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 3
... attitudes of quite distinct characters in equally distinct dramatic situations. The nature of Shakespeare's language is organically related to the development of each play. Within the plays as a whole Shakespeare makes considerable use ...
... attitudes of quite distinct characters in equally distinct dramatic situations. The nature of Shakespeare's language is organically related to the development of each play. Within the plays as a whole Shakespeare makes considerable use ...
Pagina 21
... attitude to prose quite clearly, saying that in The Merchant of Venice 'Naturally in the prose scenes, or the semi-comic ones ... there are few images or none' (p. 284). The much more valuable study by Wolfgang Clemen is admittedly only ...
... attitude to prose quite clearly, saying that in The Merchant of Venice 'Naturally in the prose scenes, or the semi-comic ones ... there are few images or none' (p. 284). The much more valuable study by Wolfgang Clemen is admittedly only ...
Pagina 22
... attitudes or ideas, and although this deflating intent can range from gay flippant mockery to brutal cynicism, and is applied differently in each play, we seldom if ever find prose images which ennoble their object or their subject, or ...
... attitudes or ideas, and although this deflating intent can range from gay flippant mockery to brutal cynicism, and is applied differently in each play, we seldom if ever find prose images which ennoble their object or their subject, or ...
Pagina 28
... attitudes to conscience, and yet one which would be quite hilarious outside its present context. For this oddly deflating use of imagery prose is the natural medium, as it has been for all the comic and derisive effects so far ...
... attitudes to conscience, and yet one which would be quite hilarious outside its present context. For this oddly deflating use of imagery prose is the natural medium, as it has been for all the comic and derisive effects so far ...
Pagina 47
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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