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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... never, for never too late. [Exeunt. That is the first piece of tenderness in the play, and her answer completing the couplet rhyme is in its way as appropriate a symbol of their union as is the sonnet which contains the first meeting of ...
... never, for never too late. [Exeunt. That is the first piece of tenderness in the play, and her answer completing the couplet rhyme is in its way as appropriate a symbol of their union as is the sonnet which contains the first meeting of ...
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... never know'; C. L. Barber is more convinced still: 'No doubt Shakespeare did not think out what he was doing systematically; had he needed to he could not have done what he did'.10 Of course the defence there is slightly loaded ...
... never know'; C. L. Barber is more convinced still: 'No doubt Shakespeare did not think out what he was doing systematically; had he needed to he could not have done what he did'.10 Of course the defence there is slightly loaded ...
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... never mine own man since. (IV, ii, 83–91) That is a fairly mild example, but as his hubris swells so do his images: he agrees to the murder of Lord Say 'for selling the dukedom of Maine' with a pun (given the Elizabethan spelling of ...
... never mine own man since. (IV, ii, 83–91) That is a fairly mild example, but as his hubris swells so do his images: he agrees to the murder of Lord Say 'for selling the dukedom of Maine' with a pun (given the Elizabethan spelling of ...
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... never tired; equivocation and comic logic; faults in speech, such as malapropism, confusion, repetition and digression; and various individualizing linguistic abnormalities: catch-phrases, foreign or regional English, modish ...
... never tired; equivocation and comic logic; faults in speech, such as malapropism, confusion, repetition and digression; and various individualizing linguistic abnormalities: catch-phrases, foreign or regional English, modish ...
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... never leave him. A conservative estimate of the number of rhetorical figures known to the average passenger through an Elizabethan grammar-school would be about 120. From Sister Joseph's book we learn that Shakespeare had learned his ...
... never leave him. A conservative estimate of the number of rhetorical figures known to the average passenger through an Elizabethan grammar-school would be about 120. From Sister Joseph's book we learn that Shakespeare had learned his ...
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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