The Script

When we read these lines - or call for them - we are inclined to think that they are poetry when in fact they are not. merely Shakespeare understood (and moreover was fitting to translate this understanding into his craft) that prose at least when dramatized has to have an vestigial rhythm that is itself close to poetry. The tone of Shakespeare's plays in a organic way arises from this basic strategy of his: Even though roughly of his characters speak in prose most of the time, what they say is given a level of import that we associate with poetry because of the beauty of the meter.

forefront Sant seems almost intentionally to create a

Van Sant, Gus. "My Own Private Idaho", http://scifiscripts.name2host.com/msol/idaho.html

SCOTT: He's not dead. He's well(p) passed bring out. It's a condition. It's called narcolepsy.

s ungraceful a meter as possible in his tale of two young men who are trying to find themselves and understand their sexuality in a world in which being young and laughable is tantamount to being a victim. One may make that Van Sant means the staccato rhythm of his lines to pass away authentic, to sound the way that people on the street actually talk. But the effect is not authentic; it is, rather, painful, as if both major(ip) and minor characters were simply incapable of pleading their cause. This fundamental inarticulateness may also be a part of Van Sant's literary strategy, but if so it is a failed one, as we see in this typical exchange:

SCOTT: Stress. Some hustler, huh? (http://scifiscripts.name2host.com/msol/idaho.html).

GARY: Scared the shit out of her. What causes it. Sex?

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