Another is in "unity of action". Both drama and poetry tend to be focused on a single action, plotline, and main protagonist. In contrast, a novel might be more "epic" in nature, spanning multiple continents, historical eras, and plotlines. For instance, in a play like Ibsen's "A Doll's House", all the action
Stories have themes, plots, and character development with them. To where poems have rhyme and, rhythm and, lyrics. Poems express how a person feels to where a story does not also poems have meanings as well. Short stories are made up of the writer’s imagination. Stories have middle, end, and beginning poem does not consist of any of those things.
The events may be arranged chronologically or nonchronologically and may be factual, fictional, or a blend of the two. (262) Together with narrative, form is another technique often used to narrate so as to attract audiences’ attention. Just as William H. Phillips says: Structure, which some scholars and theorists call form, refers to the parts of a text and their arrangement. In a fictional film, the selection and order of events help viewers comprehend the story and strongly influence how they respond…Fictional structure (characters, goals, and conflicts); some functions of beginnings, middles, endings; combination of different brief stories (plotlines) into a larger, more complex story. (264) Classical narrative form is commonly known as linear narrative which refers to stories told in a single line with logical order and ends with an assured conclusion, usually seen in traditional Hollywood films.
The play portrayed a vivid illustration of each myth’s theme such as greed or love. The style of the play was a mix of classical and contemporary because although the play is speaking about the past, the myths and morals are accepted in the present as well. For each myth, there would be a narrator who explains the background of the characters, the events during the scene, and the
If you are hoping for the highest grades (B and above) you must make comparisons between the characters in the poems and Lady Macbeth. Intro All these texts contain examples of central characters whose minds are unbalanced. In Macbeth the longer nature of a play allows us to understand why Lady Macbeth mind becomes increasingly disturbed, but in the brief dramatic monologues of Browning we have no background to their disturbance. Another crucial difference between the Shakespeare and Browning texts is that we see the character of Lady Macbeth from the outside whereas the disturbed character is the narrator in all 3 Browning peoms, so we only get his/her perspective on events. The basic difference between a dramatic monologue and a play also means that different techniques are used to convey the disturbance.
How does Browning tell the story in Porphyria’s Lover? Browning uses a dramatic monologue in order to tell the story in Porphyria’s lover. Browning’s dramatic monologues have to fit a certain criteria, these include; sub text, the narrator doesn’t say specifically what he/she’s done so the audience has to think to find out what’s happened; the audience is silent, the audience is there to listen and not to comment; the third is that the narrator is defensive or a case maker. The structure of Porphyria’s lover is one long stanza; this is shown through the time and sequence, setting, characterisation, point of view and ideology. The structure shows time and sequence as it’s quite a medium length poem, because of this it shows just how long the story takes place in.
For instance a stanzas definition “In poetry a stanza is a grouped set of lines within a poem…”. In a prose stanzas are not used instead periods are put in at the end to start another line. Poetry is different in these ways but have similarities with prose. A similarity between the two is that they both have is they are both forms of literature and they both compliment each other. One way they compliment each other is that a poem can become a story and a story can become a screenplay.
They are linked to the Meister’s plot and events in such a way that it becomes impossible to study them separately without distorting Goethe’s view of the character in one way or another. As a matter of fact, they could even be studied independently from Goethe himself. In the novel, Wilhelm Meister and several other characters decide to play Hamlet (the play), with Meister himself playing Hamlet (the character). He and the rest of the actors feel deeply identified with their respective characters. By this identification, they end up forming some sort of group of absent people who get involved in the events of the “real world” of the novel itself.
Since “The Things They Carried” is a collection of short stories, it automatically has multiple meanings. For some the meaning may simply be viewed as a novel of one’s life during the Vietnam War, but it is in fact much more than that. This novel explores such topics as: love, war, relationships, and the reality of the things that not only the characters but we too carry. These meanings are not direct but after reading can be discovered. The next thing that qualifies this book as a classic is the fact that it uses effective, unique style appropriate to the purpose and content.
Indeed, in the critical reading of most dramatic literature, we face the added complication that though we can read a play as "literature," the play itself was conceived as a performance text. (1) Most of the studies on the language of Shakespeare's plays have been essentially textual ones, however, ones based not on the sound of the enacted spoken word, but rather on the contemplation of the printed word in the text. Yet drama, above all verse drama, is the spoken word, or, more accurately, heightened spoken language for acting. Madeleine Doran opens her book Shakespeare's Dramatic Language with the observation that "those of us who make our roomy home in Shakespeare never cease to wonder at his artistry" (3). A major part of this artistry, she asserts, is how each of the plays "has a distinctive quality, something peculiar to that play alone - a quality that is not altogether attributable to differences in plot, theme, character, and setting, but something that feels different, or that sounds different to our ears" (3).