Direct or quoted speech

is a sentence (or several sentences) that reports speech or thought in its original form, as phrased by the first speaker.[1] It is usually enclosed in quotation marks. The cited speaker is either mentioned in the inquit (Latin "he says") or implied.

Comparison between direct, indirect and free indirect speech

Quoted or direct speech: He laid down his bundle and thought of his misfortune. "And just what pleasure have I found, since I came into this world?" he asked.

Reported or normal indirect speech:

He laid down his bundle and thought of his misfortune. He asked himself what pleasure he had found since he came into the world.

Benvenuto Cellini was an Italian goldsmith, sculptor, painter, soldier and musician, who also wrote a famousautobiography. He was one of the most important artists of Mannerism. Youth Benvenuto Cellini was born in Florence, Italy. His parents were Giovanni Cellini, and Maria Lisabetta Granacci. They were married for eighteen years before the birth of their first child. Benvenuto was the second child of the family. The son of a musician and builder of musical instruments, Cellini's first major brush with the law came as an early teenager: He was banished from his native Florence for his alleged role in a brawl. As a result, he received his early artistic training not only from the Florentine goldsmith Marcone [Antonio di Sandro], but also from Francesco Castoro, a goldsmith of Siena. After further visits to Bologna and Pisa, Cellini was allowed to return to Florence and continue his work there.Giovanni initially wished Benvenuto to join him in instrument making, and endeavoured to thwart his inclination for metalwork. When he was fifteen, his father reluctantly agreed to apprentice him to a goldsmith, Antonio di Sandro, nicknamed Marcone. At the age of sixteen, Benvenuto had already attracted attention in Florence by taking part in an affray with youthful companions. He escaped punishment by fleeing for six months to Siena, where he worked for a goldsmith named Fracastoro (unrelated to the Veronese polymath). From Siena he moved toBologna, where he became a more accomplished flute player and made progress as a goldsmith. After a visit to Pisa and two periods of living in Florence (where he was visited by the sculptor Torrigiano), he moved to Rome, age nineteen.[1] Autobiography and other writings The autobiography of Benvenuto Cellini was started in the year 1558 at the age of 58 and ended abruptly just before his last trip to Pisa around the year 1563 when Cellini was approximately 63 years old. The memoirs give a detailed account of his singular career, as well as his loves, hatreds, passions, and delights, written in an energetic, direct, and racy style. They show a great self-regard and self-assertion, sometimes running into extravagances which are impossible to credit. He even writes in a complacent way of how he contemplated his murders before carrying them out. Parts of his tale recount some extraordinary events and phenomena; such as his stories of conjuring up a legion of devils in the Colosseum, after one of his not innumerous mistresses had been spirited away from him by her mother; of the marvelous halo of light which he found surrounding his head at dawn and twilight after his Roman imprisonment, and his supernatural visions and angelic protection during that adversity; and of his being poisoned on two separate occasions.

Lord Michel Eyquem de Montaigne

was one of the most influential writers of the French Renaissance, known for popularising the essay as a literary genre and is popularly thought of as the father of Modern Skepticism. He became famous for his effortless ability to merge serious intellectual speculation with casual anecdotes[2] and autobiographyand his massive volumeEssais (translated literally as "Attempts") contains, to this day, some of the most widely influential essays ever written. Montaigne had a direct influence on writers the world over, including Ren Descartes,[3] Blaise Pascal, JeanJacques Rousseau, Ralph Waldo Emerson,Friedrich Nietzsche, Stefan Zweig, Eric Hoffer,[4] Isaac Asimov, and perhaps William Shakespeare (see "Influences" section below). In his own time, Montaigne was admired more as a statesman than as an author. The tendency in his essays to digress into anecdotes and personal ruminations was seen as detrimental to proper style rather than as an innovation, and his declaration that, 'I am myself the matter of my book', was viewed by his contemporaries as self-indulgent. In time, however, Montaigne would be recognized as embodying, perhaps better than any other author of his time, the spirit of freely entertaining doubt which began to emerge at that time. He is most famously known for his skeptical remark, 'Que sais-je?' ('What do I know?'). Remarkably modern even to readers today, Montaigne's attempt to examine the world through the lens of the only thing he can depend on implicitlyhis own judgmentmakes him more accessible to modern readers than any other author of the Renaissance. Much of modern literary non-fiction has found inspiration in Montaigne and writers of all kinds continue to read him for his masterful balance of intellectual knowledge and personal story-telling. Montaigne died of quinsy,[12] at the age of 59, in 1592 at the Chteau de Montaigne and was buried nearby. Later his remains were moved to the church of Saint Antoine at Bordeaux. The church no longer exists: it became the Convent des Feuillants, which has also disappeared.[citation needed] The Bordeaux Tourist Office says that Montaigne is buried at the Muse Aquitaine, Facult des Lettres, Universit Bordeaux 3 Michel de Montaigne, Pessac. His heart is preserved in the parish church ofSaint-Michel-de-Montaigne.

