Commons
“How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk "My Faulkner." Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self... downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation.
While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be
Answer:
A monologue is a speech given by a single character in a story. In drama, it is the vocalization of a character’s thoughts; in literature, the verbalization.
Explanation:
A monologue speaks at people, not with people. Many plays and shows involving performers begin with a single character giving a monologue to the audience before the plot or action begins. Monologues give the audience and other characters access to what a particular character is thinking, either through a speech or the vocalization of their thoughts. While the purpose of a speech is obvious, the latter is particularly useful for characterization: it aids the audience in developing an idea about what the character is really thinking, which in turn helps (or can later help) explain their previous (or future) actions and behavior.
Answer:
Some instinct took over his actions and without saying anything he turned away from ... You ll be all whacked for a few days, but then you ll get used to this place.
1. Hamlet's tragic flaw is everything enlisted above, except for 'a melancholy love sickness which leads to temporary insanity'. He wasn't in love, not really, so this sentence refers to Ophelia, not Hamlet.
2. Hamlet pretends to be insane so as to 'conceal his attempts to get information regarding Claudius' guilt'. He didn't want his uncle to realize what he was trying to accomplish, so it was easier for him to pretend to be mad so that nobody would pay any attention to him.
