Showing posts with label harold pinter. Show all posts
Showing posts with label harold pinter. Show all posts

Tuesday, January 08, 2013

word of the day: caesura

The word of the day is caesura:

Etymology:  < Latin cæsūra ‘cutting, metrical pause’, < cæs- participial stem of cædĕre to cut. The earlier form was immediately < French césure. (Some writers appear to have erroneously associated it with cease.) 
 
1.a. In Greek and Latin prosody: the division of a metrical foot between two words, especially in certain recognized places near the middle of the line.
b. Used for the lengthening of the last syllable of a word by arsis which sometimes occurs in the cæsura.
2. In English prosody: a pause or breathing-place about the middle of a metrical line, generally indicated by a pause in the sense. 
3. transf.a. A formal break or stop. 
b. A break, interruption, interval. (OED)


"The director suggested that he not move around too much, or at all, contending that theatre is ultimately not spectacle but sound.  With a cynical chuckle, Malkovich would invoke Faulkner's line about man's 'puny, inexhaustible voice still talking'.  Pinter's plots are rife with exhausted intervals, of course, and onstage, Sands parses the varieties: a beat is a breath, a pause is a moment of consideration, and a silence - he lets the caesura linger - is an absence so emphatic that it becomes a presence."

 - Tad Friend, "Skyping John Malkovich", 3 December 2012 The New Yorker

Monday, January 07, 2013

word of the day: mensch

The word of the day is mensch:

Etymology:  < Yiddish mensh < Middle High German mensch , mensche person (see mannish n.).
colloq.

 In Jewish usage: a person of integrity or rectitude; a person who is morally just, honest, or honourable. (OED)


"Mixing readings with recollections of Pinter's pugnacious judgments, he argues that the playwright, while justly celebrated for his merciless dialogue and eerily aloof characters, was underappreciated as a poet and a mensch."

 - Tad Friend, "Skyping John Malkovich", 3 December 2012 The New Yorker