OTHELLO – CRITICAL ANALYSIS(UGC NET/ Unit I - Drama )

 

Othello – CRITICAL ANALYSIS

Introduction

Shakespeare’s Othello (1603–1604) is one of his four great tragedies, alongside Hamlet, King Lear, and Macbeth. It is unique among them for its tight, almost claustrophobic structure and its relentless exploration of jealousy, manipulation, and racial prejudice. The play draws on Cinthio’s Italian novella Un Capitano Moro but deepens its psychological complexity.

What sets Othello apart is that its tragedy is domestic rather than cosmic—its battleground is the marital bed, and its victims are undone not by fate or gods, but by human malice.

Summary

Act I:

·         In Venice, Iago, Othello’s ensign, is angry that Cassio has been promoted over him.

·         He tells Roderigo about Othello’s secret marriage to Desdemona, daughter of Senator Brabantio.

·         Brabantio accuses Othello of using witchcraft to seduce her. Othello defends himself before the Duke, explaining their love story.

·         War breaks out in Cyprus against the Turks.

Act II:

·         The Turkish fleet is destroyed by a storm.

·         Othello and Desdemona reunite in Cyprus.

·         Iago begins sowing seeds of doubt in Othello’s mind about Desdemona’s fidelity, suggesting she loves Cassio.

Act III:

·         Iago manipulates events so that Cassio meets Desdemona privately to request help in regaining his position.

·         Iago uses the sight of them together to inflame Othello’s jealousy.

·         The handkerchief, Othello’s first gift to Desdemona, is planted in Cassio’s room.

Act IV:

·         Othello becomes convinced of Desdemona’s infidelity.

·         He publicly insults her and vows to kill her.

·         Iago persuades Roderigo to attack Cassio.

Act V:

·         Roderigo wounds Cassio but is killed by Iago.

·         Othello strangles Desdemona in bed.

·         Emilia exposes Iago’s plot, but is killed by him.

·         Realizing the truth, Othello kills himself.

·         Iago is arrested and refuses to speak further.

Major Themes

1. Jealousy

The “green-eyed monster” is the central force of the play. Othello’s transformation from a loving husband to a violent murderer shows how jealousy distorts reality.

2. Race and Otherness

Othello is a Moor in a predominantly white Venetian society. His outsider status makes him vulnerable to insecurity and manipulation.

3. Manipulation and Deceit

Iago’s genius lies in using half-truths and suggestive hints to make others destroy themselves.

4. Gender Roles and Patriarchy

Women in Othello—Desdemona, Emilia, Bianca—face constraints and expectations, and their virtue is constantly questioned.

5. Appearance vs. Reality

The tragedy hinges on Othello mistaking seeming evidence (the handkerchief) for truth.

Critical Perspectives

·         Aristotelian Tragedy: Othello has a tragic flaw (hamartia)—his insecurity and jealousy—which leads to his downfall. The play fulfills Aristotle’s requirements for catharsis.

·         Psychoanalytic View: Othello’s jealousy can be read as a projection of his own fears of inadequacy and racial difference.

·         Feminist Criticism: The play exposes the fragility of women’s positions in a male-dominated society and critiques their objectification.

·         Postcolonial Reading: Othello embodies the tensions between the “civilized” Venetian world and the “exotic” outsider, reflecting anxieties about race and empire.

MCQs (UGC NET-style)

1. In Othello, who says, “I am not what I am”?
A. Othello
B. Iago
C. Cassio
D. Roderigo
Answer: B

2. Which source did Shakespeare adapt for Othello?
A. Holinshed’s Chronicles
B. Cinthio’s Un Capitano Moro
C. Plutarch’s Lives
D. Boccaccio’s Decameron
Answer: B

3. Who is the last character to speak in Othello?
A. Cassio
B. Lodovico
C. Iago
D. Gratiano
Answer: B

4. What is the significance of the handkerchief in Othello?
A. A love token and symbol of fidelity
B. A war prize from Cyprus
C. A Venetian emblem of rank
D. A family heirloom from Brabantio
Answer: A

5. “The green-eyed monster” is a metaphor for:
A. Greed
B. Envy
C. Jealousy
D. Anger
Answer: C

UGC NET Previous Year Questions (PYQs)

Q1. Arrange the following plays of Shakespeare in chronological order of composition:
I. King Lear
II. Hamlet
III. Macbeth
IV. Othello
Answer: II – IV – I – III

Q2. Match the Shakespearean villain with the play:
I. Iago – a. Macbeth
II. Edmund – b. King Lear
III. Macbeth – c. Othello
IV. Claudius – d. Hamlet
Answer: I–c, II–b, III–a, IV–d

Q3. Which of the following pairs is correct?
A. “Green-eyed monster” – Othello
B. “To thine own self be true” – Macbeth
C. “Et tu, Brute?” – Julius Caesar
D. “Sound and fury” – King Lear
Answer: A and C are correct; D is from Macbeth, B is from Hamlet.

