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 23
... grotesque idea but Shakespeare lowers the image, with appropriate decorum, by developing it almost literally: I know not what use to put her to but to make a lamp of her and run from her by her own light. I warrant, her rags and the ...
... grotesque idea but Shakespeare lowers the image, with appropriate decorum, by developing it almost literally: I know not what use to put her to but to make a lamp of her and run from her by her own light. I warrant, her rags and the ...
Pagina 26
... grotesque use of imagery which makes all the rebels look ridiculous. Then the two critics reduce Cade's pretensions to dignity (34–70), and finally they mock Cade, the lawgiver – one of the rebels asks that 'the laws of England may come ...
... grotesque use of imagery which makes all the rebels look ridiculous. Then the two critics reduce Cade's pretensions to dignity (34–70), and finally they mock Cade, the lawgiver – one of the rebels asks that 'the laws of England may come ...
Pagina 28
... grotesque wit, partly through the personification of conscience as a concrete, three-dimensional thing – 'Zounds, 'tis even now at my elbow, persuading me not to kill the Duke', and partly through the ludicrous smaller images for it ...
... grotesque wit, partly through the personification of conscience as a concrete, three-dimensional thing – 'Zounds, 'tis even now at my elbow, persuading me not to kill the Duke', and partly through the ludicrous smaller images for it ...
Pagina 50
Je hebt de weergavelimiet voor dit boek bereikt.
Je hebt de weergavelimiet voor dit boek bereikt.
Pagina 55
Je hebt de weergavelimiet voor dit boek bereikt.
Je hebt de weergavelimiet voor dit boek bereikt.
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