Understanding the Usage of Imperative Mood in Play Scripts
When analyzing the structure of Shakespearean plays, it is imperative mood that often emerges. This mood, which is typically used to give commands or orders, plays a pivotal role in directing actors and guiding the performance on stage. This article delves into the nuances of imperative mood in play scripts and how it differs from the subjunctive mood, providing clarity for students and scholars.
Imperative Mood in Perspective
As Stephen V suggests, a compelling case can indeed be made that the language used in play scripts operates within the realm of imperative mood. When examining the script, it is akin to a set of instructions from the playwright to the players. The playwright requires the actors to say and do certain things, such as 'Exit Hamlet.' This instructional approach is conventional and serves as a guide for the performance.
Subjunctive vs. Imperative Mood
The subjunctive mood in English, on the other hand, is reserved for conditional events - those whose occurrence depends on certain circumstances. For instance, in the sentence 'It could be considered to be either in the present indicative as "Hamlet enters" or in the present subjunctive mood as "Let Hamlet enter." ' The actor's or playwright's intentions for such an action determine whether it falls under the indicative or subjunctive category. This distinction can often be blurry, especially in the context of play scripts.
Stage Directions: Imperative or Subjunctive?
Consider the phrase 'Enter Hamlet.' This is a stage direction - a note to the actors and stage crew. It is not part of the text of the play but rather a guide for the performance. For example, in the play Antony and Cleopatra, we have the stage direction: 'Flourish. Enter ANTONY. CLEOPATRA her ladies the train with eunuchs fanning her.'
These notes are akin to a shopping list - items to be remembered and acted upon. The playwright's intentions are clear: someone must produce a flourish (fanfare), and the actors playing Antony and Cleopatra must enter the stage. The stage direction is not intended to be part of the text for the audience but rather a note to the performers.
The Definitive Answer
While the definitive answer to whether 'Enter Hamlet' is in the indicative or subjunctive mood may seem trivial, it is, in reality, a matter of perspective. If interpreted as an order to the actor, the mood is imperative. If interpreted as an expression of the playwright's desire, it is subjunctive. In either case, the word remains 'enter.'
As students and scholars of literature, our primary goal is to appreciate the grandeur and complexity of Shakespeare and other literary giants. Engaging in such trivial pedantic exercises does not detract from the main purpose of studying English: to enjoy and understand the profound insights into the human condition provided by these plays.
By delving into the intricacies of imperative mood and stage directions in play scripts, we not only enhance our understanding of the text but also appreciate the meticulous craftsmanship of playwrights like Shakespeare.