A term for Horace. literally intending “in the thick of things. ” It is applied to the literary technique of opening a narrative in the center of the action and so providing information about the beginning of the action through flashbacks and other devices for expounding. The term in medias RESs is normally applied to the EPIC. where such an gap is one of the conventions. Amusing alleviation

A humourous SCENCE. incident. or address in the class of a serious fiction or play. introduced. it is sometimes thought. to supply alleviation from emotional strength and. by contrast. to rise the earnestness of the narrative. The original sense. related to “elevate. ” implies any kind of contrast. as that between high and low or raised and level in a alleged alleviation map. The ulterior sense of “easing” may non ever use to amusing alleviation. because it can hold the about immediate consequence of intensifying tragic hurting with barely a moment’s relaxation. Noteworthy illustrations are the bibulous porter scene in Macbeth. the gravedigger scene in Hamlet. and Mercutio’s personality in Romeo and Juliet. Although non a part of Aristotle’s expression for a TRAGEDY. amusing alleviation has been about universally employed by English dramatists. Dramatis character

The characters in a play. a novel. or a verse form. The term is besides applied to a listing of the characters in the plan of a drama. at the beginning of the printed version of a drama. or sometimes at the beginning of a novel. Such a list frequently contains brief word pictures of the individuals of the work and notations about their relationships. Act

A major division of a DRAMA. The major parts of antediluvian Greek dramas. distinguished by the visual aspect of the CHORUS. by and large fell. as Aristotle implies. into five parts. The Latin calamities of Seneca were divided into five Acts of the Apostless ; and. when English playwrights in the ELIXABETHAN AGE began utilizing act divisions. they followed their Roman theoretical accounts. as did other modern European playwrights. In vary grades the five-act construction corresponded to the five chief divisions of dramatic action: Exposition. COMPLICATION. CLIMAX. FALLING ACTION. and CATASTROPHE. The five-act construction was followed until the late 19th century when. under the influence of Ibsen. the 4th and 5th Acts of the Apostless were combined. Since the terminal of the 19th century. the standard signifier for serious play has been three Acts of the Apostless. for musical comedy and amusing opera normally two ; but great fluctuation is used. with serious dramas often divided into EPISODES or SCENES. without act-division. Late in the 19th century a shorter signifier. the ONE-ACT PLAY. developed. Scene

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The division of an ACT into scenes is slightly less systematic than the division of the drama itself into Acts of the Apostless. for there is uncomplete understanding about what constitutes a scene. Sometimes the entrywaies and issues of of import personages determine the beginning and stoping of scenes. as in Gallic play. In some dramas a scene is a logical unit. Many English playwrights regard the glade of the phase as the mark of a alteration of scene. Some governments. nevertheless. think that non all stage- glades or entrywaies and issues truly indicate a new scene. Theoretically. a well- managed scene should hold a construction comparable to that of a drama itself. with the five logical parts.

The dramas of Shakespeare rarely conform to this demand. though some of the scenes can be analyzed successfully on this footing. and we out to retrieve that our divisions into scenes of these dramas were non made by Shakespeare himself. The most of import rule in scene-construction. possibly. is that of climactic agreement. There may be long scenes and short scenes. transitional scenes. expository scenes. development scenes. climactic scenes. alleviation scenes. courier scenes. MONOLOGUE scenes. DIALOGUE scenes. ensemble scenes. forest scenes. conflict scenes. balcony scenes. street scenes. garden scenes. In some dramas non nominally split into Acts of the Apostless. the chief parts or subdivisions may be called scenes. a pattern that suggests. possibly. that the dramatic action or activity implicit in “act” is low-level to the inactive or symbolic show suggested by the impersonal scene.

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