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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... often turns out to be a moral commonplace) from the living tissue of a play, and implicitly suggesting that Shakespeare was offering a discussion of Appearance and Preface Preface to the Revised Edition 1 Shakespeare's Use of Prose.
... often turns out to be a moral commonplace) from the living tissue of a play, and implicitly suggesting that Shakespeare was offering a discussion of Appearance and Preface Preface to the Revised Edition 1 Shakespeare's Use of Prose.
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... suggesting that Shakespeare's comments are not sometimes so frequent or so important that they amount to a thematic status, nor that one cannot still gather valuable insights from The Wheel of Fire or Some Shakespearean Themes, but I ...
... suggesting that Shakespeare's comments are not sometimes so frequent or so important that they amount to a thematic status, nor that one cannot still gather valuable insights from The Wheel of Fire or Some Shakespearean Themes, but I ...
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... suggest. To mention these two essentially prose characters (although of course both are also given verse) is to think of others whose very existence depends on prose: Bottom, Shylock, Falstaff, Shallow, Mistress Quickly, Beatrice and ...
... suggest. To mention these two essentially prose characters (although of course both are also given verse) is to think of others whose very existence depends on prose: Bottom, Shylock, Falstaff, Shallow, Mistress Quickly, Beatrice and ...
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... suggest that in both cases we are dealing with an alternation of media according to certain definite artistic conventions (and in both arts the changes have emotional connotations). The distinction must have been noticeable, then ...
... suggest that in both cases we are dealing with an alternation of media according to certain definite artistic conventions (and in both arts the changes have emotional connotations). The distinction must have been noticeable, then ...
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... suggest that Shakespeare was a deliberate artist: R. A. Foakes, for instance, after a useful discussion of the ... suggestion here that Shakespeare used conscious artifice in building his play upon word-or-image.
... suggest that Shakespeare was a deliberate artist: R. A. Foakes, for instance, after a useful discussion of the ... suggestion here that Shakespeare used conscious artifice in building his play upon word-or-image.
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