Soliloqy and Aside : A Note (UGC NET UNIT I - DRAMA)

 

Soliloquy and Aside – A Note

Soliloquy

·         Definition: A soliloquy is a dramatic device in which a character speaks his/her thoughts aloud, usually alone on stage, to let the audience know his/her inner feelings, motives, or plans.

·         Function:

o    Reveals psychological depth.

o    Allows the audience privileged access to a character’s mind.

o    Moves the plot forward without other characters overhearing.

·         Examples:

o    Shakespeare: Hamlet’s “To be, or not to be” (Hamlet, Act III, Scene I) is perhaps the most famous soliloquy in literature, exploring life, death, and moral hesitation.

o    Macbeth’s “Is this a dagger which I see before me” (Macbeth, Act II, Scene I) reveals his internal struggle before killing Duncan.

·         Difference from Monologue:

o    Monologue: Addressed to other characters.

o    Soliloquy: Addressed to self (and indirectly to the audience).

Aside

·         Definition: An aside is a brief remark by a character directly to the audience (or sometimes to another character) that others on stage are not meant to hear.

·         Function:

o    Provides commentary, humor, or secret insight.

o    Often used for irony or to reveal hidden intentions.

·         Examples:

o    In Shakespeare’s Othello, Iago frequently speaks asides to reveal his schemes to the audience.

o    In The Tempest, Prospero uses asides to comment on events without other characters’ awareness.

Key Differences

Feature	Soliloquy	Aside
Length	Extended speech	Short comment or phrase
Audience	Audience only	Audience (and sometimes a single character)
Purpose	Reveal deep inner thoughts	Give quick insight, irony, or secret info
Stage Presence	Character usually alone	Other characters present but do not hear

MCQs on Soliloquy & Aside (UGC NET Style)

1.      Which of the following is not true of a soliloquy?
A. It reveals the innermost thoughts of a character.
B. It is always delivered in the presence of other characters who react to it.
C. It is addressed directly to the audience.
D. It is often used to advance the plot.
Answer: B

2.      Identify the soliloquy from the options below:
A. “Friends, Romans, countrymen, lend me your ears…” (Julius Caesar)
B. “Is this a dagger which I see before me…” (Macbeth)
C. “Et tu, Brute?” (Julius Caesar)
D. “A horse! A horse! My kingdom for a horse!” (Richard III)
Answer: B

3.      In which of the following plays does Iago frequently use asides?
A. King Lear
B. Hamlet
C. Othello
D. Macbeth
Answer: C

4.      An aside is generally:
A. A speech addressed to another character.
B. A song performed for comic relief.
C. A brief remark unheard by other characters.
D. A poetic digression in the plot.
Answer: C

5.      Which of the following statements is correct?
A. A soliloquy is always shorter than an aside.
B. An aside may be directed to the audience or a character, but is unheard by others on stage.
C. A soliloquy requires another character to be present.
D. Asides are always written in prose.
Answer: B

Previous Year Questions (PYQs – UGC NET)

PYQ 1 (UGC NET, 2014)
Which dramatic device allows a character to express thoughts aloud while alone on stage?
A. Monologue
B. Dialogue
C. Soliloquy
D. Aside
Answer: C

PYQ 2 (UGC NET, 2016)
When a character speaks to the audience in a short comment that others on stage cannot hear, it is called:
A. Monologue
B. Soliloquy
C. Aside
D. Apostrophe
Answer: C

PYQ 3 (UGC NET, 2019)
Which of the following is a primary function of the soliloquy in Shakespeare’s plays?
A. Provide comic relief.
B. Reveal the inner workings of a character’s mind.
C. Address another character’s query.
D. Deliver a moral lesson.
Answer: B

PYQ 4 (UGC NET, 2021)
Match the dramatic devices with their correct descriptions:

Device	Description
a) Aside	i) Extended speech revealing inner thoughts while alone on stage
b) Soliloquy	ii) Brief remark to audience unheard by other characters

Options:
A. a-i, b-ii
B. a-ii, b-i
C. a-i, b-i
D. a-ii, b-ii

Answer: B

Tragi-comedy (Unit I Drama)

 

TRAGI-COMEDY

Definition:
Tragi-comedy is a literary genre that blends elements of both tragedy and comedy. It is neither entirely tragic nor entirely comic, but integrates aspects of both to reflect the complexities of human experience.

Key Features:

• A serious plot with tragic situations that are ultimately resolved.
• Comic relief or humorous elements embedded within a grave storyline.
• The ending is usually happy or hopeful, despite dark themes.
• Often involves characters of both high and low social ranks, which is typical of Renaissance drama.
• Uses suspense and surprise, sometimes avoiding tragic catastrophe at the last moment (a device called deus ex machina).

