Shakespeare's SoliloquiesFirst published in 1987. |
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Page 2
... , reflective soliloquy, homily and so on, turn out to be applicable in part only. They can be better applied to the shorter, less remarkable soliloquies, which tend to follow the scheme of traditional convention 2 Shakespeare's soliloquies.
... , reflective soliloquy, homily and so on, turn out to be applicable in part only. They can be better applied to the shorter, less remarkable soliloquies, which tend to follow the scheme of traditional convention 2 Shakespeare's soliloquies.
Page 3
Ingeborg Boltz, Wolfgang Clemen. soliloquies, which tend to follow the scheme of traditional convention more closely. What we think of as Shakespeare's great soliloquies can hardly be classified in this way, for in them, if we do look ...
Ingeborg Boltz, Wolfgang Clemen. soliloquies, which tend to follow the scheme of traditional convention more closely. What we think of as Shakespeare's great soliloquies can hardly be classified in this way, for in them, if we do look ...
Page 4
... follow. This direct address of the audience is important for the understanding of Shakespeare's soliloquies. The open stage protruding right into the pit, with the audience on three sides, favoured close contact, even intimacy, and a ...
... follow. This direct address of the audience is important for the understanding of Shakespeare's soliloquies. The open stage protruding right into the pit, with the audience on three sides, favoured close contact, even intimacy, and a ...
Page 14
... follow established dramatic conventions. They provide the audience with information, epic insets, straightforward declarations of intent, or rhetorical lament, and do not differ fundamentally from the other speeches of the main ...
... follow established dramatic conventions. They provide the audience with information, epic insets, straightforward declarations of intent, or rhetorical lament, and do not differ fundamentally from the other speeches of the main ...
Page 17
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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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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