Prose

Language not organised into verse lines or a regular metre. Lady Macbeth's sleepwalking speeches are in prose.

Speech or writing without a regular poetic metre or verse-line structure.

Language written without a regular verse metre or arranged verse lines.

Speech or writing that is not arranged in metrical verse lines.

Writing or speech without a regular verse metre. Stephano and Trinculo’s dialogue is mainly prose.

Language without a regular verse metre, printed in continuous sentences rather than organised into verse lines.

Language without a regular verse pattern or fixed line lengths.

Writing that follows ordinary speech rather than a regular verse rhythm.

Speech or writing without a regular verse metre.

Writing without a regular verse metre or organised poetic line structure.

Ordinary speech or writing that is not arranged into lines of verse.

Ordinary speech or writing without a regular metrical pattern. Beatrice and Benedick's opening verbal contest is written in prose.

Speech or writing without a regular metrical pattern. In drama, prose can create conversational freedom and reveal a character's individual voice.

Ordinary speech or writing without a regular metrical pattern.

Writing or speech without a regular metrical pattern.

Writing or speech without a regular verse metre or arranged poetic line breaks.

Speech or writing without a regular metrical pattern or fixed verse lines.

Speech or writing without a regular metrical pattern or arranged verse lines.

Speech or writing without the regular metre and line arrangement of verse.

Speech or writing without the regular metrical organisation of verse.

Speech or writing without a regular metrical pattern or fixed poetic line structure.

Speech or writing without a regular metrical line pattern. In drama, it can support conversational exchanges, jokes or other effects.

Speech or writing without a regular verse metre, although it can still contain carefully patterned language.

Speech or writing not arranged into regular verse lines.

Speech or writing that is not organised into metrical verse lines.

Language without a regular metrical pattern, unlike verse.

Language written without a regular verse metre; in drama, its rhythms can resemble conversation.

Speech or writing not organised into metrical lines of verse.

Language not organised into metrical verse lines; it can still be elaborate, witty or figurative.

Language written without a regular verse metre or fixed poetic line pattern.

Speech or writing without a regular metrical pattern. Shylock’s speech in Act 3 Scene 1 is prose, but repetition and parallel phrasing give it a forceful rhythm.

Speech or writing without a regular metrical pattern. Portia’s conversation with Nerissa in Act 1 Scene 2 is largely prose.

Language not organised into a regular verse metre; it can still have rhythm, repetition and elaborate rhetorical patterns.

Speech or writing without a regular verse pattern.

Speech or writing without a regular verse metre. Printed lines wrap according to available space rather than marking poetic lines.

Writing without the regular metrical arrangement of verse. Printed line wrapping does not turn prose into verse.

Speech or writing without a regular metrical pattern. Printed line wrapping does not turn prose into verse.

Speech or writing without a regular metrical pattern.

Writing without a regular metrical pattern. Portia’s conversation with Nerissa in Act 1 Scene 2 is mainly prose, allowing informal exchanges and quick comic judgements.

Language not organised into a regular verse metre; it can still use carefully shaped rhythm, repetition and imagery.

Language not arranged into regular lines of verse.

Speech or writing not organised into regular metrical verse lines.

Speech written without a regular verse metre. Lady Macbeth's sleepwalking speech is in prose, with abrupt changes of subject and repeated commands.

Speech or writing without a regular verse pattern.

Language not arranged into verse lines or a regular metrical pattern.

Writing without a regular verse metre; its sentences are not organised into metrical lines.

Ordinary speech or writing without a regular metrical pattern. In drama, prose can support conversational exchanges, jokes and rapid verbal conflict.

Speech or writing without a regular verse pattern. In drama, prose can support conversational wit, argument or private reflection.

Speech or writing not arranged into a regular verse pattern.

Writing or speech without a regular metrical pattern.

Speech or writing without a regular verse metre; Shakespeare often uses it for the witty exchanges between Beatrice and Benedick.

Language without the regular metre and line arrangement of verse.

