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
... ludicrous description of the decrepit condition of Petruchio and his horse in III, ii is managed entirely in direct statement. But in I, ii we meet the first of many scenes where deflating prose comments are added to the main action ...
... ludicrous description of the decrepit condition of Petruchio and his horse in III, ii is managed entirely in direct statement. But in I, ii we meet the first of many scenes where deflating prose comments are added to the main action ...
Pagina 24
... ludicrous catalogue like that of the Dromio (III, i). A newer and more intelligent theatrical way of achieving the corrective juxtaposition of Romance and realism is by paralleling scenes, as in the splendid comic monologue given to ...
... ludicrous catalogue like that of the Dromio (III, i). A newer and more intelligent theatrical way of achieving the corrective juxtaposition of Romance and realism is by paralleling scenes, as in the splendid comic monologue given to ...
Pagina 25
... ludicrous comparisons). Speed is the first consistent mocker, for all his images are used to make someone look ridiculous: to Proteus of Julia: 'Give her no token but stones, for she's as hard as steel' (I, i, 132); to Valentine, most ...
... ludicrous comparisons). Speed is the first consistent mocker, for all his images are used to make someone look ridiculous: to Proteus of Julia: 'Give her no token but stones, for she's as hard as steel' (I, i, 132); to Valentine, most ...
Pagina 28
... ludicrous smaller images for it: ''tis a blushing shamefast spirit, that mutinies in a man's bosom' (as if it were a tame bird, or a shy boy – like Falstaff's page). 'It is turned out of towns and cities for a dangerous thing' (I, iv ...
... ludicrous smaller images for it: ''tis a blushing shamefast spirit, that mutinies in a man's bosom' (as if it were a tame bird, or a shy boy – like Falstaff's page). 'It is turned out of towns and cities for a dangerous thing' (I, iv ...
Pagina 43
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