will further contemplate how the first soliloquy helps the readers understand the true color of Iago. This being the first monologue, Iago reveals much about himself. His complex personality and his desire to do the evil are clearly seen in this monologue. He is using people’s weakness about insecurities for his own benefit. He also enjoys causing sorrow to others. The monologue give the readers a overview of a tragic plot of Othello in fringes on the ability of the villain, Iago, is the master to
SYNOPSIS At the outset, Sam Shepard’s rambling dramatic monologue Killer’s Head is a one-act drama of a man’s spoken thoughts as he forbearingly awaits his execution by electrocution. The man undergoing such capital punishment is a man by the name of Mazon from the southwestern region of the United States, which we know due to his thick, “clipped, southwestern, rodeo accent” (Shepard). As Mazon sat there barefoot, blindfolded, and clothed in nothing but a t-shirt and a pair of jeans with his “hands
talked about the writing of An Imaginary Life. He has said that:- I didn’t realize I was writing a novel when I started that book. I didn’t know what I was writing, whether it was a long dramatic monologue in prose or whether I was writing a long prose poem, or a piece of part fiction, part-monologue, part-essay. I just launched into it. What I was interested in were all questions that had come up out of poetry: they were questions about the language of poetry, they were questions about the relationship
Allow me to introduce the Man inside my head. He does not have a name nor an identity, but He is the sole contributor to the immutable monologue which streams across the news ticker that is my conscious mind. Born out of a case of social anxiety, this Man is my best friend, and beyond that, He is a version of myself that the world has never met. He alone can penetrate into my subconscious mind, but He never talks about what He finds in that intangible repository. The late Sigmund Freud theorized
combination of past and modern time. The modern is usually front and center of his work and it is completed with different allusions to the past, such as William Shakespeare, the Greeks and more. By form, “Prufrock” is a variation on the dramatic monologue which means it is “a poem written in the form of a speech of an individual character, it compresses into a single vivid scene a narrative sense of the speaker’s history and psychological insight into his character” (The Encyclopædia Britannica, 2014)
she is emotionally distant from her husband. Even though Iago is crude to Emilia she is still devoted to him and lust after his affection. She shows her devotion by stealing, what Emilia thinks is barrowing, Desdemona’s hanker chief. In a short monologue, Shakespeare revealed this when Emilia says “I am glad I have found this napkin… And give’t to Iago. What he do with it, Heaven knows, not I; I nothing but to please his fancy” (3.2.290-297). She is telling the audience that she wants to make her
of poems that focuses on memories from his childhood (“Theodore H.”). Roethke shows his struggle of identity as a child, which reflects how he established his identity as a poet. Through the reflections of this work Roethke found his own voice and vision (“Theodore" Contemporary). This collection included “My Papa’s Waltz”, written about Otto Roethke. Many of the ideas in The Lost Son were inspired by the Greenhouse of his childhood, focusing on the growing of nature, and containing many paradoxes
The distinctiveness of Indian theatrical tradition in the dramatic cultures of the world—its antiquity as well as its aesthetic appeal—is more or less indisputable today. The roots of theatre in India are ancient and deep-seated. Theatrical expression of some kind or the other has been since primitive and mythic times, an integral part of Indian life. Our knowledge about the initial, primitive stage of theatrical activity in India is very meagre. However one can safely say that theatre in India as