The Artistry of Shakespeare's ProseRoutledge, 13 sept 2013 - 464 páginas 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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... humour), set one direction of my subsequent research and writing, in such books as Classical Rhetoric in English Poetry (Macmillan, 1970; revised edition Southern Illinois University Press 1989), In Defence of Rhetoric (Oxford ...
... humour), set one direction of my subsequent research and writing, in such books as Classical Rhetoric in English Poetry (Macmillan, 1970; revised edition Southern Illinois University Press 1989), In Defence of Rhetoric (Oxford ...
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... humour, with few prose images – even the 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 ...
... humour, with few prose images – even the 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 ...
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... humour of mine will change. It was wont to hold me but while one tells twenty. FIRST. How dost thou feel thyself now? SECOND. Faith, some certain dregs of conscience are yet within me. That last image seems to be caught up in the second ...
... humour of mine will change. It was wont to hold me but while one tells twenty. FIRST. How dost thou feel thyself now? SECOND. Faith, some certain dregs of conscience are yet within me. That last image seems to be caught up in the second ...
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... humour 'with his merry jests' (I, ii, 19–21). These explicit comments on the clown's verbal wit are always peculiarly naturalistic, for we are told about the character as we might be if we met them in real life ('he's always like that ...
... humour 'with his merry jests' (I, ii, 19–21). These explicit comments on the clown's verbal wit are always peculiarly naturalistic, for we are told about the character as we might be if we met them in real life ('he's always like that ...
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... Humour and Poetaster (pp. 45 ff). Mr Barish moves from rhetoric towards logic in drawing attention to the remarkable number of disjunctive formulae used in Shakespeare's prose (pp. 23–40), a trait which stems from a constant interest in ...
... Humour and Poetaster (pp. 45 ff). Mr Barish moves from rhetoric towards logic in drawing attention to the remarkable number of disjunctive formulae used in Shakespeare's prose (pp. 23–40), a trait which stems from a constant interest in ...
Índice
From Clown to Character | |
The World of Falstaff | |
Gay Comedy | |
Two Tragic Heroes | |
Serious Comedy | |
Clowns Villians Madmen | |
The Return of Comedy | |
Conclusion | |
Notes | |
Index | |
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Términos y frases comunes
abuse action answer appears applied argument attitude becomes begins better character clown comedy comes comic complete continues contrast Coriolanus course created critics death deflating described detail device direct effect Elizabethan equivocation expressed eyes Falstaff feeling figure final follows fool force further give given goes Hamlet hand hath human humour Iago imagery images important ironic King language later lines logic look lord master meaning mock nature never normal once Pandarus parallel Parolles pattern perhaps person piece play plot present produces prose reason repartee repetition rhetorical scene seems seen sense serious Shakespeare shown significant situation soliloquy speak speech stage structure style stylistic suggest symmetries tell thee thing thou Troilus true turn verse whole witty