shakespeare's techniques we completed a workshop in the rules of iambic pentameter and how to use it without sounding like a rhythmic robot. We were given a piece of text and told to turn at every bit of punctuation such as commas and full stops, this forced us to take a rest as we resigned the text when necessary. This was incredibly useful to me as it physically showed me how the rhythm flows and stops thought the text. We were also taught about stressing the second syllable and to cement this concept we were told to tap heavily on out led when a syllable is stressed, I found it difficult to keep up when everyone around me was doing it but it showed clearly how the way you say the text had different dynamics rather than it being monotone. If we filled these rules we would sound stupid and it would be teetering on the edge of some so we took away a monologue from the character Caliban and tried using these techniques in a realistic way to make the speech sound natural and flowing.
	.