Speech In Tamburlaine

I will show understanding of the plot, character and themes and Shakesperes use of language and dramatic devices within the play.

In the drama, The Tragedy of Romeo and Juliet by William Shakespeare, there are several long speeches that show different types of figurative language and structure. One that is particularly intriguing is the speech Mercutio makes when trying to persuade Romeo to go to the Capulet party. In this speech Mercutio describes Queen Mab, who is a fairy like woman that controls dreams. She makes ladies dream of kisses, soldiers dream of the blood of enemies, and lawyers dream of money. Within this speech about Queen Mab, Shakespeare uses metaphorical language, imagery, specific tones, and structure to create an image for the audience and contribute to the larger plot of the play.

The differences in styles of language truly brings alive the plays' various characters, from the lowliest drawer to the noblest knight. The playwright's audience would have been composed of a similarly diverse spectrum of society, from the groundlings at the foot of the stage, to the members of the court in attendance, and these disparate members of the audience might very well have come away from the plays with different interpretations of

Taming of the Shrew is a romantic comedy written by William Shakespeare in the 1500’s. It takes place in the city of Padua, presumably during the Italian Renaissance. The major conflict of the play is ‘taming’ a hot-headed woman named Katherine and to overcome the rule her father holds on his two daughters where the eldest marries first. The script brings up a lot of attention in the feminist theory. But, Shakespeare’s play reflects on the archetypes of characters, situations, and symbols. These connections are made in the play to make the audience familiar with the text and provide a deeper understanding.

However, by the formal introduction of the rumoured moor in Act 1 Scene 2 and his monologue in Scene 3, our previous doubts of Othello’s character diminish. The magnificence of Othello shines through through his behaviour and rhetoric, becoming a juxtaposing image of a ‘Valiant Othello’ both the Duke and senators speak of. “Rude am i in my speech” proves Othello’s confidence and elegance in his language. The use of the rhythmic Iambic Pentameter within his monologue suggests a well thought out and educated response from Othello, Shakespeare decides to gift his character with eloquent and virtuous speech in order to highlight his composure as a hero and admirable character. His measured language is a sign of his confidence, self-discipline and virtue, thus agreeing to his admirability of being the tragic hero.

Hamlet’s linguistic restraint becomes a reliable indicator of whether he is expressing his true feeling, or whether he is undertaking a linguistic performance, masking the real character with a linguistic front. In his first soliloquy, the unregulated enjambment gives the speech a sense of immediacy with genuine confessions sprawling from line to line in a stream-of-consciousness. The looseness of the language is more convincing than the calculated, ‘scripted’ feel to Hamlet’s public interaction with other characters. Moreover the logical progression in Hamlet’s interaction with Claudius is lost to a more liberal and erratic composition of ideas in the soliloquy. In dialogue, Hamlet offers explanation and justification: “These indeed seem / For they are…”. There is logic and rationale to this structure; it gives the appearance of a speaker who is well evidenced, certain and in control, however it is an unconvincing reflection of the way we speak. Hamlet collapses into soliloquy, losing this composed structure. His ideas progress sporadically in a disparate sequence of images. Shakespeare uses this ‘collapse’ as a structural device. We see moments of composed, decisive articulation followed by incoherent, procrastinating outpour, and similarly within the soliloquies, we see volatile moments collapse into doubt and mellowing emotion. This device has been transmitted in the

William Shakespeare, arguably the greatest language in the English language and England’s national poet, has written numerous histories, tragedies, comedies and poems. Throughout his plays, his use of dramatic irony, immaculate word choice and wording, and his vast imagination has made him a successful playwright even in his time. Shakespeare’s scripts for his theatrical company, needed to pertain to the needs and fascinations of the Elizabethan audience. It is safe to assume that all his sonnets, poetic speeches, electrifying action and soliloquies in his play were created for the delicate and quickly appreciative of language Elizabethans of his time. A particular example out of the many soliloquies

Each character portrayed in The Big Sleep By Raymond Chandler plays an important role in discovering the potential answers to the themes depicted throughout the novel. The Characterization of Phillip Marlowe, Carmen Sternwood, Vivian Reagan and General Sternwood allows the reader to understand who these characters are, if they changed as a result of events that occurred though out the book and how they work together to answer the developed themes of the book. The novel is written in the perspective of Phillip Marlowe, therefore the readers know about Marlowe’s thoughts, intentions and whereabouts throughout the book. Marlowe is a private detective who is hired by the wealthy Sternwood family.

William Shakespeare, even in death, remains a wordsmith of sorts. With the aid of innovative diction, knack for repetition, and allusions and metaphors alike, he has intrigued audiences with his eerily human concepts for centuries. To highlight a piece in particular, I turn to Shakespeare’s play of Henry VIII and his portrayal of a man known as Cardinal Wolsey, in which we are informed of his seemingly sudden dismissal from the King’s court.

Speech is often the strongest indicator of personality and motivation in Shakespearean histories and comedies. Each turn of phrase is a small insight into the essence of the character. Stringing together each line from the mouth of the character allows the audience to discover each nuance created by Shakespeare. By connecting the actions to a manner of speech, which mirrors those actions, Shakespeare is able to create more believable and dynamic characters. Examining Much Ado About Nothing, A Midsummer Night's Dream, and Richard III, certain archetypes emerge, each with a specific way of speaking. Villains with their quick and

This quote once again supports the previous evidence regarding to the lack of description of actions of characters and the usage of stage directions. The use of some literary elements used in Trifles will differ from those used in Glaspell’s next text “A Jury of Her Peers”.

Based on the usage of the words “small”, “delicately” and “porcelain”, it can be assumed that she has a very doll-like appearance. Based on her looks alone, she seems to be very innocent and pure. However, once she opens her mouth to smile, Marlowe sees the underlying naughtiness in her “sharp predatory teeth.” Her first interaction with Marlowe mimics her overall appearance. She acts as immature and as naïve as she looks.

Immoderation is rampant in everyday life, and you see it everywhere. For example, iIn the excessive serving sizes at fast food restaurants, the increasing level of obesity in the world population, and in the rise in teen pregnancy rates, immoderation is seen so much nowadays that people have become accustomed to it. In fact, we have acclimatized to it so much that even cases of immoderation such as we see in William Shakespeare’s Twelfth Night, or What You Will do not seem as unreasonable as they should. In this play, immoderation plays such a strong role that even the most reasonable and modest of characters, like Feste, are tainted with its touch, and characters like Malvolio, who could be moderate in an alternate world, seems to purposely

Lear's entry into the play is similar to Gloucester's such that, through close analysis of the dialogue between the King and his daughters, the reader gains awful knowledge of the arrogance and ignorance that will soon become his downfall . The drama of his opening speech is at all points excessive; the reader discerns a man that is long accustomed to being listened to and indulged in every way. In a moral

During the Renaissance era, Christopher Marlowe impacted and inspired many of his fellow playwrights during his short life. With the success of his plays and poems, some including Tamburlaine the Great and Hero and Leander, came the praise for Marlowe’s contemporaries. According to Peter Farey, there were notably few contemporary dramatists whom had anything negative to say about Marlowe, although he received much criticism regarding his personal life. His relatively clean reputation diminished after his first arrest in 1593 and rumors of suspected corruption. It is believed by a copious amount of scholars that Marlowe was a considerably controversial individual in the eyes of spectators during the 16th century. After all, many harbored a