Q4. Identify the correct statement:
In Othello, the Turkish fleet is destroyed by:
A. A Venetian attack
B. An internal rebellion
C. A storm at sea
D. Othello’s strategic maneuver
Answer: C

Hamlet - Critical Analysis (UGC NET/ Unit I - Drama)

 

Hamlet – Critical Analysis

1. Summary

Hamlet, written by William Shakespeare around 1600–1601, is one of the most influential tragedies in English literature. The play is set in Denmark and follows Prince Hamlet, who mourns the sudden death of his father, King Hamlet. His grief deepens when his mother, Queen Gertrude, hastily marries Claudius, the late king’s brother. One night, the ghost of King Hamlet appears to the prince, revealing that Claudius murdered him to seize the throne. Sworn to avenge his father’s death, Hamlet feigns madness to conceal his intentions and confirm Claudius’s guilt. He stages a play, The Murder of Gonzago, mirroring the king’s crime, and Claudius’s guilty reaction assures Hamlet of his uncle’s treachery. In a fit of impulsive action, Hamlet mistakenly kills Polonius, father of Ophelia and Laertes, thinking he is Claudius. This triggers a spiral of tragedy: Ophelia, driven to madness, drowns; Laertes returns seeking vengeance; and Claudius plots Hamlet’s death. In the final act, a duel between Hamlet and Laertes ends in mutual wounding by a poisoned sword. Queen Gertrude accidentally drinks poison meant for Hamlet, Laertes and Hamlet forgive each other before dying, and Hamlet kills Claudius with his last strength. As the Danish royal family lies dead, Fortinbras of Norway arrives to take control, marking the collapse of Denmark’s ruling house.

 

Plot Overview:

·         Exposition: The ghost of King Hamlet appears to Prince Hamlet and reveals that he was murdered by his brother, Claudius, who has now married Hamlet’s mother, Queen Gertrude.

·         Rising Action: Hamlet feigns madness to conceal his intentions and confirm Claudius’s guilt. He stages The Mousetrap (a play within the play) to mirror the murder and observe Claudius’s reaction.

·         Climax: Hamlet accidentally kills Polonius, mistaking him for Claudius. This sets off a chain of tragic events: Ophelia’s madness and death, Laertes’s thirst for revenge, and Hamlet’s exile to England.

·         Falling Action: Hamlet returns to Denmark, learns of Ophelia’s death, and confronts Laertes at her grave.

·         Resolution: In the final duel, Laertes wounds Hamlet with a poisoned sword, but is also wounded himself. Gertrude drinks poisoned wine intended for Hamlet. Hamlet kills Claudius before dying himself. Fortinbras arrives to claim the throne.

2. Critical Analysis of Hamlet

A. Psychological Depth

Hamlet is a study in procrastination, self-reflection, and the complexity of human emotion. His vacillation between action and inaction has been interpreted as both a tragic flaw (hamartia) and a philosophical resistance to rashness.

B. Revenge Tragedy Tradition

Influenced by the Senecan revenge play, Hamlet contains murder, ghosts, madness, and moral questioning—but Shakespeare deepens the form by emphasizing psychological realism over bloodshed.

C. Political and Moral Corruption

Elsinore’s court mirrors the “rottenness” of Denmark. Claudius’s regicide represents a breach of both divine and natural order (Elizabethan belief in the “Great Chain of Being”).

D. Ambiguity and Interpretation

·         Ghost’s nature: Is it a spirit of truth or a demon tempting Hamlet?

·         Ophelia’s death: Suicide or accident?

·         Hamlet’s madness: Genuine mental instability or calculated performance?

E. Feminist and Psychoanalytic Readings

·         Feminist view: Gertrude’s and Ophelia’s limited agency reflect patriarchal suppression.

·         Psychoanalysis: Freudian critics have read Hamlet’s hesitation as tied to the Oedipus complex—unconscious desire for Gertrude.

3. Major Themes

1.      Revenge and Justice

o    Moral implications of revenge; Hamlet’s hesitation questions whether personal vengeance can be morally justified.

