launce

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Synonyms for launce

very small silvery eellike schooling fishes that burrow into sandy beaches

References in periodicals archive ?
Dogs on stage are invariably scene stealers and Shakespeare must have known exactly what he was doing in The Two Gentlemen of Verona when he created the characters of Launce and Crab.
Roger <BMorlidge as Launce in The Two Gentlemen of Verona with Mossup, who plays
On the other hand, beyond the fact that Kemp took many roles, one cannot deny the close resemblance of the characters of Launce and Launcelot, respectively in Two Gentlemen of Verona and The Merchant of Venice, which, in addition to the affinity of their names, share biographical characteristics, such as their country origins (the rustic reality of the Veneto), as well as those relating to their acting, such as their frequent use of monologues and their obvious theatricality.
Finally, the hypothesis of this essay is corroborated by the similarities between the roles acted by Kemp, that of Launce in The Two Gentlemen of Verona and that of Launcelot il Gobbo in The Merchant of Venice, works that are both set in the Venetian dominion, and the role of Ruzante staged by Angelo Beolco.
For all of Launce and Speed being clowns or rustics, Wiles demonstrates how the character of Launce was added by Shakespeare in a second draft.
It is time to see how Launce presents himself in scene 3 of Act II of Two Gentlemen of Verona (the first part is presented here; the second part will be presented below):
In Act IV, Scene 3, Launce meets with Speed to explain his very famous discussion on the merits and the demerits of the woman he loves.
Wiles views the monologue utilized by Launce and then by Launcelot as contributing to the construction of a character who is profoundly different from preceding ones.
The independence of Launce from the plot becomes for Wiles one of the elements of that character's superiority to Speed.
In the second part of the monologue Launce continues his speech, addressing his shoes:
A direct referent for the way in which Launce treats his shoes, however, may be found in Ruzante's monologue on suicide; although the two scenes have different tones, in both of them the shoes serve as witnesses, taking on the role of characters within the scene.
In this respect, Crab could be an explicit reference to the 'dry-eyed family' ("parento' de gi uogi sichi" 905) to which Ruzante clearly belongs and to which, ironically, Launce too belongs.