Pierre de Ronsard
was a French poet and "prince of poets" (as his own generation in France called him). Pierre de Ronsard was born at the Manoir de la Possonnire, in the village of Couture-sur-Loir, Loir-et-Cher. Baudouin de Ronsard or Rossart was the founder of the French branch of the house, and made his mark in the early stages of the Hundred Years' War. The poet's father was named Louis de Ronsard, and his mother was Jeanne de Chaudrier, of a family not only noble in itself but well connected. Pierre was the youngest son. Loys de Ronsard was matre d'htel du roi to Francis I, whose captivity after Pavia had just been softened by treaty, and he had to quit his home shortly after Pierre's birth. The future poet was educated at home in his earliest years and sent to the Collge de Navarre inParis at the age of nine. When Madeleine of France was married to James V of Scotland, Ronsard was attached as a page in the Scottish court, where he was encouraged in the idea of making French vernacular translations of classical authors.[1] A year after the death of the queen, he returned to France, travelling back through England. His odes, which are very numerous, are also very interesting and in their best shape very perfect compositions. He began by imitating the strophic arrangement of the ancients, but very soon had the wisdom to desert this for a kind of adjustment of the Horatian ode to rhyme, instead of exact quantitative metre. In this latter kind he devised some exquisitely melodious rhythms of which, till our own day, the secret died with the 17th century. His more sustained work sometimes displays a bad selection of measure; and his occasional poetry--epistles, eclogues, elegies, etc.--is injured by its vast volume. But the preface to the Franciade is a very fine piece of verse, far superior (it is in alexandrines) to the poem itself. Generally speaking, Ronsard is best in his amatory verse (the long series of sonnets and odes to Cassandre, Pikles, Marie, Genvre, HlneHlne de Surgeres, a later and mainly "literary" loveetc.), and in his descriptions of the country (the famous "Mignonne, allons voir si la rose[1]," the "Fontaine Bellerie," the "Fort de Gastine," and so forth), which have an extraordinary grace and freshness. No one used with more art than he the graceful diminutives which his school set in fashion. He knew well too how to manage the gorgeous adjectives ("marbrine," "cinabrine," "ivoirine" and the like) which were another fancy of the Pliade, and in his hands they rarely become stiff or cumbrous. In short, Ronsard shows eminently the two great attractions of French 16th-century poetry as compared with that of the two following ages - magnificence of language and imagery and graceful variety of metre.

Miguel de Cervantes Saavedra

was a Spanish novelist, poet, and playwright. His magnum opus, Don Quixote, considered the first modern novel,[3] is a classic of Western literature, and is regarded amongst the best works of fiction ever written.[4] His influence on theSpanish language has been so great that the language is often called la lengua de Cervantes("the language of Cervantes").[5] He was dubbed El Prncipe de los Ingenios ("The Prince of Wits") In 1585, Cervantes published his first major work, La Galatea, a pastoral romance, at the same time that some of his plays, now lost except for El Trato de Argel (wherein he dealt with the life of Christian slaves in Algiers) and El Cerco de Numancia were playing on the stages of Madrid.La Galatea received little contemporary notice; and Cervantes never wrote the continuation for it, which he repeatedly promised to do. Cervantes next turned his attention to drama, hoping to derive an income from that source, but the plays which he composed failed to achieve their purpose. Aside from his plays, his most ambitious work in verse was Viaje del Parnaso (1614) an allegory which consisted largely of a rather tedious though good-natured review of contemporary poets. Cervantes himself realized that he was deficient in poetic talent. If a remark which Cervantes himself makes in the prologue of Don Quixote is to be taken literally, the idea of the work (though hardly the writing of its First Part, as some have maintained) occurred to him in prison at Argamasilla de Alba in La Mancha. Cervantes' idea was to give a picture of real life and manners, and to express himself in clear language. The intrusion of everyday speech into a literary context was acclaimed by the reading public. The author stayed poor until 1605, when the first part of Don Quixote appeared. Although it did not make Cervantes rich, it brought him international appreciation as a man of letters. The popularity of Don Quixote led to the publication of an unauthorized continuation of it by an unknown writer, who masqueraded under the name of Alonso Fernndez de Avellaneda. Cervantes produced his own continuation, or Second Part, of Don Quixote, which made its appearance in 1615. He had promised the publication of a second part in 1613 in the foreword to the Novelas Ejemplares (Exemplary Novels), a year before the publication of Avellanda's book. Don Quixote has been regarded chiefly as a novel of purpose. It is stated again and again that he wrote it in order to satirize the romance of chivalry and to challenge the popularity of a form of literature that had been a favorite of the general public for more than a century. Don Quixote certainly reveals much narrative power, considerable humor, a mastery of dialogue, and a forceful style. Of the two parts written by Cervantes, perhaps the first is the more popular with the general public containing the famous episodes of the tilting at windmills, the attack on the flock of sheep, the vigil in the courtyard of the inn, and the episode with the barber and the shaving basin. The

second part shows more constructive insight, better delineation of character, improved style, and more realism and probability in its action.

William Shakespeare
was an English poetand playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[1] He is often called England's national poet and the "Bard of Avon".[2][nb 2] His surviving works, including some collaborations, consist of about 38plays,[nb 3] 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.[3] Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others.[4] Shakespeare produced most of his known work between 1589 and 1613.[5][nb 4] His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the 16th century. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians worshipped Shakespeare with a reverence thatGeorge Bernard Shaw called "bardolatry".[6] In the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed and reinterpreted in diverse cultural and political contexts throughout the world.

Colegio de calumpit Calumpit bulacan s.y 2011-2012

--Mary Eunice A. Nardo