2.      Corruption and Decay

o    “Something is rotten in the state of Denmark” symbolizes moral, political, and spiritual corruption.

3.      Appearance vs. Reality

o    Hamlet’s madness, Claudius’s false piety, and the play within the play blur truth and deception.

4.      Mortality and the Meaning of Life

o    Hamlet’s soliloquies (“To be, or not to be”) explore existence, death, and the afterlife.

5.      Madness

o    Feigned madness as a strategy versus Ophelia’s genuine breakdown.

4. Important Quotes

·         “To be, or not to be: that is the question” (3.1)

·         “Something is rotten in the state of Denmark” (1.4)

·         “The play’s the thing / Wherein I’ll catch the conscience of the King” (2.2)

·         “Alas, poor Yorick! I knew him, Horatio” (5.1)

5. MCQs (UGC NET Style)

Q1. Which of the following characters is NOT killed in the final scene of Hamlet?
A. Hamlet
B. Laertes
C. Horatio
D. Gertrude
Answer: C. Horatio

Q2. The play within the play in Hamlet is called:
A. The Mousetrap
B. The Murder of Gonzago
C. The Tragedy of Elsinore
D. The Trap of Denmark
Answer: Both A & B are correct (Hamlet calls it “The Mousetrap”; its original title is The Murder of Gonzago).

Q3. “Frailty, thy name is woman” is spoken by:
A. Claudius
B. Hamlet
C. Polonius
D. Horatio
Answer: B. Hamlet

Q4. Which literary device is used in the phrase “Something is rotten in the state of Denmark”?
A. Hyperbole
B. Synecdoche
C. Metaphor
D. Irony
Answer: C. Metaphor

Q5. Which revenge play convention is subverted in Hamlet?
A. Swift vengeance by the hero
B. Appearance of a ghost
C. Presence of a play within a play
D. Final act bloodbath
Answer: A. Swift vengeance by the hero

6. Previous Year UGC NET Questions

PYQ 1: Arrange the following plays in chronological order of their publication:
I. Hamlet
II. King Lear
III. Othello
IV. Macbeth
Answer: I → III → II → IV

PYQ 2: “Give me that man / That is not passion’s slave, and I will wear him / In my heart’s core” — In Hamlet, to whom does Hamlet speak these lines?
Answer: Horatio

PYQ 3: Identify the correct sequence of deaths in Hamlet:
A. Hamlet, Polonius, Gertrude, Claudius, Laertes
B. Polonius, Ophelia, Gertrude, Laertes, Claudius, Hamlet
C. Polonius, Gertrude, Laertes, Claudius, Hamlet
Answer: B

PYQ 4: Which philosopher’s ideas resonate most in Hamlet’s existential soliloquy?
Answer: Michel de Montaigne

Doctor Faustus by Christopher Marlowe – Critical Analysis (UGC NET/ Unit I - Drama)

 

Doctor Faustus – Critical Analysis

Christopher Marlowe’s Doctor Faustus (first performed c. 1592; published 1604 in the A-text, and 1616 in the B-text) is one of the most significant works of the English Renaissance. It dramatizes the tragic downfall of a brilliant scholar whose overreaching ambition leads him to sell his soul to the Devil in exchange for knowledge, pleasure, and power.

Marlowe adapts the German Faust legend, but infuses it with Renaissance humanist concerns — particularly the tension between medieval Christian doctrine and the spirit of scientific inquiry and individualism.

Summary

·         Exposition:
Dr. Faustus, a scholar at Wittenberg, grows dissatisfied with traditional forms of knowledge—philosophy, medicine, law, and theology—and turns to necromancy. He summons Mephistophilis, a servant of Lucifer.

·         Pact with the Devil:

Faustus signs a contract in blood, granting Lucifer his soul after 24 years of service from Mephistophilis. He rejects warnings from the Good Angel and embraces temptation from the Evil Angel.

·         Middle Acts:

Faustus wastes his powers on frivolous tricks—summoning historical figures for amusement, playing pranks on the Pope, and entertaining nobility—rather than pursuing profound knowledge.

·         Approaching Doom:

As the 24 years near their end, Faustus is plagued with fear and remorse, but still fails to repent, deceived by the belief that his sins are unforgivable.

·         Climax and Conclusion:

In the final hour, Faustus desperately begs for time to stop, but at midnight, demons drag him to Hell. The Chorus delivers the moral warning: those who seek forbidden power without moral restraint will be damned.