✦ HISTORICAL BACKGROUND:

1. Classical Antiquity:
• Aristotle did not classify tragi-comedy as a separate genre.
• The fusion of tragic and comic elements was frowned upon in early classical poetics.
2. Renaissance Period:
• Tragi-comedy gained popularity as a hybrid form.
• Giovanni Battista Guarini’s Il Pastor Fido (1590) is considered a foundational tragi-comedy in Italy.
• In England, John Fletcher formalized tragi-comedy as a dramatic genre.
3. Fletcher’s Definition (preface to The Faithful Shepherdess):

"A tragi-comedy is not so called in respect of mirth and killing, but in respect it wants deaths, which is enough to make it no tragedy; yet brings some near it, which is enough to make it no comedy."

✦ FAMOUS EXAMPLES OF TRAGI-COMEDY:

Work	Author	Features
The Winter's Tale	William Shakespeare	Begins with jealousy and near-death; ends with forgiveness and reunion.
The Tempest	William Shakespeare	Themes of betrayal, but ends with reconciliation and marriages.
The Faithful Shepherdess	John Fletcher	Pastoral setting with mix of love, jealousy, and moral resolution.
The Merchant of Venice	William Shakespeare	A potentially tragic plot with comic resolution and romantic unions.
Cymbeline	William Shakespeare	Misunderstanding, poison, exile – but concludes with revelation and peace.
Waiting for Godot (Modern example)	Samuel Beckett	Comic dialogue set in an existential void – blurs genre distinctions.

✦ FUNCTIONS & PURPOSE:

• Allows for emotional complexity.
• Reflects the uncertainty of life, where joy and sorrow are intertwined.
• Offers social commentary using satire and irony within serious plots.
• Facilitates audience engagement with shifts in tone and expectation.

✦ TRAGI-COMEDY VS. OTHER FORMS:

Aspect	Tragedy	Comedy	Tragi-Comedy
Tone	Solemn, serious	Light, humorous	Mixed (serious with comic elements)
Ending	Sad, catastrophic	Happy, celebratory	Happy or at least redemptive
Characters	Nobility, great figures	Commoners, fools	Both high and low characters
Themes	Fate, death, downfall	Love, marriage, wit	Misfortune, recovery, reconciliation

✦ SAMPLE MCQs ON TRAGI-COMEDY:

1. Who among the following gave a formal definition of tragi-comedy in his preface to The Faithful Shepherdess?
A) William Shakespeare
B) Ben Jonson
C) John Fletcher
D) Thomas Middleton
Answer: C) John Fletcher

2. Which of the following Shakespearean plays is considered a tragi-comedy?
A) Hamlet
B) Macbeth
C) The Winter's Tale
D) Julius Caesar
Answer: C) The Winter's Tale

3. What is the essential characteristic of a tragi-comedy according to John Fletcher?
A) It includes elements of horror and satire.
B) It has no deaths but brings characters close to it.
C) It always ends in death.
D) It is a farce in a tragic setting.
Answer: B) It has no deaths but brings characters close to it.

4. Which Renaissance Italian writer helped shape tragi-comedy with Il Pastor Fido?
A) Dante Alighieri
B) Petrarch
C) Giovanni Battista Guarini
D) Machiavelli
Answer: C) Giovanni Battista Guarini

5. Which of the following best describes tragi-comedy?
A) A satire with a moral message
B) A tragedy with comic elements and a happy ending
C) A farce with tragic consequences
D) A romance with political themes
Answer: B) A tragedy with comic elements and a happy ending

The Spanish Tragedy by Thomas Kyd & MCQs

 The Spanish Tragedy: A Critical Analysis with MCQs

Introduction

The Spanish Tragedy is a foundational work in Elizabethan drama and widely regarded as the archetype of the revenge tragedy genre, preceding and influencing works like Shakespeare's Hamlet. Thomas Kyd explores themes of justice, revenge, madness, and the inefficacy of political systems, interweaving classical devices with contemporary concerns.

Plot Overview

The play follows Hieronimo, the marshal of Spain, whose son Horatio is murdered by Lorenzo and Balthazar, members of the Spanish nobility. Denied justice through the state, Hieronimo resorts to private revenge, ultimately enacting a gruesome play-within-the-play that culminates in the murder of the perpetrators and his own suicide.

Key Themes

1. Revenge and Justice

·         The crux of the play lies in the conflict between divine justice and human vengeance.

