English drama at the turn of

The Rugrats, for example, use a number of malapropisms: Angelica said once that there was a "whole world to deplore" out there the best are like this--the word sounds similar but means something strikingly different. Justin Wilson, the "cajun cook," was famous for his malapropisms:

English drama at the turn of

English dramatist and poet. Irish dramatist, novelist and wit. English dramatista and poet.

English drama at the turn of

Asides Another special form of speech in drama is the so-called aside. Asides are spoken away from other characters, and a character either speaks aside to himself, secretively to an other character s or to the audience ad spectatores.

It is conspicuous that plays of the Elizabethan Age make significantly more use of asides than modern plays, for example.

One of the reasons certainly has to do with the shape of the stage. The apron stage, which was surrounded by the audience on three sides, makes asides more effective since the actor who speaks inevitably faces part of the audience, while our modern proscenium stage does not really lend itself to asides as the vicinity between actors and audience is missing.

Asides are an important device because they channel extra information past other characters directly to the audience. Turn Allocation, Stichomythia, Repartee In comparison to monologues and asides, dialogue is by far the most frequently used type of speech in drama.

In analysing dialogue, one can look at turn-taking and the allocation of turns to different speakers, e. Do some characters have longer turns than others and, if so, why? One can also analyse how often a character gets the chance to speak through the entire play and whether he or she is interrupted by others or not.

This is called stichomythia and is often, albeit not exclusively, used in contexts where characters compete or disagree with one another. The fact that stichomythia is used here underlines the argumentative character of this conversation. In a sense, Richard and Elizabeth compete rhetorically: Through the quick turn-taking mechanism, the dialogue also appears livelier and in itself represents fast action.

This is reinforced by a number of word plays and rhetorical figures which use the repetition of words and sounds and thus demonstrate how tightly connected the individual turns are and that each turn immediately responds to the previous one: The Significance of Wordplay in Drama The play with language or wordplay entertains spectators and at the same time attracts and sustains their attention.

Madam, I swear I use no art at all. A foolish figure- But farewell it, for I will use no art. Mad let us grant him then. And now remains That we find out the cause of this effect, Or rather say the cause of this defect, For this effect defective comes by cause. Thus it remains; and the remainder thus: A special type of word play is the so-called pun, where words are used which are the same or at least similar in sound and spelling homonyms but differ in meaning.

Puns were also very common in Elizabethan plays and they were used both for comical and serious effects. Thus, Hamlet implicitly advises Polonius to take care of his daughter lest she should lose her innocence and consequently her good reputation.

The puns, albeit funny at first glance, convey a serious message. Another concept to be mentioned in the context of play with language is wit. The idea of wit, which combines humour and intellect, plays a significant role in the so-called comedy of manners. Wit is expressed in brief verbal expressions which are intentionally contrived to create a comic surprise.

Another author famous for his witty plays is the late nineteenth-century writer Oscar Wilde. Consider the following brief excerpt from his play, The Importance of Being Earnest:Drama Scripts - A Showcase for Original Scripts on the Net!

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