Effective Use of Dialogue in The Sacrifice of Isaac Essay

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Effective Use of Dialogue in The Sacrifice of Isaac

In the Brome version of The Sacrifice of Isaac, the suspense created by the emotionally charged dialogue is likely what kept the audience's attention. While it is incredibly likely that the audience knew the entire story, the emotional flavor of the dialogue, such as Abraham's innocent expressions of his love of and thankfulness for Isaac at the beginning of the play, is bound to evoke a certain concern for the characters which dims the audience's foreknowledge of the tale's happy ending. It is much the same principle that modern television scriptwriters use to hold viewers' attention through a series; the main characters, who can't die because they are needed for next week's
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The playwright is open with regards to God's reason in asking for the sacrifice of the most useful and beloved of Abraham's sons. As He says in lines 33-34, "I schall asay now his good will, / Whether he lovith better his child or me." In other words, God is jealous, an emotion that I find badly suited to an omnipotent deity, but that the Old Testament emphasizes as one of God's primary motivations.

When the angel first tells Abraham of God's wishes, Abraham states that he has never begrudged God anything, and although it pains him greatly, he will not begrudge God the sacrifice of his son. When he makes this speech, it appears that Abraham is accepting his fate with a brave face and a pounding heart, hoping that his bold acceptance of something he obviously feels is wrong will cause God to back down from his request. At this point, the audience, too, stands with brave faces and pounding hearts, waiting to hear God's acknowledgement of Abraham's acceptance. I certainly found myself mimicking Abraham's stance, gripping my book in the delicate but powerful hold of one who is anxious and uncertain. "Will God go through with it?" I asked myself, unable to peel my eyes from the pages and realise that I knew how this story was constructed. I imagine that the sensation is even stronger if the play is watched instead of read.

When Abraham
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