Speech without a prescribed poetic metre or verse line pattern. Benedick's prose often supports conversational wit and comic self-justification.

Speech or writing without a regular metrical pattern. Shakespeare often uses it for conversational exchanges in Much Ado About Nothing.

Language organised into ordinary sentences rather than lines governed by a poetic metre.

Speech or writing without a regular verse metre. Dogberry’s scenes use prose, allowing rambling speeches and conversational interruptions.

Speech or writing not arranged into a regular pattern of verse lines.

Ordinary speech or writing without a regular metrical pattern.

Writing or speech without a regular metrical pattern. Prose can still contain carefully shaped rhythms, imagery and wordplay.

Writing without the regular metrical pattern of verse. Its significance depends on the speaker, situation and surrounding language.

Speech or writing without a regular verse pattern. Lady Macbeth’s sleepwalking speech is in prose.

Writing without a regular verse metre or a pattern of poetic line endings. It can still contain rhythm, repetition and imagery.

Writing without a regular verse metre, arranged in sentences rather than poetic lines.

Speech or writing not organised into regular verse lines. Iago uses prose when persuading Roderigo at the end of Act 1 Scene 3.

Speech or writing without a regular metrical pattern or verse line structure.

Speech or writing that is not organised into verse lines with a regular metrical pattern.

Writing or speech without a regular verse metre.

Writing or speech without a regular metrical pattern, unlike verse.

Speech or writing without a regular verse pattern or metre.

Writing that follows ordinary speech rather than a regular verse pattern. Shakespeare uses prose for much of Beatrice and Benedick's rapid verbal sparring.

Speech or writing without a regular metrical pattern or fixed verse lines. Shakespeare often uses it for conversational exchanges and comic argument.

Language without the regular line structure or metre of verse.

Speech or writing not organised into regular metrical lines; Shakespeare uses it for serious conversation as well as comedy.

Language without a regular verse metre; in drama, it often creates the rhythm of conversation.

Speech or writing that is not organised into regular metrical lines.

Speech or writing without a regular metrical pattern.

Speech or writing without the regular metrical pattern of verse. Dogberry’s dialogue is in prose.

Speech or writing that is not organised into metrical verse lines.

Spoken or written language without a regular verse pattern.

Writing without a regular metrical pattern or deliberately arranged verse lines.

Speech or writing not organised into regular verse lines or metre.

Speech or writing without a regular poetic metre or verse line structure.

Speech or writing without a regular verse pattern. Shakespeare often uses it for the household's comic exchanges in Act 2.

Writing or speech not organised into metrical verse lines.

Ordinary speech or writing without a regular metrical line structure.

Language not organised into regular metrical verse lines. In drama, it can support conversational exchanges, jokes and wordplay.

Speech written without a regular verse metre. Shakespeare uses prose for Olivia's witty, guarded exchanges with Cesario.

Ordinary speech or writing without a regular metrical pattern, used for most of Malvolio's dialogue.

Writing or speech without a regular verse metre. In drama, prose can support conversational exchanges, wordplay and comic timing.

Ordinary speech or writing without a regular metrical pattern; in drama, it contrasts with verse.

Language arranged without a regular verse metre, normally printed in continuous sentences rather than verse lines.

Speech or writing without the regular metre and deliberately arranged poetic lines of verse.

Ordinary speech or writing without a regular metrical pattern.

Language without a regular verse metre, arranged as ordinary speech or writing.

Language not organised into a regular verse metre. In drama, prose can help create conversational informality.

Speech or writing without a regular verse metre. Portia's conversation with Nerissa uses prose to create an informal, intimate tone.

Writing without a regular verse metre, organised through sentences rather than metrical lines.

Language without a regular verse pattern. In drama, prose can support conversation, comedy or sustained argument.

Speech or writing not organised into metrical verse lines.

Speech or writing not organised into poetic lines or a regular metrical pattern.

Speech or writing not arranged in a regular verse pattern.