Shakespeare's SoliloquiesPsychology Press, 1987 - 211 pages First published in 1987. Often the best known and most memorable passages in Shakespeare's plays, the soliloquies, also tend to be the focal points in the drama. Twenty-seven soliloquies are examined in this work, illustrating how the spectator or reader is led to the soliloquy and how the drama is continued afterwards. The detailed structure of each soliloquy is discussed, as well as examining them within the structure of the entire play - thereby extending the interpretation of the work as a whole. |
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Contents
SOLILOQUIES FROM THE HISTORY | 13 |
RICHARD II | 23 |
KING JOHN | 29 |
HENRY IV PART | 38 |
SOLILOQUIES FROM | 45 |
TWELFTH NIGHT | 51 |
ALLS WELL THAT ENDS WELL | 60 |
CYMBELINE | 72 |
THE TEMPEST | 79 |
SOLILOQUIES FROM | 89 |
JULIUS CAESAR | 109 |
HAMLET | 119 |
OTHELLO | 163 |
KING LEAR | 171 |
CONCLUSION | 179 |
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Common terms and phrases
abstract action actor already Angelo apostrophe appearance audience awareness becomes beginning Brutus Caesar character close comedy comic concrete contrast conventions convey Cymbeline dagger death deed Desdemona dialogue direct dramatic dramatists earlier effect Elizabethan emotions epithalamium exclamations expression eyes Falstaff feeling follow further Gentlemen of Verona gestures give Hamlet hath hear Helena Henry IV honour human Iachimo imagination Imogen impression inner Isabella Juliet Julius Caesar King Lear Lady Macbeth language last soliloquy Launce Lear's lines look loquy Lucius magic Malvolio mind monologue murder nature night observations opening Othello particular passage plot powers pre-Shakespearean presented Prospero questions reflection reveal rhetorical Richard Richard III Romeo Romeo and Juliet sense sentence sequence Shakespeare Shakespeare's plays Shakespeare's soliloquies situation sleep soli speak speaker speech spoken stage style thee thou thoughts tragedies tragic Twelfth Night Tybalt utterances vision whole words