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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. Macbeth, the play's protagonist, is confident that he can withstand any siege from Malcolm's forces. He hears the cry of a woman and reflects that there was a time ...
The poem was published in the Sangamo Journal, [2] a newspaper in which Lincoln had previously published other works. The poem uses a similar meter, sync, dictation and tone with many other poems published by Lincoln and according to Richard Miller, the man who discovered the poem, the theme of the interplay between rationality and madness is "especially Lincolnian in spirit". [3]
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 ...
The line "all the world's a stage [...]" from Shakespeare's First Folio [1] Richard Kindersley's sculpture The Seven Ages of Man in London "All the world's a stage" is the phrase that begins a monologue from William Shakespeare's pastoral comedy As You Like It, spoken by the melancholy Jaques in Act II Scene VII Line 139.
Mortimer is identified as a vainglorious figure whose pride is the cause of his actions. Mortimer's "Senecan pride and ambition" is expressed in his soliloquy in which he glories in his new power. Thus the play begins with the words: "This Rise is made, yet! and we now stand, ranck'd, / To view about us, all that were above us!" [5]
King Leopold's Soliloquy is a 1905 pamphlet by American author Mark Twain. [1] Its subject is King Leopold 's rule over the Congo Free State . A work of political satire harshly condemnatory of his actions, it ostensibly recounts a fictional monologue of Leopold II speaking in his own defense.
And so ends my catechism. (5.1.128-142) In this soliloquy, Falstaff dismisses honour as an abstract concept that has no tangible benefits. His repetition of the word "honor" and the subsequent reduction of it to "air" underscores his cynical perspective, suggesting that honour is an empty, meaningless concept that holds no practical value.
The first section was mailed to Lincoln's friend and fellow politician, Andrew Johnston, on April 18, 1846. The second was mailed on September 6, 1846. On May 5, 1847, Johnston published both cantos in the Quincy Whig and titled it as "The Return." The first canto was dubbed "Part I – Reflection," and the second, "Part II – The Maniac." [1]