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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... is somehow enhanced by the use of this figure, when she says to Othello: Why I should fear I know not, Since guiltiness I know not; but yet I feel I fear. (5.2.38) Hamlet implores the ghost: If thou hast any sound, or use of voice, Speak.
... is somehow enhanced by the use of this figure, when she says to Othello: Why I should fear I know not, Since guiltiness I know not; but yet I feel I fear. (5.2.38) Hamlet implores the ghost: If thou hast any sound, or use of voice, Speak.
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Sister Miriam Joseph. If thou hast any sound, or use of voice, Speak to me. If there be any good thing to be done, That may to thee do ease, and grace to me, Speak to me. (1.1.128) Repetition drives home to the audience the one thought ...
Sister Miriam Joseph. If thou hast any sound, or use of voice, Speak to me. If there be any good thing to be done, That may to thee do ease, and grace to me, Speak to me. (1.1.128) Repetition drives home to the audience the one thought ...
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... hast worn out thy pump, that, when the single sole of it is worn, the jest may remain, after the wearing, solely singular. Romeo. O singlesol'd jest, solely singular for the singleness! Mercutio. Come between us, good Benvolio! My wits ...
... hast worn out thy pump, that, when the single sole of it is worn, the jest may remain, after the wearing, solely singular. Romeo. O singlesol'd jest, solely singular for the singleness! Mercutio. Come between us, good Benvolio! My wits ...
Ñòîð³íêà
... hast been rightly honest. So hast thou; And thou, and thou, and thou. You have serv'd me well. (A & C, 4.2.10) Speaking of a new marriage for Henry VIII, Wolsey betrays aversion through this kind of repetition. It shall be to the ...
... hast been rightly honest. So hast thou; And thou, and thou, and thou. You have serv'd me well. (A & C, 4.2.10) Speaking of a new marriage for Henry VIII, Wolsey betrays aversion through this kind of repetition. It shall be to the ...
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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