Shakespeare's SoliloquiesFirst published in 1987. |
From inside the book
Results 1-5 of 22
Page 1
... find them in every play, but their frequency in the individual plays varies, as does their length, which ranges from half a line to seventy. Yet this is less remarkable than the extraordinary variety of their design and function ...
... find them in every play, but their frequency in the individual plays varies, as does their length, which ranges from half a line to seventy. Yet this is less remarkable than the extraordinary variety of their design and function ...
Page 2
... find ourselves in a predicament if we wanted to speak in the same way ofthe typical soliloquy in Shakespeare, for there are not only the great reflections of the tragic heroes, Hamlet's 'TO be or not to be' (Illi) and Macbeth's 'Ifit ...
... find ourselves in a predicament if we wanted to speak in the same way ofthe typical soliloquy in Shakespeare, for there are not only the great reflections of the tragic heroes, Hamlet's 'TO be or not to be' (Illi) and Macbeth's 'Ifit ...
Page 3
... find several at a time, interrelated, and the decisive factor is in any case not the type, or pattern, but what transcends 1t. Nevertheless, when Shakespeare began to write his plays he found soliloquies as part of the established ...
... find several at a time, interrelated, and the decisive factor is in any case not the type, or pattern, but what transcends 1t. Nevertheless, when Shakespeare began to write his plays he found soliloquies as part of the established ...
Page 14
... find appropriate means of expression for Richard's selfdramatization. In order to appreciate the advance made between the soliloquies in the three parts of Henry VI and the astonishing monologue in the last Act of Richard III, we would ...
... find appropriate means of expression for Richard's selfdramatization. In order to appreciate the advance made between the soliloquies in the three parts of Henry VI and the astonishing monologue in the last Act of Richard III, we would ...
Page 20
You have reached your viewing limit for this book.
You have reached your viewing limit for this book.
Contents
1 | |
13 | |
3 SOLILOQUIES FROM THE COMEDIES AND ROMANCES | 45 |
4 SOLILOQUIES FROM THE TRAGEDIES | 88 |
5 CONCLUSION | 179 |
NOTES | 193 |
SELECT BIBLIOGRAPHY | 210 |
Other editions - View all
Common terms and phrases
abstract action actor already Angelo apostrophe appearance audience audience’s awareness becomes beginning Brutus Caesar character Clemen comedy comic contrast conventions convey Cymbeline dagger death deed Desdemona dialogue difficult dramatic dramatists effect Elizabethan emotions epithalamium expression eyes Falstaff father feeling figure final finally find first act first soliloquy follow Gentlemen of Verona gestures give Hamlet hath Helena Henry IV honour Iachimo imagery imagination Imogen’s impression influence Isabella Juliet julius Caesar King Lear Lady Macbeth language Launce Lear’s lines London loquy Lucius magic Malvolio mind monologue murder nature night Othello particular passage personification powers preceding presented Prospero questions reflection rhetorical Richard Richard III Romeo Romeo and juliet scene sense sentence sequence Shakespeare Survey Shakespeare’s plays Shakespeare’s soliloquies significance situation sleep soli speak speaker specific speech spoken stage style thee There’s thou thoughts tragedies tragic Twelfth Night Tybalt vision words