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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... hand forming it, and in terms of the media considered here, moving back and forth from verse to prose with a flexible artistry matching style to content. But if we are unable to form categories for the use of prose or verse in the early ...
... hand forming it, and in terms of the media considered here, moving back and forth from verse to prose with a flexible artistry matching style to content. But if we are unable to form categories for the use of prose or verse in the early ...
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... hand, is given the world of sober realism and robust comedy; witty entertainment; playful diversion; delay; dissimulation, degradation, chaos; colloquial speech and uncorrect pronunciation. From this, verse appears as the speech ...
... hand, is given the world of sober realism and robust comedy; witty entertainment; playful diversion; delay; dissimulation, degradation, chaos; colloquial speech and uncorrect pronunciation. From this, verse appears as the speech ...
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... hands with Renaissance rhetoric and its four types of pun. Miss Mahood's excellent (if at times tantalizingly brief) study of Shakespeare's Wordplay 9 shows conclusively how Shakespeare applies witty punning directly to the dramatic ...
... hands with Renaissance rhetoric and its four types of pun. Miss Mahood's excellent (if at times tantalizingly brief) study of Shakespeare's Wordplay 9 shows conclusively how Shakespeare applies witty punning directly to the dramatic ...
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... hand side are thereby isolated and demolished blow by blow, while the final pun puts the clown firmly back in ... hands, and all our house in.
... hand side are thereby isolated and demolished blow by blow, while the final pun puts the clown firmly back in ... hands, and all our house in.
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Brian Vickers. our cat wringing her hands, and all our house in a great perplexity, yet did not this cruel-hearted cur ... hand mixed up with his right: Nay, I'll show you the manner of it. This shoe is my father. No, this left shoe is my ...
Brian Vickers. our cat wringing her hands, and all our house in a great perplexity, yet did not this cruel-hearted cur ... hand mixed up with his right: Nay, I'll show you the manner of it. This shoe is my father. No, this left shoe is my ...
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