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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... begins in verse and continues thus for nearly forty lines before suddenly descending to prose. At this point in the scene, with the entry of Adriana and a romantic topic, the medium rightly ascends to verse, and – by giving way to the ...
... begins in verse and continues thus for nearly forty lines before suddenly descending to prose. At this point in the scene, with the entry of Adriana and a romantic topic, the medium rightly ascends to verse, and – by giving way to the ...
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... begins in verse (II, i, 75 ff.) but is gradually reduced to prose (as if stripping off pretence) by the Duke's ... begin, the emotional level rises with the ominous verse: Patience, good lady, wizards know their times. Deep night, dark ...
... begins in verse (II, i, 75 ff.) but is gradually reduced to prose (as if stripping off pretence) by the Duke's ... begin, the emotional level rises with the ominous verse: Patience, good lady, wizards know their times. Deep night, dark ...
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... begin to play the part in verse to his prose: Will't please your honour taste of these conserves? At first he refuses the identity and asserts himself in ever more insistent folk prose: Ask Marian Hacket the fat ale-wife of Wincot, if ...
... begin to play the part in verse to his prose: Will't please your honour taste of these conserves? At first he refuses the identity and asserts himself in ever more insistent folk prose: Ask Marian Hacket the fat ale-wife of Wincot, if ...
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... , for we can find examples of prose imagery under all those heads (with perhaps less thematic imagery to begin with as the sub-plots do not immediately become organically related to the main action) but rather that it.
... , for we can find examples of prose imagery under all those heads (with perhaps less thematic imagery to begin with as the sub-plots do not immediately become organically related to the main action) but rather that it.
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... begin the one following): meantime, as it is, it is bound to your Lordship; To whom I wish long life still lengthened with all happiness. The dedication itself is insignificant, but the polite compliment is given still better poise by ...
... begin the one following): meantime, as it is, it is bound to your Lordship; To whom I wish long life still lengthened with all happiness. The dedication itself is insignificant, but the polite compliment is given still better poise by ...
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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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