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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... seen in them all, as is the normal convention for Shakespeare that when a person from a superior class talks with the clown then he too descends to prose, as if to show the pervasive effect of clownish wit. So the use of the clown in ...
... seen in them all, as is the normal convention for Shakespeare that when a person from a superior class talks with the clown then he too descends to prose, as if to show the pervasive effect of clownish wit. So the use of the clown in ...
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... seen in The Comedy of Errors, where the entry of Dromio of Ephesus reduces both Adriana and Luciana to prose as one would expect (II, i, 4454), only for all three to revert to verse at once. Another inconsistency comes in the following ...
... seen in The Comedy of Errors, where the entry of Dromio of Ephesus reduces both Adriana and Luciana to prose as one would expect (II, i, 4454), only for all three to revert to verse at once. Another inconsistency comes in the following ...
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... seen at once how many factors are to be taken into account: with any one image at any point in the play we must consider the meaning of the play as a whole (in so far as we think we have been shown its meaning), the dominant situations ...
... seen at once how many factors are to be taken into account: with any one image at any point in the play we must consider the meaning of the play as a whole (in so far as we think we have been shown its meaning), the dominant situations ...
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... seen very clearly in The Two Gentlemen of Verona, as the 'master and man' pattern is doubled, Valentine being served by Speed, and Proteus by Launce, for in both cases the servant deflates the master's romantic aspirations. Speed does ...
... seen very clearly in The Two Gentlemen of Verona, as the 'master and man' pattern is doubled, Valentine being served by Speed, and Proteus by Launce, for in both cases the servant deflates the master's romantic aspirations. Speed does ...
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... seen at its simplest, in that one character is The Comic and the other The Stooge: so we know that one half of the team is always going to win, as we never do with Falstaff and his opponents, or with Beatrice and Benedick and theirs (a ...
... seen at its simplest, in that one character is The Comic and the other The Stooge: so we know that one half of the team is always going to win, as we never do with Falstaff and his opponents, or with Beatrice and Benedick and theirs (a ...
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