{"id":5326,"date":"2014-06-02T22:49:06","date_gmt":"2014-06-03T03:49:06","guid":{"rendered":"http:\/\/www.shakespeareteacher.com\/blog\/?p=5326"},"modified":"2014-06-03T06:21:04","modified_gmt":"2014-06-03T11:21:04","slug":"teach-along-with-the-frozen-soundtrack","status":"publish","type":"post","link":"https:\/\/www.shakespeareteacher.com\/blog\/archives\/5326","title":{"rendered":"Teach Along with the Frozen<\/em> Soundtrack"},"content":{"rendered":"

So, you want to teach your students about literary devices, but they’re too preoccupied with the music from Disney’s Frozen<\/em>? If so, this post is for you.<\/p>\n

The Frozen<\/em> soundtrack is actually full of literary, poetic, and rhetorical devices that you can point out for students, or have them find for you. Join me as I throw open the gates of Arendelle so that I may unlock its secrets and exploit its riches. (Did I say that out loud?)<\/p>\n

“Frozen Heart”<\/a><\/h3>\n

This song introduces a number of motifs<\/a> in the movie, including ice, snow, and the heart (frozen or otherwise). The lyrics use vibrant imagery<\/a> throughout, and help establish the Nordic setting<\/a> of the movie. Within the lyrics, anaphora<\/a> is used as a device (“strike for love and strike for fear”), and there is a string of bold adjectives that form an asyndeton<\/a> (Beautiful! Powerful! Dangerous! Cold!).<\/p>\n

“Do You Want to Build a Snowman?”<\/a><\/h3>\n

It doesn’t have to be a snowman, because the snowman is a symbol<\/a> for the bond between the sisters formed during childhood play. The song passes over long periods of time, forming an ellipsis<\/a>. The lyrics make good use of alliteration<\/a>, and there’s even an allusion<\/a> to Joan of Arc. The lyrics say “Tick Tock,” which would be onomatopoeia<\/a>, though in the movie, Anna clicks her tongue to simulate the sound.<\/p>\n

“For the First Time in Forever”<\/a><\/h3>\n

The title is a great example of hyperbole<\/a>, and the song foreshadows<\/a> later events in that it explains why Anna is so quick to want to marry Hans. “Stuff some chocolate in my face” is metonymy<\/a>. There is an intertextual<\/a> moment when Anna passes Rapunzel from Disney’s Tangled<\/em>. There is also a juxtaposition<\/a> at the end when she sings that nothing’s in her way before running smack into a horse.<\/p>\n

“Love Is an Open Door”<\/a><\/h3>\n

The title is a great example of a metaphor<\/a>. “Can I just say something crazy?” is actually a rhetorical question<\/a>. The lyrics make a lot of use of repetition<\/a>, both with Anna and Hans repeating each other and themselves. But they also have shared lines<\/a>. (The link is to the Macbeths finishing each other’s sandwiches at lines 21-24.) There is also some good Tier II vocabulary<\/a> in this song, if you were looking for some.<\/p>\n

“Let It Go”<\/a><\/h3>\n

The song can easily be taken as an allegory<\/a>, but for what will vary by audience member. The lyrics are filled with antithesis<\/a> and rhyme<\/a> (both internal rhyme and end rhyme). There are also some clear similes<\/a> in the text. “The cold never bothered me anyway” is litotes<\/a>, a rhetorical understatement. Also\u2026 Damn, Idina Menzel can sing. That’s not a literary device or anything, but damn!<\/p>\n

“Reindeer(s) Are Better Than People”<\/a><\/h3>\n

Kristof uses personification<\/a> to sing Sven’s part of the song, though in the movie it is clear that Sven is completely aware that its his part and what the lyrics are going to be. The movie uses the song to characterize<\/a> Kristof as being less comfortable around other people. The song itself is doggerel<\/a> verse that uses polysyndeton<\/a> and epistrophe<\/a> (“people will beat you and curse you and cheat you”).<\/p>\n

“In Summer”<\/a><\/h3>\n

This is a perfect example of dramatic irony<\/a>, in that the audience knows something that Olaf does not. A singing snowman is an example of anthropomorphism<\/a>. The lyrics play around with oxymoron<\/a>, and employ some puns<\/a>. There is also an implied rhyme<\/a> when Olaf says “happy snowman” when he clearly was going to say “puddle.” (The link is to a similar moment when Hamlet declines the rhyme “ass” at line 216.)<\/p>\n

“For the First Time in Forever (Reprise)”<\/a><\/h3>\n

There is a lot of intratextuality<\/a> here, not just with the callback to “For the First Time in Forever” but to several other songs in the soundtrack. The sisters sing in counterpoint<\/a>, highlighting one of the movie’s central conflicts<\/a>. The song begins with a flashback<\/a>. And there is situational irony<\/a>, as Elsa sends Anna away in an attempt to protect her, and in doing so, causes her a life-threatening injury.<\/p>\n

“Fixer Upper”<\/a><\/h3>\n

The trolls employ an analogy<\/a> in describing Kristof with a term of real-estate jargon<\/a>, which is itself a euphemism<\/a>. The list of Kristof’s faults is a form of proslepsis<\/a>, as the trolls are listing faults they think Anna should overlook, while introducing new ones she might not be aware of. The song also highlights one of the major themes<\/a> of the movie: that love has the power to heal each of us.<\/p>\n","protected":false},"excerpt":{"rendered":"

So, you want to teach your students about literary devices, but they’re too preoccupied with the music from Disney’s Frozen? If so, this post is for you. The Frozen soundtrack is actually full of literary, poetic, and rhetorical devices that you can point out for students, or have them find for you. Join me as […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[88,16,91,40,52,48,95,3,87,26],"tags":[],"class_list":["post-5326","post","type-post","status-publish","format-standard","hentry","category-classroom-ideas","category-education","category-hamlet","category-list","category-macbeth","category-music","category-poetry","category-shakespeare","category-teaching-shakespeare","category-visual-arts"],"_links":{"self":[{"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/posts\/5326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/comments?post=5326"}],"version-history":[{"count":41,"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/posts\/5326\/revisions"}],"predecessor-version":[{"id":5370,"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/posts\/5326\/revisions\/5370"}],"wp:attachment":[{"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/media?parent=5326"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/categories?post=5326"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.shakespeareteacher.com\/blog\/wp-json\/wp\/v2\/tags?post=5326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}