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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... answer, of objection and counterobjection. Rhetoric, as Aristotle defines it, is the faculty of observing in any given case the available means of persuasion, and since the orator addresses a popular audience including untrained ...
... answer, of objection and counterobjection. Rhetoric, as Aristotle defines it, is the faculty of observing in any given case the available means of persuasion, and since the orator addresses a popular audience including untrained ...
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... answer thy best pleasure; be't to fly, To swim, to dive into the fire, to ride On the curl'd clouds. (Tem., 1.2.189) In contrast is the measured deliberateness of polysyndeton, the use of a conjunction between each clause. 'Tis as I ...
... answer thy best pleasure; be't to fly, To swim, to dive into the fire, to ride On the curl'd clouds. (Tem., 1.2.189) In contrast is the measured deliberateness of polysyndeton, the use of a conjunction between each clause. 'Tis as I ...
Ñòîð³íêà
... answering something utterly irrelevant to what is asked. This vice is used with fine dramatic effect in the account given by Dromio of Ephesus to Adriana of his encounter with Antipholus of Syracuse whom he mistook for Antipholus of ...
... answering something utterly irrelevant to what is asked. This vice is used with fine dramatic effect in the account given by Dromio of Ephesus to Adriana of his encounter with Antipholus of Syracuse whom he mistook for Antipholus of ...
Ñòîð³íêà
... answer to her message: Juliet. No, no. But all this did I know before. What says he of our marriage? What of that? Nurse. Lord, how my head aches! What a head have I! It beats as it would fall in twenty pieces. My back o't'other side—ah ...
... answer to her message: Juliet. No, no. But all this did I know before. What says he of our marriage? What of that? Nurse. Lord, how my head aches! What a head have I! It beats as it would fall in twenty pieces. My back o't'other side—ah ...
Ñòîð³íêà
... ,” in Measure for Measure (2.1.99136). Periergia is a vice not so much of superfluity of words as of overlabor to seem fine and eloquent, especially in a slight matter. Armado, making a request of the king which can be answered in two.
... ,” in Measure for Measure (2.1.99136). Periergia is a vice not so much of superfluity of words as of overlabor to seem fine and eloquent, especially in a slight matter. Armado, making a request of the king which can be answered in two.
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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