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A soliloquy (/ s ə ˈ l ɪ l. ə. k w i, s oʊ ˈ l ɪ l. oʊ-/, from Latin solo "to oneself" + loquor "I talk", [1] [a] plural soliloquies) is a monologue addressed to oneself, thoughts spoken out loud without addressing another person. [2] [3] Soliloquies are used as a device in drama. In a soliloquy, a character typically is alone on a ...
"Tomorrow and tomorrow and tomorrow" is the beginning of the second sentence of one of the most famous soliloquies in William Shakespeare's tragedy Macbeth. It takes place in the beginning of the fifth scene of Act 5, during the time when the Scottish troops, led by Malcolm and Macduff, are approaching Macbeth's castle to besiege it.
"To be, or not to be" is a speech given by Prince Hamlet in the so-called "nunnery scene" of William Shakespeare's play Hamlet (Act 3, Scene 1). The speech is named for the opening phrase, itself among the most widely known and quoted lines in modern English literature, and has been referenced in many works of theatre, literature and music.
The American novelist Herman Melville's soliloquies owe much to Shakespeare; his Captain Ahab in Moby-Dick is a classic tragic hero, inspired by King Lear. [225] Scholars have identified 20,000 pieces of music linked to Shakespeare's works, including Felix Mendelssohn 's overture and incidental music for A Midsummer Night's Dream and Sergei ...
Shakespeare's 77th sonnet is the half-way point of the book of 154 sonnets. The poet here presents the idea of the young man taking on the role of poet and writing about himself. The poet here presents the idea of the young man taking on the role of poet and writing about himself.
"Friends, Romans": Orson Welles' Broadway production of Caesar (1937), a modern-dress production that evoked comparison to contemporary Fascist Italy and Nazi Germany "Friends, Romans, countrymen, lend me your ears" is the first line of a speech by Mark Antony in the play Julius Caesar, by William Shakespeare.
In the first quatrain of the sonnet, the speaker pledges himself to the mistress, while he humbly refers to himself as "I that vex thee." It can be roughly paraphrased as: You have me, and me, and me again.
At the same time, Richard's vivid self-awareness looks forward to the soliloquies of Shakespeare's mature plays. [4] [5] No single play marks a change from the traditional to the freer style. Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles. [6]