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Dramatic monologue is a type of poetry written in the form of a speech of an individual character. M.H. Abrams notes the following three features of the dramatic monologue as it applies to poetry: The single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment
Actor Christopher Walken performing a monologue in the 1984 stage play Hurlyburly. In theatre, a monologue (from Greek: μονόλογος, from μόνος mónos, "alone, solitary" and λόγος lógos, "speech") is a speech presented by a single character, most often to express their thoughts aloud, though sometimes also to directly address another character or the audience.
In scene 4, Romeo and Juliet enter the masked ball, sulking at each other. Romeo thinks that Tybalt is Constance and puts his hand on Tybalt's bottom. Constance enters, and Romeo tells her that he loves her. Tybalt sees Romeo kiss Constance and sends Juliet to interrupt them. Romeo introduces Constance to Juliet, and Juliet falls in love with her.
In Romeo and Juliet, Shakespeare employs several dramatic techniques that have garnered praise from critics, most notably the abrupt shifts from comedy to tragedy (an example is the punning exchange between Benvolio and Mercutio just before Tybalt arrives).
An apostrophe is an exclamatory figure of speech. [1] It occurs when a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes absent from the scene.
For example, the line "the little wit that fools have was silenced" (1.2.82–83) may refer to the book burnings of June 1599, and Jacques' "All the world's a stage" monologue (2.7.139–166) is a possible reference to the motto of the newly opened Globe Theatre; "Totus mundus agit histrionem " ("all the world is a playground"), taken from ...
Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles. [6] By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry. He increasingly tuned his metaphors and images to the needs of the ...
The law of reentry, or the principle of the open stage, [1] [2] was described by Robert Prölß [] in Von den ältesten Drucken der Dramen Shakespeares (1905) as: to avoid confusion in the audience, characters who leave the stage at the end of a scene cannot immediately reenter at the beginning of the next if the location has changed.