Shakespeare's SoliloquiesFirst published in 1987. |
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Page x
... stage history, but also numerous substantial additions and necessary changes to the original German text. I wish to express my warmest thanks for her competent and very constructive assistance. Many thanks are also due to Dr Charity ...
... stage history, but also numerous substantial additions and necessary changes to the original German text. I wish to express my warmest thanks for her competent and very constructive assistance. Many thanks are also due to Dr Charity ...
Page 4
... stage, or introduce a character who was not to appear on stage until later. Frequently dramatists used the soliloquy for epic, narrative and descriptive purposes, that is to say for material which could not easily be fitted into the ...
... stage, or introduce a character who was not to appear on stage until later. Frequently dramatists used the soliloquy for epic, narrative and descriptive purposes, that is to say for material which could not easily be fitted into the ...
Page 5
... stage business. To quoteJ.R. Brown: 'the actors did not address the audience as if it were in another world. There was a reciprocal relationship; the audience could participate in the drama as easily as the actors could share a joke or ...
... stage business. To quoteJ.R. Brown: 'the actors did not address the audience as if it were in another world. There was a reciprocal relationship; the audience could participate in the drama as easily as the actors could share a joke or ...
Page 6
... stages: Shakespeare increasingly discovers the aptness Of the soliloquy as a mode of human expression, treating it as a necessary supplement to dialogue, not just as a useful, or even indispensable, dramaturgical device. Thus in ...
... stages: Shakespeare increasingly discovers the aptness Of the soliloquy as a mode of human expression, treating it as a necessary supplement to dialogue, not just as a useful, or even indispensable, dramaturgical device. Thus in ...
Page 7
... stage in front of us, presupposes our willingness to let ourselves be captivated by the fiction, and thus represents a convention. The bridging and the compression of time, the change of place, the disguises w these are only some of the ...
... stage in front of us, presupposes our willingness to let ourselves be captivated by the fiction, and thus represents a convention. The bridging and the compression of time, the change of place, the disguises w these are only some of the ...
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