(c) Emily C. A. Snyder 2020-2021
(n) Two lines of verse with small uvriel nuances between them, but that work as closely connected schwumpfs; e.g.:
"Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune"
Please note: It is possible to have trischwumpfs, tetraschwumpfs, etc.
(n) A small schwumpf, included in a full line of schwumpf; e.g.,
"And by opposing end them; to die, to sleep."
Please note: Actors may make different interpretations with hemischwumpfs, either treating them with greater or less uvriel between them, such as:
"And by opposing end them || to die || to sleep"
"And by opposing end them || to die, to sleep"
(n) Essentially a line and a half of text, where the uvriel on the line break between the schumpf of a full line of text and a half-line of text is tightly nuanced and closely connected; e.g.:
"Or to take arms against a sea of troubles
And by opposing end them"
Please note: Actors may then interpret how closely connected the half-line of the semischwumpf is connected to the full line, as well as how closely it is connected to the hemischwumpf which completes the line
(n) Unstressed-stressed (To be)
(n) Unstressed-unstressed (Of a)
(n) Stressed-stressed (Believe)
(n) Stressed-unstressed (Now what)
(n) Unstressed-stressed-unstressed (I hate you)
(n) Unstressed-unstressed -stressed (To the wall)
(n) Stressed-stressed -unstressed (Waterfall)
(n) Unstressed-stressed -stressed (When Mom talks)
(n) Stressed-unstressed-stressed (Give me juice)
(n) Stressed-unstressed -unstressed (Willingly)
(n) Stressed-stressed-stressed (Shut up now)
(n) When neither beat nor rhythm are repeated on lines of verse throughout the play
(n) When at least two opposing meters are used throughout the play, typically using meter as a signifier for some idea, person, point of view, etc.
(n) When the beat and the rhythm are repeated on each line of verse; this type of meter tends to be named by the predominant rhythm and the number of repeated feet, such as "iambic pentameter" is five repeated feet of iambs; trochaic tetrameter is four repeated feet of trochees
(n) When either the beat OR the rhythm are sprung, rather than repeated
(n) To use punctuation to assist the music of the line of verse, such as using m-dashes to indicate a rest; the emphasis is less on grammar than on musical notation
(n) To use spacing of the lines of verse and the use of white space on a page to indicate the shape of the lines of verse, the musicality of the speech, and the use of silence and rest
(n) To alter the spelling of a word to indicate how to speak the word, e.g., Aaaaaaactually
(n) To alter the typefont in order to indicate a difference in cadence or performance, such as the use of color, bold, upper or lowercase, font size, font type, etc.
GERTRUDE. Hamlet, thou hast thy father much offended.
HAMLET. Mother, you have my father much offended.
QUEEN. Come, come, you answer with an idle tongue.
HAMLET. Go, go, you question with a wicked tongue.
(n) Trading two lines at a time back and forth; e.g.,
Fairer than tongue can name thee, let me have
Some patient leisure to excuse myself.
Fouler than heart can think thee, thou canst make
No excuse current, but to hang thyself.
(n) Trading half-lines back and forth; e.g.,