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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... comes from Marston's Malcontent, where Milton Crane notes that 'At one point in the opening scene of the play, Malevole, left alone with a trusted friend, drops his disguise and speaks verse in his own character of Altofronto; when 6 a ...
... comes from Marston's Malcontent, where Milton Crane notes that 'At one point in the opening scene of the play, Malevole, left alone with a trusted friend, drops his disguise and speaks verse in his own character of Altofronto; when 6 a ...
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... comes in the following scene between master and servant (both of Syracuse, this time) which 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 ...
... comes in the following scene between master and servant (both of Syracuse, this time) which 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 ...
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... comes in the scene which parallels the love-interest aroused by the mistaken identities of the upper plot: now one of the Dromios is mistaken, and is seized on by a kitchen-wench who had designs on his brother and who promises to ...
... comes in the scene which parallels the love-interest aroused by the mistaken identities of the upper plot: now one of the Dromios is mistaken, and is seized on by a kitchen-wench who had designs on his brother and who promises to ...
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... comes within the subjective, objective, and forensic categories – all here abusive (Shakespeare is not as impartial as some people think) in Richard III the imagery for Clarence's murder is best described as that of mood. The dramatic ...
... comes within the subjective, objective, and forensic categories – all here abusive (Shakespeare is not as impartial as some people think) in Richard III the imagery for Clarence's murder is best described as that of mood. The dramatic ...
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... comes in the habit of a light wench, and thereof comes that the wenches say, God damn me; that's as much as to say, God make me a light wench. It is written, they appear to men like angels of light: light is an effect of fire, and fire ...
... comes in the habit of a light wench, and thereof comes that the wenches say, God damn me; that's as much as to say, God make me a light wench. It is written, they appear to men like angels of light: light is an effect of fire, and fire ...
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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