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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... direct admission (after some defensively indirect quibbling with the Host) of her pain and foreboding: Host Trust me, I think 'tis almost day. Julia Not so; but it hath been the longest night That e'er I watched, and the most heaviest ...
... direct admission (after some defensively indirect quibbling with the Host) of her pain and foreboding: Host Trust me, I think 'tis almost day. Julia Not so; but it hath been the longest night That e'er I watched, and the most heaviest ...
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... direct destructive comment on another character, either to his face or in his absence; the indirect comment, as in a mocking aside which he does not hear although present; and the self-destructive comment, when a character is made to ...
... direct destructive comment on another character, either to his face or in his absence; the indirect comment, as in a mocking aside which he does not hear although present; and the self-destructive comment, when a character is made to ...
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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