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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Página 15
... patterns; rather that these patterns naturally occur in all good poetry or drama whether consciously or unconsciously we can never know'; C. L. Barber is more convinced still: 'No doubt Shakespeare did not think out what he was doing ...
... patterns; rather that these patterns naturally occur in all good poetry or drama whether consciously or unconsciously we can never know'; C. L. Barber is more convinced still: 'No doubt Shakespeare did not think out what he was doing ...
Página 24
... pattern is doubled, Valentine being served by Speed, and Proteus by Launce, for in both cases the servant deflates the master's romantic aspirations. Speed does so directly (II, i), and Launce indirectly, being in love – like Proteus ...
... pattern is doubled, Valentine being served by Speed, and Proteus by Launce, for in both cases the servant deflates the master's romantic aspirations. Speed does so directly (II, i), and Launce indirectly, being in love – like Proteus ...
Página 35
... patterns taught and practised by traditional rhetoric, patterns of symmetry and balance, a tradition with distinguished antecedents. It is in fact a stylistic practice which is as old as prose itself, for in fifth-century Greece ...
... patterns taught and practised by traditional rhetoric, patterns of symmetry and balance, a tradition with distinguished antecedents. It is in fact a stylistic practice which is as old as prose itself, for in fifth-century Greece ...
Página 36
... patterns are the most popular: isocolon: equal length of clause or sentence. parison: equal structure in successive clauses or sentences (that is to say, either the parts of speech corresponding, or individual words): e.g., a, b, c; a ...
... patterns are the most popular: isocolon: equal length of clause or sentence. parison: equal structure in successive clauses or sentences (that is to say, either the parts of speech corresponding, or individual words): e.g., a, b, c; a ...
Página 39
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Índice
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 |
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Términos y frases comunes
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