Dialogue: Courtney, Ben and Hugo

Othello: Dialogue

-Negative and/or positive speech is used in Othello to more clearly develop character traits. By the type of speech that the characters use you can determine the nature of the character’s intentions. Often Iago uses very negative language while Othello uses more positive wording.
“Doth like a poisonous mineral gnaw my inwards; and nothing can or shall content my soul Till I am evened with him wife for wife; or failing so, yet that I put the Moor at least into a jealousy so strong that judgment cannot cure. Which thing to do in this poor trash of Venice…” –pg.65


-When Othello is convinced by Iago that Desdemona is hiding an affair from him he seems to almost transform into another character. This transformation is shown through the dialogue that Othello speaks.
“But I do love thee; and when I love thee not, Chaos is come again.” -103
“Now do I see ‘tis true. Look here, Iago, all my fond love thus do I blow to heaven; ‘tis gone.”- pg. 127


-Dialogue is used to show past events that are required to understand the ideas expressed in the play. Othello shares about his past by use of dialogue instead of actually portraying entire scenes to represent these events.
“Wherein I spake of most dangerous chances, of moving accidents by flood and field , of hair-breadth scapes I’th’imminent deadly breach, of being taken by the insolent foe and sold to slavery; of my redemption thence, and with it all my travels’ history.” – pg 31

-A common linguistic device used by Shakespeare is the soliloquy. The character addresses the audience, creating the effect that he is simply musing his own thoughts to himself. Through this device we see the characters true feelings towards situations and other characters. Iago often has soliloquies.
“Thus do I ever make my fool my purse;
For mine own gained knowledge should profane
If I would time expend with such snipe
But for my sport and profit. I hate the Moor.”

-Characters are contrasted through their manner of speaking. Cassio is a gentleman and as such has gentle speech. Iago even when pretending to be honest has a crude way of speaking. The banter between Cassio, Iago and Desdemona on the shore at Cyprus is a good example of character contrast. Iago comments quit curtly on what he believes to be the nature of women while Cassio is reserved and polite in his speech.




Pygmalion: Dialogue


-A main idea of this play is the difference between social classes and how language plays a key role in that division. The language Shaw uses in this play has a purpose of accenting that class division. The upper class characters speak much more eloquently while the lower class characters speak with improper English.

-Dialogue is used to contrast Colonel Pickering and Higgins. While both men are educated in phonetics and fairly well off they have very different character traits. Colonel Pickering is very gentlemanly while Higgins is much the opposite and is noted to be very rude. These traits are exhibited in their dialogue, mainly when speaking to Liza.
“How the devil do I know whats to become of you? What does it matter what becomes of you?” –pg. 64, Higgins
“It’s very kind of you to say so Miss. Doolittle” –pg. 70, Pickering

-By relating certain phrases and expressions to characters it is easier for the reader/audience members to develop a memorable perception of the characters. This is true with Liza Doolittle and her frequently exclaimed “Ah-ah-ah-ow-oo-o!”

-Dialogue is used in Pygmalion to the show what has happened in gaps of time that are not portrayed onstage. Without dialogue between Pickering and Higgins discussing progress made with Liza, the passing of 6 months would seem very unrealistic to the audience and would result in a skewed sense of time. The change in Liza’s speech also aids with establishing time in the play.

-Dialogue assists with side plots that are present within the play by do not get as much stage time. While there is less time for characters to be developed by their mannerisms, even small sentences can identify and develop a characters. In the case of Pygmalion, Mr. Doolittle does not get as much “stage-time” as other characters but because his dialogue is unique and memorable he is a fully developed character.



Merchant of Venice: Dialogue

-Act 4-Scene 1 pg71
Portia-Why, this bond is forfeit; and lawfully by this the Jew may claim a pound of flesh, to be by him cut off nearest the merchant’s heart. Be merciful: take thrice thy money; bid me tear the bond.
Shylock: When it is paid according to the tenour. It doth appear you are a worthy judge; you know the law, your exposition hath been most sound: I charge you by the law, whereof you are a well-deserving pillar, proceed to judgment: by my soul I swear there is no power in the tongue of man to alter me. I stay here on my bond.
This exchange of dialogue traps Shylock into something he cannot get out of. He must take the bond but without a jot of blood or else he must forfeit all his land and possessions.

