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 28
... logic; faults in speech, such as malapropism, confusion, repetition and digression; and various individualizing linguistic abnormalities: catch-phrases, foreign or regional English, modish affectations, an exaggerated fondness for ...
... logic; faults in speech, such as malapropism, confusion, repetition and digression; and various individualizing linguistic abnormalities: catch-phrases, foreign or regional English, modish affectations, an exaggerated fondness for ...
Pagina 29
... logic and rhetoric. As the nature of this training is not widely appreciated it may be useful to give a brief outline of the stages by which a pupil would absorb his knowledge of rhetoric: first of all he would memorize a large number ...
... logic and rhetoric. As the nature of this training is not widely appreciated it may be useful to give a brief outline of the stages by which a pupil would absorb his knowledge of rhetoric: first of all he would memorize a large number ...
Pagina 32
... logic and malaproprism appear only once, in the pun on the destruction to be wreaked by the rebels and especially by 'Smith the weaver': 'Argo, their thread of life is spun' (IV, ii, 29) – the pun also includes, as T. R. Henn has ...
... logic and malaproprism appear only once, in the pun on the destruction to be wreaked by the rebels and especially by 'Smith the weaver': 'Argo, their thread of life is spun' (IV, ii, 29) – the pun also includes, as T. R. Henn has ...
Pagina 33
... logic that this usually involves for Shakespeare. In the repartee scenes there are some marks of logical processes ('your reason was not substantial', II, ii, 103–6; 'To conclude', III, ii, 137) and of punning using equivocation (II, i ...
... logic that this usually involves for Shakespeare. In the repartee scenes there are some marks of logical processes ('your reason was not substantial', II, ii, 103–6; 'To conclude', III, ii, 137) and of punning using equivocation (II, i ...
Pagina 34
... logic to support Petruchio in depriving Kate of the gown that the tailor had made for her by arguing that it should not have been cut: I say unto thee, I bid thy master cut out the gown, but I did not bid him cut it to pieces. Ergo ...
... logic to support Petruchio in depriving Kate of the gown that the tailor had made for her by arguing that it should not have been cut: I say unto thee, I bid thy master cut out the gown, but I did not bid him cut it to pieces. Ergo ...
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