The Artistry of Shakespeare's ProseRoutledge, 13 sep 2013 - 464 pagina's 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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Pagina 4
... Iago bulks far larger than the statistics would 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 ...
... Iago bulks far larger than the statistics would 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 ...
Pagina 5
... (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 the ...
... (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 the ...
Pagina 7
... Iago's verse asides reveal him still completely self-possessed' (David, p. 88). Lear mad is brought down to prose but is returned to verse during his madness when given royal dignity, or perhaps the superior authority of moral ...
... Iago's verse asides reveal him still completely self-possessed' (David, p. 88). Lear mad is brought down to prose but is returned to verse during his madness when given royal dignity, or perhaps the superior authority of moral ...
Pagina 20
... (Iago to Roderigo, or to Othello). Those categories seem to me to cover the major applications of imagery in the plays, although they are not definitive, nor are they as separate as the grouping might suggest. It will be seen at once how ...
... (Iago to Roderigo, or to Othello). Those categories seem to me to cover the major applications of imagery in the plays, although they are not definitive, nor are they as separate as the grouping might suggest. It will be seen at once how ...
Pagina 274
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Inhoudsopgave
1 | |
19 | |
3 From Clown to Character | 52 |
4 The World of Falstaff | 89 |
5 Gay Comedy | 171 |
6 Two Tragic Heroes | 240 |
7 Serious Comedy | 272 |
Clowns Villains Madmen | 331 |
9 The Return of Comedy | 405 |
Conclusion | 429 |
Notes | 432 |
Index | 449 |
Overige edities - Alles bekijken
Veelvoorkomende woorden en zinsdelen
abuse action anaphora antimetabole Apemantus applied argument Armado attitude Autolycus bawdy Beatrice begins Benedick Bertram Cassio character Claudio clauses clown comedy comic contrast Coriolanus Cressida deflating detail device disguise Dogberry dramatic Duke effect Elizabethan emotional epistrophe equivocation Euphuism Falstaff figure final fool give given Gobbo grotesque Hal's Hamlet hath humour Iago Iago's imagery images ironic King lady Lafeu language Launce Lear logic lord Love's Labour's Lost Lucio ludicrous madness malapropism Malvolio meaning metaphor Mistress mock mockery mood nature Olivia Othello Pandarus parallel Parolles pattern piece play plot Polonius Pompey Prince puns repartee repetition rhetorical structure Roderigo Romance Rosalind scene seems seen serious servant Shake Shakespeare Shylock significant situation soliloquy speak specious speech stage style stylistic syllogism symmetries syntax thee Thersites thou Timon Toby Touchstone tragedy trap Troilus Troilus and Cressida Twelfth Night verse whole witty words