Shakespeare's SoliloquiesFirst published in 1987. |
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Page 6
... speaker being split into selves which are in conflict with one another . Much of what distinguishes Shakespeare's soliloquies from those of his predecessors may be attributed to this process of dramatization , a skill which he developed ...
... speaker being split into selves which are in conflict with one another . Much of what distinguishes Shakespeare's soliloquies from those of his predecessors may be attributed to this process of dramatization , a skill which he developed ...
Page 11
... speaker ? The answers to these questions will be far more finely dif- ferentiated than they would be if the same questions were applied to the soliloquies of classical German or French drama . The examination of the language will make ...
... speaker ? The answers to these questions will be far more finely dif- ferentiated than they would be if the same questions were applied to the soliloquies of classical German or French drama . The examination of the language will make ...
Page 14
... speaker in control of his emotions . It is chiefly in the tragedies that we encounter great eruptions of spontaneous feeling , the fusion of emotion with thought , the excitingly abrupt change from poetic to colloquial language ...
... speaker in control of his emotions . It is chiefly in the tragedies that we encounter great eruptions of spontaneous feeling , the fusion of emotion with thought , the excitingly abrupt change from poetic to colloquial language ...
Page 17
... speaker can hardly cease looking at himself . His negative com- ments about himself are hammered into the extended sentence structure with its cumulation of participial con- structions . They accelerate the pace of the speech and The ...
... speaker can hardly cease looking at himself . His negative com- ments about himself are hammered into the extended sentence structure with its cumulation of participial con- structions . They accelerate the pace of the speech and The ...
Page 25
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Contents
13 | |
19 | |
KING JOHN | 29 |
Falstaffs reflections on honour V i 12541 | 38 |
TWO GENTLEMEN OF VERONA | 45 |
TWELFTH NIGHT | 51 |
ALLS WELL THAT ENDS WELL | 60 |
CYMBELINE | 72 |
35 | 100 |
OTHELLO | 163 |
KING LEAR | 171 |
CONCLUSION | 179 |
NOTES | 193 |
91 | 195 |
109 | 202 |
SELECT BIBLIOGRAPHY | 210 |
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Common terms and phrases
abstract action actor already Angelo apostrophe appearance audience audience's awareness becomes beginning Bertram Brutus character close comedy comic concrete contrast convey Cymbeline dagger death Desdemona dialogue dramatic dramatists earlier effect Elizabethan emotions epithalamium expression eyes Falstaff father feelings figure final soliloquy follow further Gentlemen of Verona gestures give Hamlet hath Helena honour human Iachimo II.ii images imagination Imogen impression inner Isabella Julius Caesar King Lear Lady Macbeth language last soliloquy Launce Lear's lines look loquy lovers magic Malvolio mind monologue murder nature night observation opening Othello particular passage plot pre-Shakespearean preceding scenes presented Prospero questions reflection reveal rhetorical Richard Richard III role Romeo and Juliet sense sentence Shakespeare Shakespeare's plays Shakespeare's soliloquies situation sleep soli soliloquizing speeches speaker speaks spoken style thee thou thoughts tragedies tragic Twelfth Night Tybalt utterances vision whole words