Julius CaesarPenguin UK, 07 ապր, 2005 թ. - 272 էջ 'Cry havoc and let slip the dogs of war, |
From inside the book
Արդյունքներ 30–ի 1-ից 5-ը:
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... speech, more colloquial in diction, as in the speeches of the Nurse in Romeo and Juliet, the characterful prose of Falstaff and Hamlet's soliloquies. The effect is of increasing psychological realism, reaching its greatest heights in ...
... speech, more colloquial in diction, as in the speeches of the Nurse in Romeo and Juliet, the characterful prose of Falstaff and Hamlet's soliloquies. The effect is of increasing psychological realism, reaching its greatest heights in ...
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... (II. 1.30), present it in a way that imaginatively engages the people. Often this is more a matter of winning hearts than minds: such speeches usually sound impressive in the heat of the moment, but will less Introduction.
... (II. 1.30), present it in a way that imaginatively engages the people. Often this is more a matter of winning hearts than minds: such speeches usually sound impressive in the heat of the moment, but will less Introduction.
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... , tries to get his own way. Politicians' speeches collapse not only under the weight of their own inherent overstatement or illogicality but also through their failure to misrepresent reality convincingly enough. Explaining his.
... , tries to get his own way. Politicians' speeches collapse not only under the weight of their own inherent overstatement or illogicality but also through their failure to misrepresent reality convincingly enough. Explaining his.
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... speech of self-justification, by clarifying what is to be justified: the killers make a savage spectacle of ... speeches of this.
... speech of self-justification, by clarifying what is to be justified: the killers make a savage spectacle of ... speeches of this.
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... speech in particular – 'Friends, Romans, countrymen' (III.2.74) – has the reputation of being a theatrical catch-22. There are, it is said, two fundamental mistakes that an actor can make with the speech: one is to play it to the ...
... speech in particular – 'Friends, Romans, countrymen' (III.2.74) – has the reputation of being a theatrical catch-22. There are, it is said, two fundamental mistakes that an actor can make with the speech: one is to play it to the ...
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