...Romeo and Juliet is one of the most famous plays ever written. Shakespeare wrote this tragic play in 1595 about two star crossed lovers. In the play, Shakespeare included several literary devices like dramatic irony, soliloquy, and monologue. These made the play more interesting and gave it more detail. Dramatic irony was included in many parts of the story. “Thy lips are warm.” (Act 5, Scene 3) Juliet stated this after Romeo consumed poison and she kissed him. As a reader of the play, we have knowledge of Romeo and Juliet’s marriage, but the Capulets and Montagues don’t know anything about it. The families eventually find out at the end of the play. We also know that Juliet actually took a sleeping potion and really isn’t dead, but everyone...
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...Mercutio says to Romeo, “Why the devil came you between us? I was hurt under your arm.” Which of the following is the best paraphrase of Mercutio's words? a. I am so badly wounded that I feel I will die. b. Why did you interfere? Your arm allowed him to stab me. c. Why has the devil caused me bad fortune? d. Your arm could not save me, Romeo. ____ 2. When Benvolio announces Mercutio's death, Romeo replies, “This day's black fate on moe days doth depend; / This but begins the woe others must end.” Which of the following best describes Romeo's emotional reaction to Mercutio's death? a. shame and sympathy for Tybalt b. grief and fear of the future c. guilt and regret d. relief and optimism that all will end well ____ 3. After Tybalt's death, the Prince sentences Romeo to which of the following punishments? a. death b. banishment c. imprisonment for life d. the loss of his noble title ____ 4. At the beginning of Act III, Scene ii, Juliet is alone in Capulet's orchard. She delivers a long speech in which she eagerly anticipates Romeo's arrival at nightfall. Which of the following correctly describes this speech? a. aside b. monologue c. metaphor d. soliloquy ____ 5. In Act III, Scene iii, when Romeo learns about the Prince's decree, which of the following best expresses his reaction as he talks with Friar Lawrence? a. calm b. panic c. guilt d. self-pity ____ 6. Read the following speech by the Nurse to Juliet in Scene ii: There's...
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...The text under analysis belongs to the tragedy genre of drama. I have chosen an abstract from the Shakespearean play “Romeo and Juliet”, especially the conversation between the protagonists. Key words of especially this abstract are “name” and “love”. They are repeated many times. And no wonder, we know, that one of the main themes of this play is unhappy love of the main characters. Concept of love is percepted by the reader in two meanings: something high and beautiful and dark, unlucky at the same time. The second word is name. Because the name is the only reason they can’t be together, they hate their names and would be happy to change them, if only they could: “ 'Tis but thy name that is my enemy” “By a name I know not how to tell thee who I am: My name, dear saint, is hateful to myself, Because it is an enemy to thee; Had I it written, I would tear the word”. As to the compositional structure, this abstract consists of dialogues, monologues and author’s remarks. It should be mentioned, that the role of author’s remarks is used to the description of the place, changing of the characters on stage. In this text remarks are almost absent: “Enter ROMEO”, “Nurse calls within”. The structure of dialogues isn’t homogeneous. Replicas of the characters are different in terms of length. It depends on the topic of conversation: when they discuss their feelings, replicas are rather long: “'Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's...
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...English Essay- Evolution of Romeo and Juliet William Shakespeare’s well-known play, Romeo and Juliet addresses the ill-fated love of two young children from feuding households set in Verona. Even though they are both children and Juliet is younger than Romeo, they both mature at different rates and ways. In addition, they are very different characters. Romeo is withdrawn, whereas Juliet is bold and brave. The differences go on and are made more obvious as the play progresses. This essay will highlight these differences and how they evolve as characters through the course of this play. Both the characters strike us as very different when we meet them for the first time. Romeo is recovering from his unrequited love. He is shown to be pining with love for a woman called Rosaline. He seems very immature in the beginning as he loses track of time and he stays in a dark room throughout the day due to his love-sickness. The play's emphasis on characters' eyes and the act of looking accords with Romeo's role as a blind lover who doesn't believe that there could be another lady more fair than his Rosaline. Romeo denies that he could be deluded by love, the "religion" of his eye. This zeal, combined with his rejection of Benvolio's advice to find another love to replace Rosaline, highlights Romeo's immaturity as a lover. We immediately feel as though his feelings are not real love, it is more of a infatuation. Romeo is in love with the concept of being in love. Juliet on the other hand is more...
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...This story of star-crossed lovers is one of William Shakespeare’s tenderest dramas. Shakespeare is sympathetic toward Romeo and Juliet, and in attributing their tragedy to fate, rather than to a flaw in their characters, he raises them to heights near perfection, as well as running the risk of creating pathos, not tragedy. They are both sincere, kind, brave, loyal, virtuous, and desperately in love, and their tragedy is greater because of their innocence. The feud between the lovers’ families represents the fate that Romeo and Juliet are powerless to overcome. The lines capture in poetry the youthful and simple passion that characterizes the play. One of the most popular plays of all time, Romeo and Juliet was Shakespeare’s second tragedy (after Titus Andronicus of 1594, a failure). Consequently, the play shows the sometimes artificial lyricism of early comedies such as Love’s Labour’s Lost 1594-1595, . 1598) and A Midsummer Night’s Dream (. 1595-1596, . 1600), while its character development predicts the direction of the playwright’s artistic maturity. In Shakespeare’s usual fashion, he based his story on sources that were well known in his day: Masuccio Salernitano’s Novellino (1475), William Painter’s The Palace of Pleasure (1566-1567), and, especially, Arthur Brooke’s poetic The Tragical History of Romeus and Juliet (1562). Shakespeare reduces the time of the action from the months it takes in Brooke’s work to a few compact days. In addition to following the conventional...