-Act 4-Scene 1 pg 76
Antonio-So please my lord the duke, and all the court, to quit the fine for one half of his goods, I am content so he will let me have the other half in use, to render it, upon his death, unto the gentleman that lately stole his daughter. Two things provided more, that, for this favour, he presently become a Christian; the other, that he do record a gift, here in the court, of all he dies possess’d, unto his son Lorenzo and his daughter.
This speech by Antonio reflects his character, his sense of mercy. It seems that the hidden moral of mercy is greater than revenge is finalized in this passage.

-Act 4-Scene 1 pg 77
Bassanio-Dear sir, of force I must attempt you further: take some remembrance of us as a tribute, not as a fee. Grant me two things, I pray you, not to deny me, and to pardon me.
Portia-you press me far, and therefore I will yield. Give me your gloves, I’ll wear them for your sake; and (for your love) I’ll take this ring from you. Do not draw back your hand; I’ll take no more, and you in love shall not deny me this.
Bassanio-This ring, good sir? Alas! It is a trifle, I will not shame myself to give you this.
This swap of dialogue creates dramatic irony because the audience knows why Portia wants the ring but Bassanio has no clue that the lawyer Balthalzar is actually Portia in disguise. This lets the audience wonder if he will give it to her in the end since Portia was the one that bid him not to lose it.

-Act 3- Scene 1 pg 45
Shylock speech-
Generates sympathy towards Shylock. The audience now knows WHY he wants revenge on Antonio. Character development.

-Act 1 Scene 3 pg 17
Shylock- Why, look you, how you storm! I would be friends with you, and have your love, forget the shames that you have stain’d me with, supply your present wants, and take no doit of usance for my moneys, and you’ll not hear me: this is kind I offer.
Bassanio-This were kindness.
This passage sets up the plot of revenge by Shylock by making Antonio and Bassanio feel that he is acting from a good heart but the audience later knows that this is not Shylock’s plan at all.

A Doll’s House: Dialogue

-Act 1 pg 23
Krogstad- Tell me, Mrs. Helmer, can you by any chance remember what day your father died?—on what day of the month I mean.
Nora- Papa died on the 29th of September
Krogstad-that is correct; I have ascertained it for myself. And, as that is so, there is a discrepancy which I cannot account for.
The significance in this extract is Krogstad knows when Nora’s father died but he attempts to get the answer out from her since he knows the signature was forged by Nora.

-Act 1 pg 3
Nora-Hide the Christmas tree carefully, Helen. Be sure the children do not see it until this evening, when it is dressed
This opening dialogue is important because it introduces the theme of secrecy. The word “Hide” is related to lots of different areas in the play. The plot of hiding Krogstad’s letter, Dr. Rank hiding his love for Nora or Nora hiding her true self from Torvald.

-Dialogue is often very short. There are not many long speeches made by characters. Often the dialogue seems much like simple banter even when the conversation is serious. This type of dialogue emphasizes the novels fast pace.
“Helmer: Didn’t Little Sweet-Tooth just look in at the confectioner’s?
Nora: No, honestly, Torvald.
Helmer: Not even to taste on little sweet?
Helmer: No, of course not.
Helmer: Not even to nibble a macaroon or two?
Nora: No, Torvald, really; I promise you” Page 151

-Much of Ibsen’s creates dramatic irony through much of his dialogue. The characters expressions and choice of words create irony.
“Helmer: Is that my little skylark twittering out there? ...Scampering about like a little squirrel?” Page 148
Nora is much like a bird in a cage. She is also like a squirrel because she is hiding away money from Torvald to repay her loan. The audience becomes aware of these facts, but Torvald does not.

The Lion and the Jewel: Dialogue

-The dialogue includes idioms and expressions that belong to African culture. Even though the dialogue is in English it is given an African feel.
“Baroka: Who knows? Until the finger nails
Have scraped the dust, no one can tell
Which insect released his bowels.” Page 43

-Dialogue classifies the main characters through their manner of speaking.
Sidi is young and naïve and speaks plainly. Her speech is ineloquent and emphasizes her main traits.

-Lakunles is conceited and arrogant. He speaks pompously, trying to achieve an air of grandeur befitting his attitude.
“Lakunle : Faith. Because I have fait.
Oh Sidi, vow to me your own undying love
And I will scorn the jibes of these bush minds.” Page 6

-Baroka is old and somewhat of an enigma. His true intentions are hard to guess throughout most of the novel. He speaks in parables and idioms.
“Baroka: Oh. OH. I see you dip your hand
Into the pockets of the school teacher
And retrieve it bulging with knowledge.”-Page 50