Critical Analysis

1. Faust as a Renaissance Over-reacher

Faustus embodies the Renaissance ideal of the “overreacher” — one who strives beyond human limits, akin to Marlowe’s Tamburlaine. His quest for ultimate knowledge reflects the era’s fascination with human potential but also its moral anxieties.

2. Conflict Between Medieval and Renaissance Worldviews

·         Medieval Morality Play: Like earlier morality plays, Doctor Faustus uses allegorical figures (Good Angel, Evil Angel, Old Man) to dramatize spiritual conflict.

·         Renaissance Individualism: Faustus rejects the scholastic tradition for personal ambition, representing the humanist break from medieval orthodoxy.

3. Tragic Structure

Faustus’ downfall follows the Aristotelian tragic model:

·         Hamartia (fatal flaw): Pride and intellectual arrogance.

·         Peripeteia (reversal): Realization of the cost of his pact.

·         Catharsis: Audience experiences pity for Faustus’ wasted potential and fear of similar damnation.

4. Religious and Moral Dimensions

The play reflects the Calvinist doctrine of predestination (suggesting Faustus was doomed from the start) but also leaves room for free will — Faustus could repent, yet chooses not to.

5. Theatrical Innovation

Marlowe blends serious theological debate with comic interludes, catering to both learned and popular audiences in the Elizabethan public theatres.

Major Themes

1.      Overreaching Ambition:
The desire to transcend human limitations drives Faustus to ruin.

2.      Knowledge and Power:
The play critiques the misuse of intellectual potential for trivial purposes.

3.      Good vs. Evil:
Represented through allegorical characters and moral dilemmas.

4.      Damnation and Salvation:
Explores repentance, grace, and the permanence (or reversibility) of sin.

5.      Illusion vs. Reality:
Faustus gains magical powers but achieves nothing of lasting substance.

MCQs (UGC NET Style)

1.      Where is Dr. Faustus a scholar in Marlowe’s play?
a) Heidelberg
b) Wittenberg
c) Leipzig
d) Prague
Answer: b) Wittenberg

2.      How many years of service does Faustus bargain for with Mephistophilis?
a) 7 years
b) 14 years
c) 21 years
d) 24 years
Answer: d) 24 years

3.      Who warns Faustus in the final act to repent?
a) Lucifer
b) The Old Man
c) The Clown
d) Cornelius
Answer: b) The Old Man

4.      Which of the following is NOT a source of the Faustus legend?
a) German chapbooks
b) English translations by P. F. Gent
c) Italian epics of Ariosto
d) Lutheran sermons
Answer: c) Italian epics of Ariosto

5.      In the end, Faustus is taken away by:
a) Lucifer and Beelzebub
b) Angels
c) Mephistophilis and other devils
d) The Good Angel
Answer: c) Mephistophilis and other devils

PYQs (Based on UGC NET Pattern)

1.      (NET 2014) The opening soliloquy of Doctor Faustus shows his dissatisfaction with:
a) Alchemy and necromancy
b) Philosophy, medicine, law, and theology
c) Astrology and astronomy
d) Politics and governance
Answer: b) Philosophy, medicine, law, and theology

2.      (NET 2016) Match the following characters with their functions in Doctor Faustus:
i. Good Angel – 1. Tempts Faustus toward sin
ii. Evil Angel – 2. Urges Faustus toward repentance
iii. Mephistophilis – 3. Servant of Lucifer
iv. Wagner – 4. Comic relief
Answer: i–2, ii–1, iii–3, iv–4

3.      (NET 2018) The moral of Doctor Faustus is best summarized by which statement?
a) “The wages of sin is death.”
b) “Knowledge is power.”
c) “Fortune favors the bold.”
d) “To thine own self be true.”
Answer: a) “The wages of sin is death.”

4.      (NET 2020) Which source did Marlowe most directly adapt for Doctor Faustus?
a) Goethe’s Faust
b) The English translation of the German Faustbuch
c) Chaucer’s Parson’s Tale
d) Holinshed’s Chronicles
Answer: b) The English translation of the German Faustbuch

Public Theatres and Drama Companies during Elizabethan Times (UGC NET/ Unit I - Drama)

 

Public Theatres and Drama Companies during Elizabethan Times

The Elizabethan Age (1558–1603), named after Queen Elizabeth I, was the golden age of English drama. It witnessed the transformation of theatrical performance from temporary, makeshift stages in inn-yards to permanent public theatres and organized acting companies.

