Shakespeare's Use of the Arts of LanguageRavenio Books, 23 квіт. 2016 р. 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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... doth the Astronomer looke upon the starres, and, by that he seeth, setteth downe what order Nature hath taken therein. . . . The Grammarian speaketh onely of the rules of speech; and the Rethorician and Logitian, considering what in ...
... doth the Astronomer looke upon the starres, and, by that he seeth, setteth downe what order Nature hath taken therein. . . . The Grammarian speaketh onely of the rules of speech; and the Rethorician and Logitian, considering what in ...
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... doth say, that whosoever will talke of particular matter must remember, that within the same also is comprehended a general, (p. 2) Cox, following Melanchthon, who had taken the position of Hermagoras, added to the generally recognized ...
... doth say, that whosoever will talke of particular matter must remember, that within the same also is comprehended a general, (p. 2) Cox, following Melanchthon, who had taken the position of Hermagoras, added to the generally recognized ...
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... doth set his places, a Causa, a Contrario. And in the latter side of the page, towards the right hand, to set the severall tropes or figures, but in two or three letters. As for Metonymia Efficientis, no more but Met. Effic. or the like ...
... doth set his places, a Causa, a Contrario. And in the latter side of the page, towards the right hand, to set the severall tropes or figures, but in two or three letters. As for Metonymia Efficientis, no more but Met. Effic. or the like ...
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... doth give the fashion. . . . For a good Poet's made, as well as borne. And such wert thou. This is undoubtedly a truer estimate of the part art played in forming Shakespeare's genius than the one implied by Milton's lines in “L'Allegro ...
... doth give the fashion. . . . For a good Poet's made, as well as borne. And such wert thou. This is undoubtedly a truer estimate of the part art played in forming Shakespeare's genius than the one implied by Milton's lines in “L'Allegro ...
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... doth burn,' quoth I. 'My gold!' quoth he. 'Will you come home?' quoth I. 'My gold!' quoth he. 'Where is the thousand marks I gave thee, villain?' 'The pig,' quoth I, 'is burn'd.' 'My gold!' quoth he. (CE, 2.1.59) All sorts of ...
... doth burn,' quoth I. 'My gold!' quoth he. 'Will you come home?' quoth I. 'My gold!' quoth he. 'Where is the thousand marks I gave thee, villain?' 'The pig,' quoth I, 'is burn'd.' 'My gold!' quoth he. (CE, 2.1.59) All sorts of ...
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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