Monologue And Dialogue In The Miracle And Morality

In Shakespeare’s Othello, the lack of a narrator, empowers the words spoken by the characters to such an extent that it directs the drama to the desired destination of the play. This essay will serve as proof as the power of words will be discussed by, firstly, explaining the effect that words, and the lack thereof, have on characters and ultimately on the plot. Thereafter, the use of certain words to form perceived impressions of characters will be argued. Lastly, an elaboration on how words are used to involve the audience in the play.

I awoke to beams of a dozen spotlights, my vision gradually adjusted to the brilliant white light which illuminated everything around me. The realization that I had fallen asleep during rehearsal caused my eyes to widen in utter shock and confusion.

Nothing was heard, only the water droplets that drops from the crack ceiling. Making a small puddle on the ground, having mice roaming around the place.

The narrator introduces the play and what happen to Verity and why she is in the position she is in. The narrator talks to the audience in 4th wall and informs the audience of Verity’s future. The narrator performs the same monologue at the end of play. This reminds the audience once again that this is a true story of a young child that went through all this pain and suffering. During lesson 5 in-groups of 6 we created a piece of drama using the monologue. With the idea of gossip we created a piece that used the text as guidelines but had a realistic twist on how people get the facts wrong and make the story more interesting. We used dramatic tension in this piece when characters began to taunt someone about her past. Using the words ‘neetz’ we built up an atmosphere and tension between characters.

The prose used for their mad speeches imply disorderly shape and contributes to its colloquial character. Using this technique, Shakespeare represents distinctions between

The time period of this play sticks out almost immediately after reading the first few pages. The language that they use in this play is full of “thy’s” and “thou’s” which

If we see further, at the very first beginning of the poem, Marlowe shows the influence of Greek mythological in his narrative poem. It is because

As April walked into the bunker she realized something was different about that day. Sure it appeared the same, but the air had a different feeling. She realized it was electric, and it wasn’t because of the Biff.

Shakespeare’s world seems to be dominated by Prospero, by his magic whose power lies in his books, therefore in the language he uses to control his “servants”: “Remember/First to possess his books, for without them/ He’s but a sot “(Shakespeare 2009, p.105). Nevertheless, his ignorance towards the desires and needs of the others creates an illusion of authority on which Prospero feeds regularly.

Emphasised only by his outburst of what seems like pure madness, he stands as the character with whom the audience is supposed to have the most sympathy with. However, these eruptions of emotions that seem unintelligible can actually be deciphered. Therefore, the numerous soliloquies of King Lear serve two purposes: They reveal King Lear as a person bordering on mad while also containing linguistic constructions of intellect used by Shakespeare not only to play with language but to make himself seem as a master of language. By managing to create sentences that can be read as both the ramblings of a madman or the articulate ponderings of a rhetorical linguist, Shakespeare proves the ambiguity that language possess whilst, of course, also underlining his own

Language of intelligibility: it is my belief that this class, Drama in Context, ultimate goal is to use various theater styles to teach us the importance of understanding language of intelligibility. It is important to remember it is impossible to completely understand the context of when plays were written. The further through time and space we travel to the original production of a performance the harder it might be to mesh our language of intelligibility to that of the playwright. As thinking creatures who live in the 21st century, we have certain expectations as motivation, mostly revolving around the Judeo-Christian upbringing most of us have experienced. In so far as we are thinking creatures is our duty whenever possible to consider the historical context plays were created in.

Even at the ending of Tamburlaine Part Two there is no definitive proof that heaven has orchestrated his downfall. This ambiguity is intentional, enabling the audience to draw their own conclusions and to applaud his fortunes as they please.

Ellis-Fermor considers that in Tamburlaine, “there is much that is not effective rhetoric.” In this case, Marlowe’s images are not in harmony with the emotions forming the background of the passage and serve rather to illustrate them than to imply any association. There is no harmony between the individual image and its setting. The imagery in Tamburlaine does not lack power, though it is most effective when one rhetorical image leads on to another. Tamburlaine’s description of his triumph in the last act of Part I is an example of such effective, cumulative series of little pictures which according to Ellis-Fermor “no one… can be picked out as having the quality of poetry.” There are showers of blood and meteors in Africa, there are mentions of Jove, the Furies and Death, dead kings lie at Tamburlaine’s feet. This is not a way of poetic imagery.

The most obvious reason for the success of Tamburlaine was the surprise and delight with which Marlowe’s style was received, a style which has often been analysed, praised, and criticised in the same time. The blank-verse line with its variations in pace and rhythm, the beauty of the language filled with sonorous place-names and words expressing colour, light, and space, the long sentences, abounding in hyperbole and imagery from classical mythology were the source from which the rich variety of Elizabethan dramatic blank verse was to flow.

The three language devices – “words as power”, “words as character” and “words as conversation” with the audience – are used to create characters’ identities and fates, and also to drive the plot of the play (Krieger,