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This strength of design ensures that a Shakespeare play can survive translation, cutting and wide interpretation without loss to its core drama. [19] As Shakespeare's mastery grew, he gave his characters clearer and more varied motivations and distinctive patterns of speech. He preserved aspects of his earlier style in the later plays, however.
Shakespeare's Early Modern English [6] was a time of great linguistic change for the English language. [7] One change that was then taking place was the Great Vowel Shift, which changed the pronunciation of long vowels. [7] Many words of Early Modern English were pronounced differently from today's standard pronunciation of Modern English. [7]
The Shakespeare Programming Language (SPL) is an esoteric programming language designed by Jon Åslund and Karl Wiberg. [1] Like the Chef programming language , it is designed to make programs appear to be something other than programs — in this case, Shakespearean plays.
The liveliness of Shakespeare's language and strict discipline of the sonnets imparted economy and intensity to his writing style. "It encouraged the association of compression with a depth of content and variety of emotional response to a degree unparalleled in English". [24] Complex human emotions found simple expressions in Shakespeare's ...
As far as understanding Shakespeare, most reputable English dictionaries cover most of the unfamiliar words used there. There are also modernized versions of his plays available. (As well as No Fear Shakespeare that Textorus mentioned, there's No Sweat Shakespeare along the same lines.) Lexicografía 01:28, 20 September 2010 (UTC)
The texts we will be examining [including Shakespeare's sonnets] emerge from a historical moment when the "scientific" language of analysis had not yet been separated from the sensory language of experience… the Galenic regime of the humoral self that supplies these writers with much of their vocabulary of inwardness demanded invasion of ...
When it came to Shakespeare's plays, Johnson emphasised the role of a reader in understanding language when he wrote, "If Shakespeare has difficulties above other writers, it is to be imputed to the nature of his work, which required the use of common colloquial language, and consequently admitted many phrases allusive, elliptical, and ...
It is mentioned by the character Costard in Act V, Scene I of William Shakespeare's Love's Labour's Lost. As it appears only once in Shakespeare's works, it is a hapax legomenon in the Shakespeare canon. At 27 letters, it is the longest word in the English language to strictly alternate between consonants and vowels. [1]