Well, I sort of agree. A halting, too-strongly-pushed, stopping-at-the-end-of-every-line reading doesn't exactly let the lines sing. But there is an art to reciting iambic pentameter whereby it can attain the naturalness of speech while still retaining that underlying rhythm. When it's done well, you might not even realise they're doing it - until your ear is attuned enough to pick it up.
I really think this is a dying art, by the way. If you see a Shakespeare production, at least here in the UK, the actors older than about sixty are able to imbue the lines with that underpinning iambic rhythm; the younger actors don't know how or don't bother. For me, that means they don't really catch that song-like quality. I really think those older actors might be the last generation to properly know how to scan.
>Some of the best political speeches have that kind of song-like rhythm, although they aren't verse. I'm thinking of e.g. Churchill, or the Gettysburg Address.
Incidentally, somewhere I came across Arthur Quiller-Couch discussing this. He used as his example this speech of Edmund Burke, which he claimed achieved its power by means of hidden iambic pentameter:
>The calculation of profit in all such wars is false. On balancing the account of such wars, ten thousand hogsheads of sugar are purchased at ten thousand times their price. The blood of man should never be shed but to redeem the blood of man. It is well shed for our family, for our friends, for our God, for our country, for our kind. The rest is vanity; the rest is crime.
He points out that three fragments are actually iambic lines:
>Are purchased at ten thousand times their price...
>Be shed but to redeem the blood of man...
>The rest is vanity; the rest is crime.
Of course, this was in a time when the audience's ear (though perhaps not conscious mind) would be better attuned to that rhythm.
I really think this is a dying art, by the way. If you see a Shakespeare production, at least here in the UK, the actors older than about sixty are able to imbue the lines with that underpinning iambic rhythm; the younger actors don't know how or don't bother. For me, that means they don't really catch that song-like quality. I really think those older actors might be the last generation to properly know how to scan.
>Some of the best political speeches have that kind of song-like rhythm, although they aren't verse. I'm thinking of e.g. Churchill, or the Gettysburg Address.
Incidentally, somewhere I came across Arthur Quiller-Couch discussing this. He used as his example this speech of Edmund Burke, which he claimed achieved its power by means of hidden iambic pentameter:
>The calculation of profit in all such wars is false. On balancing the account of such wars, ten thousand hogsheads of sugar are purchased at ten thousand times their price. The blood of man should never be shed but to redeem the blood of man. It is well shed for our family, for our friends, for our God, for our country, for our kind. The rest is vanity; the rest is crime.
He points out that three fragments are actually iambic lines:
>Are purchased at ten thousand times their price... >Be shed but to redeem the blood of man... >The rest is vanity; the rest is crime.
Of course, this was in a time when the audience's ear (though perhaps not conscious mind) would be better attuned to that rhythm.