·         Hieronimo initially seeks legal justice but turns to private revenge when denied redress, illustrating the failings of judicial institutions.

2. Madness as a Mask

·         Hieronimo’s descent into apparent madness mirrors Hamlet’s behavior in Shakespeare’s later tragedy.

·         His madness, both real and feigned, becomes a means of survival and a strategy for revenge.

3. The Theatricality of Revenge

·         The play-within-the-play is a metafictional device that allows Hieronimo to enact justice through artifice.

·         It highlights the theme of illusion versus reality and the performative nature of revenge.

4. Political Corruption and Power

·         The play critiques how political power shields the guilty.

·         Lorenzo and Balthazar are protected due to their social standing, showing the deep-rooted class-based injustice.

5. Supernatural and Fate

·         The presence of the Ghost of Andrea and Revenge as chorus figures frames the narrative within a cosmic structure.

·         These allegorical figures embody fatalism, suggesting that events unfold as decreed by destiny rather than human agency.

Character Analysis

Hieronimo

·         A tragic hero akin to Senecan protagonists.

·         His transformation from loyal servant to vengeful father embodies the tragic fall from rationality to bloody excess.

Bel-Imperia

·         A powerful female character who participates in revenge.

·         She challenges gender roles by actively contributing to the plot of retribution.

Lorenzo and Balthazar

·         Antagonists representing corruption, manipulation, and privilege.

·         Their crimes go unpunished until Hieronimo intervenes, reinforcing the necessity of personal vengeance in a broken society.

Style and Structure

·         The play adopts blank verse and prose, depending on the speaker’s status or psychological state.

·         Incorporates Senecan elements like ghosts, soliloquies, and violent climaxes.

·         The choric commentary by Andrea and Revenge offers an ironic detachment and guides the moral interpretation.

Legacy and Influence

·         Widely influential, The Spanish Tragedy set the template for English revenge tragedy.

·         It prefigures Hamlet and influenced dramatists like Shakespeare, Marlowe, and Webster.

Previous Year Questions (PYQs) – UGC NET

PYQ 1: UGC NET July 2018
Which of the following plays contains a play-within-the-play used as a tool for revenge?
A. Doctor Faustus
B. The Spanish Tragedy
C. Edward II
D. Gorboduc
Answer: B. The Spanish Tragedy

PYQ 2: UGC NET 2017
Who is the author of The Spanish Tragedy?
A. Christopher Marlowe
B. William Shakespeare
C. Thomas Kyd
D. John Webster
Answer: C. Thomas Kyd

PYQ 3: UGC NET 2013
The revenge theme in English drama first appeared prominently in which play?
A. Hamlet
B. The Spanish Tragedy
C. The Jew of Malta
D. Women Beware Women
Answer: B. The Spanish Tragedy

Sample MCQs

Q1. Who acts as the chorus throughout The Spanish Tragedy?
A. Bel-Imperia and Horatio
B. Revenge and Ghost of Andrea
C. Hieronimo and Isabella
D. King of Spain and Viceroy of Portugal
Answer: B. Revenge and Ghost of Andrea

Q2. What role does Hieronimo hold at the Spanish court?
A. King’s Secretary
B. Chief Minister
C. Marshal of Spain
D. Court Jester
Answer: C. Marshal of Spain

Q3. What is the final form of Hieronimo’s revenge?
A. A letter to the king
B. A public duel
C. A courtroom trial
D. A play-within-the-play that ends in real deaths
Answer: D. A play-within-the-play that ends in real deaths

Q4. Which classical dramatist greatly influenced the structure of The Spanish Tragedy?
A. Plautus
B. Sophocles
C. Seneca
D. Euripides
Answer: C. Seneca

Q5. What motivates Bel-Imperia to join Hieronimo in his revenge?
A. Political ambition
B. Grief over Horatio’s murder
C. Fear of Balthazar
D. Hatred of her family
Answer: B. Grief over Horatio’s murder

Conclusion

The Spanish Tragedy is more than a melodrama of blood and revenge—it is a powerful commentary on justice, authority, and human emotion. Kyd’s masterful blending of classical structure with Elizabethan themes makes the play a cornerstone of Renaissance drama and a crucial text for UGC NET English literature preparation.

 

Revenge Tragedy in Elizabethan Drama

Introduction

Revenge tragedy emerged as one of the most influential sub-genres of Elizabethan drama, combining bloodshed, moral conflict, supernatural elements, and a central theme of revenge. Rooted in classical models like Seneca’s tragedies, the genre found new vitality in Elizabethan England, where themes of justice, honor, fate, and retribution deeply resonated with audiences.

