Just a fun prompt from my Coursera course: “Sharpened Visions: A Poetry Workshop”

“Breaking Good”:

Re-poemifying a famous poem that has been de-poemifyied:

The line breaks have been removed from a well-known poem. The task was to turn this bit of writing back into a poem, creating lines and stanzas where we felt it made sense. Inevitably, the meaning of the poem would be altered, showcasing the importance of the “line” and “line break”. It was fun – give it a try!

ORIGINAL PROMPT

tomorrow, and tomorrow, and tomorrow, creeps in this petty pace from day to day, to the last syllable of recorded time; and all our yesterdays have lighted fools the way to dusty death. out, out, brief candle! life’s but a walking shadow, a poor player, that struts and frets his hour upon the stage and then is heard no more. it is a tale told by an idiot, full of sound and fury, signifying nothing.

 

MY VERSION

tomorrow,

and tomorrow,

and tomorrow,

creeps in this petty pace from day to day,

to the last syllable of recorded time;

and all our yesterdays

have lighted fools

the way to dusty death.

 

out, out, brief candle!

life’s but a walking shadow,

a poor player,

that struts and frets

his hour upon the stage

and then is heard no more.

it is a tale told by an idiot,

full of sound and fury,

signifying nothing.

 

ORIGINAL POEM

Speech: “Tomorrow, and tomorrow, and tomorrow”

BY WILLIAM SHAKESPEARE

(from Macbeth, spoken by Macbeth)

Tomorrow, and tomorrow, and tomorrow,

Creeps in this petty pace from day to day,

To the last syllable of recorded time;

And all our yesterdays have lighted fools

The way to dusty death. Out, out, brief candle!

Life’s but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

Establishing narrator trustworthiness before the first chapter

The foreword in A Princess of Mars functions much like the introduction by Charles Edward Prendick in The Island of Dr. Moreau or the preface in Mary Shelley’s Frankenstein.

The writer of the foreword relays memories of his youth, especially those of his uncle, Captain Jack Carter, that lend credibility to the fantastic story about to be unveiled. Captain Jack wrote tales beyond even the plausible, requiring a great suspension of disbelief. Yet, we are brought into his world and are prone to believe he is trustworthy as the narrator of his autobiography because the completely believable and sensible writer of the foreword, Edgar Rice Burroughs, “Captain Jack’s favorite of the younger generation of Carters”, and subsequent author of the novel, has vouched for him.

Captain Jack explains that he does not seek the adulation of the public and is convinced that most will not believe his extraordinary tales: he knows his revelations sound unbelievable. It is his insistence that he presents his manuscript only as a way to help foster understanding of a foreign world — knowledge which he has gained and wishes to share, rather than expecting reliance on pure belief, that makes us trust his character. We believe he is telling the truth because he is so forward regarding his intentions and requires his nephew to follow detailed instructions for the manuscript’s release, prior to which great pains were taken to sequester his manuscript.

The manuscript was released only after Captain Jack’s definitive “demise”, of which he took exceptional precautions to ensure that this would be his last death: he insisted the younger Carter must wait 11 years before even opening the manuscript and a total of 21 years before submitting it for further readership, leading us to believe in its inherent importance.

Despite how fanciful the story may be, reliable narrators can lead us valiantly into unimaginable, and otherwise unbelievable, fantasy realms.

 

(1) Burroughs, Edgar Rice. The Princess of Mars. Publisher and page number unknown (online copy linked from Coursera course, Fantasy and Science Fiction: The Human Mind, Our Modern World). Citation can be found in the foreword.