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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psl.
... verse, and how he had integrated the schemes and tropes so fluently into dramatic speech that they had gone virtually unnoticed for over three hundred years. My sense of rediscovery, of being a modern who could live with the ancients on ...
... verse, and how he had integrated the schemes and tropes so fluently into dramatic speech that they had gone virtually unnoticed for over three hundred years. My sense of rediscovery, of being a modern who could live with the ancients on ...
psl.
... verse of Henry IV parts I and 2, Henry V, and All's Well, while playing a very significant part in three other comedies, Love's Labour's Lost, Troilus and Cressida and Measure for Measure. From those elementary statistics we can deduce ...
... verse of Henry IV parts I and 2, Henry V, and All's Well, while playing a very significant part in three other comedies, Love's Labour's Lost, Troilus and Cressida and Measure for Measure. From those elementary statistics we can deduce ...
psl.
... verse (Iago, Hamlet, Edgar). I think that on balance the advantages of this detailed study of one medium outweigh its obvious limitations and I hope that it could be used as a basis for the much harder but more rewarding analysis of ...
... verse (Iago, Hamlet, Edgar). I think that on balance the advantages of this detailed study of one medium outweigh its obvious limitations and I hope that it could be used as a basis for the much harder but more rewarding analysis of ...
psl.
... verse. Given that the norm of the plays, with some few exceptions, is blank verse, then prose must always have been felt as a deviation from it, and one made for a particular reason, such as for these elementary categories which we have ...
... verse. Given that the norm of the plays, with some few exceptions, is blank verse, then prose must always have been felt as a deviation from it, and one made for a particular reason, such as for these elementary categories which we have ...
psl.
... verse as being not accidental but deliberate on the part of the author, and with a definite aesthetic intent which would have been perceived by the audience. An analogy prompts itself from another art, for we could compare the switch ...
... verse as being not accidental but deliberate on the part of the author, and with a definite aesthetic intent which would have been perceived by the audience. An analogy prompts itself from another art, for we could compare the switch ...
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