The Artistry of Shakespeare's ProseRoutledge, 2013-09-13 - 464 psl. First published in 1968. This re-issues the revised edition of 1979. The Artistry of Shakespeare's Prose is the first detailed study of the use of prose in the plays. It begins by defining the different dramatic and emotional functions which Shakespeare gave to prose and verse, and proceeds to analyse the recurrent stylistic devices used in his prose. The general and particular application of prose is then studied through all the plays, in roughly chronological order. |
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... Iago bulks far larger than the statistics would suggest. To mention these two essentially prose characters (although of course both are also given verse) is to think of others whose very existence depends on prose: Bottom, Shylock ...
... Iago bulks far larger than the statistics would suggest. To mention these two essentially prose characters (although of course both are also given verse) is to think of others whose very existence depends on prose: Bottom, Shylock ...
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... (Iago, Hamlet, Edgar). I think that on balance the advantages of this detailed study of one medium outweigh its obvious limitations – and I hope that it could be used as a basis for the much harder but more rewarding analysis of the ...
... (Iago, Hamlet, Edgar). I think that on balance the advantages of this detailed study of one medium outweigh its obvious limitations – and I hope that it could be used as a basis for the much harder but more rewarding analysis of the ...
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... Iago's verse asides reveal him still completely selfpossessed' (David, p. 88). Lear mad is brought down to prose but is returned to verse during his madness when given royal dignity, or perhaps the superior authority of moral perception ...
... Iago's verse asides reveal him still completely selfpossessed' (David, p. 88). Lear mad is brought down to prose but is returned to verse during his madness when given royal dignity, or perhaps the superior authority of moral perception ...
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... (Iago to Roderigo, or to Othello). Those categories seem to me to cover the major applications of imagery in the plays, although they are not definitive, nor are they as separate as the grouping might suggest. It will be seen at once how ...
... (Iago to Roderigo, or to Othello). Those categories seem to me to cover the major applications of imagery in the plays, although they are not definitive, nor are they as separate as the grouping might suggest. It will be seen at once how ...
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Turinys
From Clown to Character | |
The World of Falstaff | |
Gay Comedy | |
Two Tragic Heroes | |
Serious Comedy | |
Clowns Villians Madmen | |
The Return of Comedy | |
Conclusion | |
Notes | |
Index | |
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Pagrindiniai terminai ir frazės
abuse action answer appears applied argument attitude becomes begins better character clown comedy comes comic complete continues contrast Coriolanus course created critics death deflating described detail device direct effect Elizabethan equivocation expressed eyes Falstaff feeling figure final follows fool force further give given goes Hamlet hand hath human humour Iago imagery images important ironic King language later lines logic look lord master meaning mock nature never normal once Pandarus parallel Parolles pattern perhaps person piece play plot present produces prose reason repartee repetition rhetorical scene seems seen sense serious Shakespeare shown significant situation soliloquy speak speech stage structure style stylistic suggest symmetries tell thee thing thou Troilus true turn verse whole witty