Shakespeare's Use of the Arts of LanguageRavenio Books, 23 êâ³ò. 2016 ð. The contribution of the present work is to present in organized detail essentially complete the general theory of composition current during the Renaissance (as contrasted with special theories for particular forms of composition) and the illustration of Shakespeare’s use of it. It is organized as follows: Part One: Introduction I. The General Theory of Composition and of Reading in Shakespeare’s England 1. The Concept of Art in Renaissance England 2. Training in the Arts in Renaissance England 3. The English Works on Logic and Rhetoric 4. The Tradition 5. Invention and Disposition Part Two. Shakespeare’s Use of the Theory II. Shakespeare’s Use of the Schemes of Grammar, Vices of Language, and Figures of Repetition 1. The Schemes of Grammar 2. The Vices of Language 3. The Figures of Repetition III. Logos: The Topics of Invention 1. Inartificial Arguments or Testimony 2. Definition 3. Division: Genus and Species, Whole and Parts 4. Subject and Adjuncts 5. Contraries and Contradictories 6. Similarity and Dissimilarity 7. Comparison: Greater, Equal, Less 8. Cause and Effect, Antecedent and Consequent 9. Notation and Conjugates IV. Logos: Argumentation 1. Syllogistic Reasoning 2. Fallacious Reasoning 3. Disputation V. Pathos and Ethos 1. Pathos 2. Ethos Part Three. The General Theory of Composition and Reading as Defined and Illustrated by Tudor Logicians and Rhetoricians VI. Schemes of Grammar, Vices of Language, and Figures of Repetition 1. The Schemes of Grammar 2. Vices of Language VII. Logos: The Topics of Invention 1. Inartificial Arguments or Testimony 2. Definition 3. Division: Genus and Species, Whole and Parts 4. Subject and Adjuncts 5. Contraries and Contradictories 6. Similarity and Dissimilarity 7. Comparison: Greater, Equal, Less 8. Cause and Effect, Antecedent and Consequent 9. Notation and Conjugates 10. Genesis or Composition 11. Analysis or Reading VIII. Logos: Argumentation 1. Syllogistic Reasoning 2. Fallacious Reasoning 3. Disputation IX. Pathos and Ethos 1. Pathos 2. Ethos |
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... orator, and the prose narrator, each having distinct and peculiar problems of his own, inevitably draw upon these wider arts of language for the general theory which must underlie all special forms of composition. 2. Training. in. the.
... orator, and the prose narrator, each having distinct and peculiar problems of his own, inevitably draw upon these wider arts of language for the general theory which must underlie all special forms of composition. 2. Training. in. the.
Ñòîð³íêà
... orator addresses a popular audience including untrained thinkers, his appeal is threefold: to their reason (logos), to their feelings (pathos), and to their confidence in his character, that is, in his virtue, competence, courtesy, good ...
... orator addresses a popular audience including untrained thinkers, his appeal is threefold: to their reason (logos), to their feelings (pathos), and to their confidence in his character, that is, in his virtue, competence, courtesy, good ...
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... orator, whereas, remarks Cicero, the first belongs properly to the philosopher. Accepting Cicero's view, Boethius in his De differentiis topicis came nearest to stating a clear distinction between dialectical and rhetorical ...
... orator, whereas, remarks Cicero, the first belongs properly to the philosopher. Accepting Cicero's view, Boethius in his De differentiis topicis came nearest to stating a clear distinction between dialectical and rhetorical ...
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... orator] may have arguments at will, if he search the places which are none other thing, but the store house of reason and the fountaine of all wisedome. (fol. 61v) Thus we see how large the use is of these places, for not only shall any ...
... orator] may have arguments at will, if he search the places which are none other thing, but the store house of reason and the fountaine of all wisedome. (fol. 61v) Thus we see how large the use is of these places, for not only shall any ...
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... Orator. He used them extensively in his orations, especially those which rise to the lofty style. Quintilian reviewed Cicero's presentation of the figures before giving his own more detailed treatment, and he told why he excluded some ...
... Orator. He used them extensively in his orations, especially those which rise to the lofty style. Quintilian reviewed Cicero's presentation of the figures before giving his own more detailed treatment, and he told why he excluded some ...
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adjuncts adversary answer antanaclasis Antony Apemantus argument Aristotle audience AYLI Blundeville Brutus Caesar called cause character Cicero Clown composition conclusion contrary Coriolanus Cymbeline death declares Desdemona disputation doth effect Elizabethan enallage enthymeme Ergo ethos evil example eyther fallacy false Falstaff father fear figures of repetition figurists fool forme of speech Fraunce give grammar Hamlet hast hath hearers heart heaven honest honour hypallage hypothetical syllogism Iago Ibid kind King Henry language Latin Lear logic and rhetoric logicians Logike logos Lord Love’s Labour’s Lost Macbeth major premise material fallacies matter meaning metonymy mind Orator Othello pathos Peacham premise Prince proposition Puttenham question Ramists reason Renaissance rhetoricians Rhetorike Richard Richard II schemes sentence Shakespeare Sherry speak speaker syllepsis syllogism Syllogisme tell thee thing thou art thought Timon Troilus true Tudor unto verse Wilson words wrong