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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... figures in one of the popular collections, such as Book 4 of the pseudoCiceronian Ad Herennium or a more comprehensive summary, Susenbrotus' Epitome Troporum ac Schematorum (1541), which listed 132 figures with many subdivisions, or one ...
... figures in one of the popular collections, such as Book 4 of the pseudoCiceronian Ad Herennium or a more comprehensive summary, Susenbrotus' Epitome Troporum ac Schematorum (1541), which listed 132 figures with many subdivisions, or one ...
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... figures, invariably with intelligence and often with a skill which makes his application of a figure a model example or a complete realization of its special literary, emotional, and psychological effect. Thus we are here presented with ...
... figures, invariably with intelligence and often with a skill which makes his application of a figure a model example or a complete realization of its special literary, emotional, and psychological effect. Thus we are here presented with ...
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... figures of rhetoric are used in much wider contexts than this, and were meant to be used organically: if one ... figure is euer vsed to a purpose, either of beautie or of efficacy'.17 In the early plays Shakespeare's application ...
... figures of rhetoric are used in much wider contexts than this, and were meant to be used organically: if one ... figure is euer vsed to a purpose, either of beautie or of efficacy'.17 In the early plays Shakespeare's application ...
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... figure asteismus). Later Grumio quibbles with an inferior servant and beats him (IV, i) as often in the early plays the consequences of equivocation is a hiding and he is given comic logic to support Petruchio in depriving Kate of ...
... figure asteismus). Later Grumio quibbles with an inferior servant and beats him (IV, i) as often in the early plays the consequences of equivocation is a hiding and he is given comic logic to support Petruchio in depriving Kate of ...
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... figures which had been previously thought the property of poetry.19 In fact this reversal of the original relationships soon became the norm, and well into the Renaissance the use of rhetorical figures was thought to be the province of ...
... figures which had been previously thought the property of poetry.19 In fact this reversal of the original relationships soon became the norm, and well into the Renaissance the use of rhetorical figures was thought to be the province of ...
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