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 4
... verse of Henry IV parts I and 2, Henry V, and All's Well, while playing a very significant part in three other comedies, Love's Labour's Lost, Troilus and Cressida and Measure for Measure. From those elementary statistics we can deduce ...
... verse of Henry IV parts I and 2, Henry V, and All's Well, while playing a very significant part in three other comedies, Love's Labour's Lost, Troilus and Cressida and Measure for Measure. From those elementary statistics we can deduce ...
Pagina 5
... verse (Iago, Hamlet, Edgar). I think that on balance the advantages of this detailed study of one medium outweigh its obvious limitations – and I hope that it could be used as a basis for the much harder but more rewarding analysis of ...
... verse (Iago, Hamlet, Edgar). I think that on balance the advantages of this detailed study of one medium outweigh its obvious limitations – and I hope that it could be used as a basis for the much harder but more rewarding analysis of ...
Pagina 6
... verse. Given that the norm of the plays, with some few exceptions, is blank verse, then prose must always have been felt as a deviation from it, and one made for a particular reason, such as for these elementary categories which we have ...
... verse. Given that the norm of the plays, with some few exceptions, is blank verse, then prose must always have been felt as a deviation from it, and one made for a particular reason, such as for these elementary categories which we have ...
Pagina 7
... verse to prose and must react to it quickly' (p. 4), for indeed the whole point of that exchange is lost if we do not at once spot the difference. I think that the same principle applies for the distinction between prose and verse (if ...
... verse to prose and must react to it quickly' (p. 4), for indeed the whole point of that exchange is lost if we do not at once spot the difference. I think that the same principle applies for the distinction between prose and verse (if ...
Pagina 8
... verse with some care, and both Mr David and Miss Tschopp have made some valuable suggestions. But before going on to discuss the consequences for Shakespeare's prose of it being in an inferior position to verse, it may be as well to ...
... verse with some care, and both Mr David and Miss Tschopp have made some valuable suggestions. But before going on to discuss the consequences for Shakespeare's prose of it being in an inferior position to verse, it may be as well to ...
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