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 11
... Launce (the bumbling type), unlike the more versatile Speed, is given prose throughout (II, iii; II, v; III, i; IV, iv). But in this play for the first time characters from the upper stratum come down to prose when clowns are not ...
... Launce (the bumbling type), unlike the more versatile Speed, is given prose throughout (II, iii; II, v; III, i; IV, iv). But in this play for the first time characters from the upper stratum come down to prose when clowns are not ...
Pagina 24
... Launce, for in both cases the servant deflates the master's romantic aspirations. Speed does so directly (II, i), and Launce indirectly, being in love – like Proteus – but with a milkmaid, who has 'more qualities than a water-spaniel ...
... Launce, for in both cases the servant deflates the master's romantic aspirations. Speed does so directly (II, i), and Launce indirectly, being in love – like Proteus – but with a milkmaid, who has 'more qualities than a water-spaniel ...
Pagina 25
... Launce echo a stock romantic image: Proteus had urged My father stays my coming. Answer not. The tide is now: nay, not thy tide of tears. (II, ii, 13–14) And Launce, being urged to hurry so as not to lose the tide, answers with a ...
... Launce echo a stock romantic image: Proteus had urged My father stays my coming. Answer not. The tide is now: nay, not thy tide of tears. (II, ii, 13–14) And Launce, being urged to hurry so as not to lose the tide, answers with a ...
Pagina 26
Brian Vickers. italics – Launce's polite phrase acts also as a cue device for the metaphor come true. In the two early History plays which use prose it is applied to the recording of semi-naturalistic speech, with inevitably little ...
Brian Vickers. italics – Launce's polite phrase acts also as a cue device for the metaphor come true. In the two early History plays which use prose it is applied to the recording of semi-naturalistic speech, with inevitably little ...
Pagina 34
... Launce is the bumbler, with a revealing malapropism ('the Prodigious Son', II, iii, 3), but in fact he is the typethat looks stupid but is actually very witty, as we see in the two scenes where he spars with Speed and (surprisingly) ...
... Launce is the bumbler, with a revealing malapropism ('the Prodigious Son', II, iii, 3), but in fact he is the typethat looks stupid but is actually very witty, as we see in the two scenes where he spars with Speed and (surprisingly) ...
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