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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... prose-speaker, inevitably produces a discordant tone. This we see from the mob scenes in 2 Henry VI, where a variety of effects is produced. Jack Cade and his mob are naturally presented in semi-realistic prose, so that when Cade,
... prose-speaker, inevitably produces a discordant tone. This we see from the mob scenes in 2 Henry VI, where a variety of effects is produced. Jack Cade and his mob are naturally presented in semi-realistic prose, so that when Cade,
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... produce a simple structure, noticeable to the ear in terms of recurrent sounds or pauses or echoeffects, and to the eye (reading the printed page) in terms of vertical and lateral symmetries. All these rhetorical structures (and many ...
... produce a simple structure, noticeable to the ear in terms of recurrent sounds or pauses or echoeffects, and to the eye (reading the printed page) in terms of vertical and lateral symmetries. All these rhetorical structures (and many ...
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... produce an echo line which has its own momentum, moving from a dense beginning to a more airy close – or for the surprise effect of a variation which will give still more stress to an already pungent phrase: 'slubbered up with good ...
... produce an echo line which has its own momentum, moving from a dense beginning to a more airy close – or for the surprise effect of a variation which will give still more stress to an already pungent phrase: 'slubbered up with good ...
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... produces the utmost freedom and flexibility, like a ground bass on which an indefinite number of variations may be played' (p. 31). Indeed this flexibility is something of an embarrassment to anyone trying to illustrate it, for ...
... produces the utmost freedom and flexibility, like a ground bass on which an indefinite number of variations may be played' (p. 31). Indeed this flexibility is something of an embarrassment to anyone trying to illustrate it, for ...
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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