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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... 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 law of dominant mood ...
... 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 law of dominant mood ...
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... continues to speak verse and thus dominates the stage: first with Lord Say, whom the mob cruelly murders (IV, vii, 59 ff.), then with Buckingham and Clifford, whose patriotic verse succeeds in winning away the fickle mob from Cade (IV ...
... continues to speak verse and thus dominates the stage: first with Lord Say, whom the mob cruelly murders (IV, vii, 59 ff.), then with Buckingham and Clifford, whose patriotic verse succeeds in winning away the fickle mob from Cade (IV ...
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... conservatism would have agreed with Puttenham's advice that the prosewriter should not continue parison beyond three or four clauses, but one passage shows skilful variation: Euery man sees (as I sayd before) for printying for.
... conservatism would have agreed with Puttenham's advice that the prosewriter should not continue parison beyond three or four clauses, but one passage shows skilful variation: Euery man sees (as I sayd before) for printying for.
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... continues the symmetry continues to clarify the stage business. Launce's second solo is the prelude to his ludicrous 'catelog' of his mistress, (for which Speed joins him) and in the introduction Shakespeare uses the rhetorical figure ...
... continues the symmetry continues to clarify the stage business. Launce's second solo is the prelude to his ludicrous 'catelog' of his mistress, (for which Speed joins him) and in the introduction Shakespeare uses the rhetorical figure ...
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Pasiekėte šios knygos galimų peržiūrėti puslapių ribą.
Pasiekėte šios knygos galimų peržiūrėti puslapių ribą.
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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