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2) The extraordinary extemporal style of Richard Tarleton was well-known in his time.
Interlude, paralude, play, jig, "themes," debate, arraignment, scolding bout, wrestling match, prizefight, bearbait, pantomime, recital, prose, verse, extemporal, rehearsed: these are the various modes against which Taylor and Fennor define their activity, and the cultural frames of reference needed to comprehend it.
But if I come to pray or to preach without this kind of Idea, if I come to extemporal prayer, and extemporal preaching, I shall come to an extemporal faith, and extemporal religion; and then I must look for an extemporal Heaven, a Heaven to be made for me; for to that Heaven which belongs to the Catholic Church, I shall never come, except I go by the way of the Catholic Church, by former Ideas, former examples, former patterns.
He cites scholars who hold that mythic events in Vedic texts, in particular the Rg Vedic story of Indra's freeing of the waters, are constantly repeated and observes that one use of the Vedic injunctive is to indicate such extemporal events.
This, Barbour explains, leads to "the extemporal invention or venting of a somatic prose that is elastic as well as material" (67).
The actor playing Falstaff, in adopting a seemingly extemporal and entirely unconcealed use of disguise, comes close to practicing a self-resembled show of his own professional practice.
Electronic auction: delivery of extemporal drugs for the needs of the fkuz "msh ministry of internal affairs of russia for the republic of sakha (yakutia)"
The railing, extemporal vein that he pioneers feeds into the early work of Shakespeare; The Taming of the Shrew is, in Brown's view, a thoroughly Nashean work.
I think a better example of the hidden pause is the moment of Ophelia's death: a dramatically extemporal, literally "ob-scene" event that needs to be related and interpreted.
More importantly, while this evidence sheds further light on Shakespeare as a working dramatist dealing with his professional peers, we also find moments where Kemp's popular style of extemporal clowning raises a number of questions about the real correlation between the page and the stage, in a creative environment where artistic decision-making does not lie in the hands of Shakespeare alone.
Donne is not uncritical on the topic, and opposes extemporal preaching.
Graves, "Some Aspects of Extemporal Acting," Studies in Philology 19 (1922): 429-56; and Sir Vincent Troubridge, "Oral Tradition in the Theatre," Theatre Notebook 5 (1950-51): 87-88.