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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... comparisons of it. (H5, 4.7.46) They were but sweet, but figures of delight (Son. 98) What's in the brain that ink may character Which hath not figur'd to thee my true spirit? (Son. 108) Nay, you need not to stop your nose, sir. I.
... comparisons of it. (H5, 4.7.46) They were but sweet, but figures of delight (Son. 98) What's in the brain that ink may character Which hath not figur'd to thee my true spirit? (Son. 108) Nay, you need not to stop your nose, sir. I.
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... thee it is abus'd. The language of logic, too, comes easily to Shakespeare's men and women. Celia tells Rosalind: It is as easy to count atomies as to resolve the propositions of a lover. (AYLI, 3.2.245) Longaville protests to his lady ...
... thee it is abus'd. The language of logic, too, comes easily to Shakespeare's men and women. Celia tells Rosalind: It is as easy to count atomies as to resolve the propositions of a lover. (AYLI, 3.2.245) Longaville protests to his lady ...
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... thee round! (Oth., 2.1.87) Old fond eyes, Beweep this cause again (Lear, 1.4.323) Nor, by my will, assubjugate his merit (T & C, 2.3.202) The addition of a syllable or letter in the middle of a word was called epenthesis, as meeterly ...
... thee round! (Oth., 2.1.87) Old fond eyes, Beweep this cause again (Lear, 1.4.323) Nor, by my will, assubjugate his merit (T & C, 2.3.202) The addition of a syllable or letter in the middle of a word was called epenthesis, as meeterly ...
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... thee (R2, 5.3.34) that man—how dearly ever parted (T & C, 3.3.96) Hysteron proteron puts first that which occurs later. Shakespeare achieves a breathless effect by the striking use of this figure when Enobarbus reports the sudden ...
... thee (R2, 5.3.34) that man—how dearly ever parted (T & C, 3.3.96) Hysteron proteron puts first that which occurs later. Shakespeare achieves a breathless effect by the striking use of this figure when Enobarbus reports the sudden ...
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... thee (R.2, 3.2.16) I heard myself proclaim'd, And by the happy hollow of a tree Escap'd the hunt (Lear, 2.3.1) Or have we eaten on the insane root That takes the reason prisoner? (Mac., 1.3.84) Among the forms of hyperbaton, the generic ...
... thee (R.2, 3.2.16) I heard myself proclaim'd, And by the happy hollow of a tree Escap'd the hunt (Lear, 2.3.1) Or have we eaten on the insane root That takes the reason prisoner? (Mac., 1.3.84) Among the forms of hyperbaton, the generic ...
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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