Origin and Influence

The revenge tragedy has its roots in Senecan drama, known for:

·         Introspective soliloquies

·         Supernatural interventions (ghosts, omens)

·         Horrific violence

·         Philosophical reflections on fate and death

Thomas Kyd’s The Spanish Tragedy (c. 1587) is often credited with launching the English revenge tragedy tradition, laying the foundation for later works such as Shakespeare’s Hamlet and Webster’s The Duchess of Malfi.

Key Characteristics of Revenge Tragedy

1.      A Wronged Hero: The protagonist is usually a noble figure who suffers a personal loss (often the murder of a family member).

2.      Ghost or Supernatural Element: A ghost (usually of the murdered person) demands revenge.

3.      Delay of Action: The avenger struggles with moral dilemmas, often delaying revenge.

4.      Play within a Play or Masques: Used to reveal guilt or heighten drama.

5.      Madness (Real or Feigned): The protagonist often pretends to be mad or actually descends into madness.

6.      Use of Soliloquies: To explore internal conflict and philosophical depth.

7.      Violent and Bloody Ending: Most characters, including the avenger, meet tragic ends.

Major Examples

1. Thomas Kyd – The Spanish Tragedy

·         Plot: Hieronimo seeks revenge for the murder of his son Horatio.

·         Significance: Established key revenge motifs — ghost, madness, bloody climax.

·         Innovation: Introduced meta-theatrical elements such as the play-within-the-play.

2. William Shakespeare – Hamlet

·         Plot: Prince Hamlet avenges the murder of his father, the King of Denmark.

·         Ghost’s role: Hamlet’s father’s ghost prompts him to seek revenge.

·         Key features: Feigned madness, introspective soliloquies (e.g., "To be or not to be"), moral hesitation.

3. John Webster – The Duchess of Malfi

·         Though not a pure revenge play, it contains revenge motifs. The Duchess is murdered by her brothers; revenge is enacted by her avenger, Bosola.

·         Themes: Corruption, decay, madness, and retribution.

4. Cyril Tourneur – The Revenger's Tragedy

·         Originally attributed to Tourneur, now sometimes to Thomas Middleton.

·         A dark satire on the corruption of court life and the futility of revenge.

Function and Morality

While revenge appears to be the goal, Elizabethan revenge tragedies are often critical of vengeance. They present revenge as:

·         A personal duty vs. Christian morality

·         A means of restoring honor vs. destructive obsession

·         A form of justice vs. a trigger for chaos

Thus, many revenge heroes become morally ambiguous or tragic figures.

Revenge Tragedy and UGC NET Syllabus Relevance

·         Part of Unit I: Drama – Forms and Conventions

·         Questions related to:

o    Characteristics of revenge tragedy

o    Comparative analysis of key revenge plays

o    Influence of Seneca on Elizabethan drama

o    Use of devices like soliloquy, ghost, and play-within-a-play

Sample MCQs

1. Which of the following plays is considered the first true Elizabethan revenge tragedy?

A. Hamlet
B. The Spanish Tragedy
C. The Revenger’s Tragedy
D. Doctor Faustus
Answer: B. The Spanish Tragedy

2. The ghost in Hamlet first appears to whom?

A. Claudius
B. Hamlet
C. Horatio and the guards
D. Ophelia
Answer: C. Horatio and the guards

3. Who is the avenger in The Revenger’s Tragedy?

A. Vindice
B. Bosola
C. Iago
D. Lorenzo
Answer: A. Vindice

4. The "play within a play" device in Hamlet is used to:

A. Entertain Claudius
B. Distract Gertrude
C. Reveal Claudius’s guilt
D. Trick Ophelia
Answer: C. Reveal Claudius’s guilt

Previous Year UGC NET Questions (PYQs)

1. (UGC NET December 2013)

Which of the following plays is NOT a revenge tragedy?
A. Hamlet
B. The Spanish Tragedy
C. The Duchess of Malfi
D. As You Like It
Answer: D. As You Like It

2. (UGC NET July 2016)

Which element is common to Senecan and Elizabethan revenge tragedy?
A. Comic relief
B. History of England
C. Chorus
D. Ghost
Answer: D. Ghost

3. (UGC NET June 2020)

“To be or not to be” is an example of:
A. Aside
B. Dialogue
C. Soliloquy
D. Irony
Answer: C. Soliloquy

Conclusion

Revenge tragedy in Elizabethan drama is a potent blend of passion, philosophy, and violence, reflecting a society grappling with the ideals of justice and individual agency. Through iconic figures like Hamlet and Hieronimo, the genre explores human fallibility, the limits of revenge, and the consequences of unchecked emotion.