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...Tragic hero, Tragic(Fatal) flaw, Internal and external conflict, Comic relief, The supernatural, The abnormality, Revenge, and Death etc. I am going to take a look at some of the elements of Shakespearean tragedy used in very famous plays, 'Hamlet' and 'Romeo and Juliet'. First of all, a 'Tragic flaw', by definition, is a personality trait that leads to the downfall of the protagonist. Hamlet is well aware of his fatal flaw from the beginning, he constantly questions himself on why he continues to delay the fulfillment of his duty. Hamlet finally acts to kill Claudius only after realizing that he is poisoned. But by putting off, his tragic flaw, leads to multiple death such as Polonius, Ophelia, Gertrude, Laertes, Rosencrantz, and Guildenstern and himself, too. Second, Use of 'supernatural' elements is one of common characteristics of the Elizabethan drama. In Hamlet, the ghost of Hamlet's father who tells his son to avenge his death is introduced as a supernatural. Supernatural powers contribute to the fate of the protagonist. However, this is not solely responsible for the downfall of the hero, it still lies in the actions of the hero. These actions are the outcome of the protagonist's feeling of revenge. Next, in Romeo and Juliet, a major external conflict throughout...
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...I thought the play was humorous and amazing even though it was written 400 years ago. The director kept some of the old humor but also added modern day humor to make the play more appealing to the audience. On a scale of one to ten I would rate this production an eight because some of the actors were stuttering while they spoke their lines too early, but were able to recover from that. The show on Saturday the “capulet’s camera” “s” but the actors made it look like it was meant to happen because the capulet said “wait…. wait! What happened to my sign” and Paris said “the monologues” even though that was not a scene that was planned. The set was a camera and TV store and a house with a balcony. There were a couple of things that weren't functioning like when the nurse was knocking from the inside to come out at the friar lawrence's’ cell and the other thing that wasn't functional was a line said by Romeo to the fair, “there s no world without chicago walls” that line was a bit weird because chicago is not that big, if switched out with Illinois, it would have made more sense....
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...First edition 2000 Second edition 2001 Third edition 2002 Fourth edition 2007 Published by EnglishforResearch.com The Whole World Company Press, Cambridge, CB7 5EQ, England © Stephen Howe and Kristina Henriksson 2000–2007 Printed by Biddles Limited, King’s Lynn, England The authors hereby assert their moral rights to be identified as the authors of the PhraseBook. You may not remove or alter the authors’ names, publisher’s name, copyright notice, disclaimers or, from the digital version, the End User Licence Agreement. All rights reserved worldwide Copyright is reserved in English and all other languages and countries of the world. PhraseBook for Writing, EnglishforResearch.com, EnglishforStudents.com and EnglishforSchool.com are worldwide trademarks and/or service marks of The Whole World Company Limited. Microsoft and Microsoft Word are trademarks or registered trademarks of Microsoft Corporation. All other trademarks and registered trademarks are the property of their respective owners and are hereby acknowledged. Do not make illegal, unauthorized copies of the PhraseBook. The PhraseBook and digital version are protected by copyright law and international treaties. The publisher and authors have striven to ensure the accuracy and correctness of the PhraseBook; however, they can accept no responsibility for any loss or inconvenience as a consequence of use, information or advice contained in the PhraseBook. PhraseBook versions ISBN 978-1-903384-02-2...
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...Barron GRE word list - A abase abash abate abbreviate abdicate aberrant aberration abet abeyance abhor abide abject abjure ablution abnegation abode abolish abominable abominate aboriginal abortive abrasive abridge abrogate abscission abscond absolute absolve abstain lower; degrade; humiliate; make humble; make (oneself) lose self-respect embarrass subside or moderate shorten renounce; give up (position, right, or responsibility) abnormal or deviant deviation from the normal; mental disorder assist usually in doing something wrong; encourage suspended action detest; hate Dwell; abide by: comply with; put up with; tolerate; Ex. abide by the rules; Ex. I can't abide rude people. (of a condition) wretched; as low as possible; lacking pride; very humble; showing lack of self-respect; Ex. abject apology renounce upon oath washing renunciation; self-sacrifice; self-abnegation dwelling place; home cancel; put an end to detestable; extremely unpleasant loathe; hate being the first of its kind in a region; primitive; native; indigenous; N. aborigine unsuccessful; fruitless rubbing away; tending to grind down condense or shorten abolish cutting off; separation depart secretly and hide complete; totally unlimited; having complete power; certain; not relative; Ex. absolute honesty/ruler; CF. absolutism pardon (an offense) refrain; withhold from participation; intentionally not use one's vote; abstemious abstinence abstract abstruse abusive abut abysmal abyss academic accede accelerate...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement...
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...Кухаренко В. А. Практикум з стилістики англійської мови: Підручник. — Вінниця: Нова книга, 2000. — 160 с. Кухаренко Валерия Андреевна, д.ф.н., проф., кафедра лексикологии и стилистики английского языка факультетеа РГФ ОНУ им. И. И. Мечникова CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Graphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics...
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