1. Rise of Public Theatres

Before permanent theatres were built, plays were performed in inn courtyards, noble households, or at festivals. The first purpose-built public theatre in England was The Theatre, constructed in 1576 by James Burbage in Shoreditch, London. Its success inspired the construction of several others:

·         The Curtain (1577) – near The Theatre, associated with early performances of Shakespeare.

·         The Rose (1587) – built by Philip Henslowe, on Bankside.

·         The Swan (1595) – famous for Johannes de Witt’s sketch of its interior.

·         The Globe (1599) – most closely associated with Shakespeare and the Lord Chamberlain’s Men.

·         The Fortune (1600) – a rectangular open-air theatre.

These were public theatres, open to a broad audience for an affordable fee (as low as a penny for standing in the yard). They were typically polygonal or circular in structure, with open roofs over the yard and a covered stage.

2. Audience and Social Composition

Elizabethan theatres attracted a diverse audience:

·         Groundlings – Commoners who stood in the yard for a penny.

·         Gentry and Nobility – Paid more for covered gallery seating.

·         Audiences ranged from apprentices to merchants, aristocrats, and sometimes foreign visitors.

Theatre was both entertainment and social commentary, often dealing with politics, morality, and human nature.

3. Drama Companies

Professional acting companies evolved from troupes of travelling players. Because of laws against vagrancy, companies had to be licensed and placed under the patronage of a nobleman. Prominent companies included:

·         The Lord Chamberlain’s Men – Shakespeare’s company, later renamed The King’s Men under James I.

·         The Admiral’s Men – Led by Edward Alleyn and managed by Philip Henslowe, often performing Marlowe’s plays.

·         The Queen’s Men – Formed by royal order in 1583, serving as a propaganda tool.

·         The Earl of Leicester’s Men – One of the earliest touring troupes.

These companies had a repertory system, performing different plays in rotation, and actors often specialized in certain roles.

4. Theatre Practices

·         No women acted on stage; female roles were played by boys.

·         Minimal scenery; emphasis on costumes and language to set scenes.

·         Playhouses operated in the afternoon, relying on natural light.

·         Many plays were printed as inexpensive quartos; others survived only in folios.

5. Impact on Literature

The Elizabethan public theatre created an environment for the flourishing of playwrights like William Shakespeare, Christopher Marlowe, Ben Jonson, and Thomas Kyd. The competitive nature of drama companies led to a diversity of genres—history plays, tragedies, comedies, and romances.

MCQs (UGC NET Style)

1.      Which was the first permanent public theatre built in England?
a) The Globe
b) The Rose
c) The Theatre
d) The Curtain
Answer: c) The Theatre

2.      Who built The Rose theatre in 1587?
a) James Burbage
b) Philip Henslowe
c) Edward Alleyn
d) Richard Burbage
Answer: b) Philip Henslowe

3.      The Lord Chamberlain’s Men later became known as:
a) The Admiral’s Men
b) The King’s Men
c) The Queen’s Men
d) The Swan Players
Answer: b) The King’s Men

4.      In Elizabethan theatre, the term “groundlings” referred to:
a) Actors in minor roles
b) Playwrights’ apprentices
c) Audience members standing in the yard
d) Stagehands
Answer: c) Audience members standing in the yard

5.      Which Elizabethan theatre was famously associated with Shakespeare’s plays after 1599?
a) The Swan
b) The Globe
c) The Curtain
d) The Fortune
Answer: b) The Globe

PYQs (Based on UGC NET Pattern)

1.      (NET 2015) Match the following Elizabethan theatres with their founders:
i. The Theatre – 1. Philip Henslowe
ii. The Rose – 2. James Burbage
iii. The Globe – 3. Richard Burbage and associates
iv. The Fortune – 4. Edward Alleyn
Answer: i–2, ii–1, iii–3, iv–4

2.      (NET 2018) Which one of the following statements about Elizabethan drama companies is NOT correct?
a) They required noble patronage to perform legally.
b) They had a repertory system.
c) Women frequently acted in female roles.
d) Boys often played women’s parts.
Answer: c) Women frequently acted in female roles.

3.      (NET 2020) The term “public theatre” in Elizabethan times refers to:
a) Courtly drama performed for the monarch.
b) Open-air theatres accessible to paying public.
c) Amateur performances in villages.
d) Religious mystery plays in churches.
Answer: b) Open-air theatres accessible to paying public.

4.      (NET 2021) Identify the correct chronological order of the following Elizabethan theatres:
i. The Rose
ii. The Curtain
iii. The Globe
iv. The Swan
Answer: ii → i → iv → iii

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