Shakespeare's SoliloquiesFirst published in 1987. |
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... Character of Hamlet Baxter Berry Bradbrook Clemen Clemen Clemen Clemen Duthie Edwards Evans Foakes Foakes Frye Gibson Griffith Hawkes Kermode Leishman Mack Muir Muir Muir & O'Loughlin Nicoll Pyle Schanzer Shirley Vickers Wells ...
... Character of Hamlet Baxter Berry Bradbrook Clemen Clemen Clemen Clemen Duthie Edwards Evans Foakes Foakes Frye Gibson Griffith Hawkes Kermode Leishman Mack Muir Muir Muir & O'Loughlin Nicoll Pyle Schanzer Shirley Vickers Wells ...
Page 4
... character could make himself and his plans known; at times he could also give an account of events oH-stage, or introduce a character who was not to appear on stage until later. Frequently dramatists used the soliloquy for epic ...
... character could make himself and his plans known; at times he could also give an account of events oH-stage, or introduce a character who was not to appear on stage until later. Frequently dramatists used the soliloquy for epic ...
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... characters. Thus the soliloquy has with some justification been said to have contributed to the force of conviction, to the veracity and credibility of the Elizabethan theatre. However, with Shakespeare another question becomes relevant ...
... characters. Thus the soliloquy has with some justification been said to have contributed to the force of conviction, to the veracity and credibility of the Elizabethan theatre. However, with Shakespeare another question becomes relevant ...
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... characters are of an extrovert, histrionic disposition, and enjoy speaking of themselves as of another self. Another phenomenon is revealed to us in gradual stages: Shakespeare increasingly discovers the aptness Of the soliloquy as a ...
... characters are of an extrovert, histrionic disposition, and enjoy speaking of themselves as of another self. Another phenomenon is revealed to us in gradual stages: Shakespeare increasingly discovers the aptness Of the soliloquy as a ...
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... characters on the stage should think aloud and talk to themselves, while such behaviour was regarded as a pathological deviation from the norm in real life. However, under the influence of neoclassicism and awakening rationalism ...
... characters on the stage should think aloud and talk to themselves, while such behaviour was regarded as a pathological deviation from the norm in real life. However, under the influence of neoclassicism and awakening rationalism ...
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 |
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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