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Don Quixote and his sidekick Sancho Panza, as illustrated by Gustave Doré: the characters' contrasting qualities [1] are reflected here even in their physical appearances. In any narrative, a foil is a character who contrasts with another character, typically, a character who contrasts with the protagonist, in order to better highlight or differentiate certain qualities of the protagonist.
Etymologically it derives from the Greek stikhos ("row, line of verse") + muthos ("speech, talk"). [4] Stichomythia is particularly well suited to sections of dramatic dialogue where two characters are in violent dispute. The rhythmic intensity of the alternating lines combined with quick, biting ripostes in the dialogue can create a powerful ...
Hacivat sings a semai (different at each performance), recites a prayer, and indicates that he is looking for his friend Karagöz, whom he beckons to the scene with a speech that always ends "Yar bana bir eğlence" ("Oh, for some amusement"). Karagöz enters from the opposite side. Muhavere: dialogue between Karagöz and Hacivat; Fasil: main plot
A common misconception is that the reveal itself is a Chekhov's gun plot element. There are however exceptions in the James Bond films; in Licence to Kill for example, Bond gets an instant camera with a built-in laser gun that takes X-ray pictures, but is immediately used for comedic effect and makes no further appearance in the film.
The writer may implement foreshadowing in many different ways such as character dialogues, plot events, and changes in setting. Even the title of a work or a chapter can act as a clue that suggests what is going to happen. Foreshadowing in fiction creates an atmosphere of suspense in a story so that the readers are interested and want to know more.
Plot is the cause‐and‐effect sequence of main events in a story. [1] Story events are numbered chronologically while red plot events are a subset connected logically by "so". In a literary work, film, or other narrative, the plot is the sequence of events in which each event affects the next one through the principle of cause-and-effect ...
Aristotle says that peripeteia is the most powerful part of a plot in a tragedy along with discovery. A peripety is the change of the kind described from one state of things within the play to its opposite, and that too in the way we are saying, in the probable or necessary sequence of events.
Act 5.2–5.4 (872–898): ia6 (26 lines) The old man goes off in fear and Menaechmus II makes good his escape towards the port. The old man hobbles back, saying he has summoned a doctor, who arrives shortly afterwards. Act 5.5 (899–965): tr7 (62 lines) Menaechmus I arrives complaining about the ungrateful behaviour of Peniculus and Erotium.