Twenty-seven soliloquies are examined in this work, illustrating how the spectator or reader is led to the soliloquy and how the drama is continued afterwards.

A fresh, new translation of Augustine's fourth work as a Christian convert The first four works written by St. Augustine of Hippo after his conversion to Christianity are dialogues that have influenced prominent thinkers from Boethius to Bernard Lonergan. Usually called the Cassiciacum dialogues, these four works are of a high literary and intellectual quality, combining Ciceronian and neo-Platonic philosophy, Roman comedy and Vergilian poetry, and early Christian theology. They are also, arguably, Augustine's most charming works, exhibiting his whimsical levity and ironic wryness. Soliloquies is the fourth work in this tetralogy. Augustine coined the term "soliloquy" to describe this new form of dialogue. Soliloquies, a conversation between Augustine and his reason, fuses the dialogue genre and Roman theater, opening with a search for intellectual and moral self-knowledge before converging on the nature of truth and the question of the soul's immortality. Foley's volume also includes On the Immortality of the Soul, which consists of notes for the unfinished portion of the work.

Provides the first systematic and comprehensive account of the conventions governing soliloquies in Western drama from ancient times to the twentieth century. Over the course of theatrical history, there have been several kinds of soliloquies. Shakespeare's soliloquies are not only the most interesting and the most famous, but also the most misunderstood, and several chapters examine them in detail. The present study is based on a painstaking analysis of the actual practices of dramatists from each age of theatrical history. This investigation has uncovered evidence that refutes long-standing commonplaces about soliloquies in general, about Shakespeare's soliloquies in particular, and especially about the to be, or not to be episode. 'Shakespeare and the history of Soliloquies' casts new lights on historical changes in the artistic representation of human beings and, because representations cannot be entirely disentangled from perception, on historical changes in the ways human beings have perceived theselves.

This work defines the dramatic rationale of the Hamlet soliloquies in their dramatic contexts, thereby clarifying the tragic idea that organizes the play.

'Now I am alone,' says Hamlet before speaking a soliloquy. But what is a Shakespearean soliloquy? How has it been understood in literary and theatrical history? How does it work in screen versions of Shakespeare? What influence has it had? Neil Corcoran offers a thorough exploration and explanation of the origin, nature, development and reception of Shakespeare's soliloquies. Divided into four parts, the book supplies the historical, dramatic and theoretical contexts necessary to understanding, offers extensive and insightful close readings of particular soliloquies and includes interviews with eight renowned Shakespearean actors providing details of the practical performance of the soliloquy. A comprehensive study of a key aspect of Shakespeare's dramatic art, this book is ideal for students and theatre-goers keen to understand the complexities and rewards of Shakespeare's unique use of the soliloquy.

The Soliloquies were written by St. Augustine in the 4th-century. The two books contain an "inner dialogue" with questions, answers and thorough discussions, that finally aim to gain self-knowledge. While in the first book the dialogue longs to know a soul, it becomes evident in the second book that it is the author himself who wants to get to know his own.

This superlative collection offers timeless speeches from A Midsummer Night's Dream, Twelfth Night, Much Ado About Nothing, Macbeth, King Lear, Romeo and Juliet, Richard III, and more.

Augustine intended the Soliloquies and the Immortality of the soul to form a single book. For those who are unacquainted with Augustine it is a good book with which to begin. It deals, as he says, with those matters about which he most wanted to know at this time, i.e. between his conversion in the summer of 386 and his baptism at Easter, 387.