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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... Thy Art, My gentle Shakespeare, must enjoy a part. For though the Poets matter, Nature be, His Art 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 ...
... Thy Art, My gentle Shakespeare, must enjoy a part. For though the Poets matter, Nature be, His Art 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 ...
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... thou art not well. Sweet, sweet, sweet nurse, tell me, what says my love? Nurse. Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous—Where is your mother? (2.5.4759) It is ...
... thou art not well. Sweet, sweet, sweet nurse, tell me, what says my love? Nurse. Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous—Where is your mother? (2.5.4759) It is ...
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... thy further fear, Nay, to thy mere confusion, thou shalt know I am son to th'Queen. . . . Art not afeard? . . . Die the death! When I have slain thee with my proper hand, I'll follow those that even now fled hence And on the gates of ...
... thy further fear, Nay, to thy mere confusion, thou shalt know I am son to th'Queen. . . . Art not afeard? . . . Die the death! When I have slain thee with my proper hand, I'll follow those that even now fled hence And on the gates of ...
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... thou reportest him to be. (TGV, 2.5.42) This vice is especially amusing when a word of one language is understood ... Art thou a gentleman? What is thy name? Discuss. French. O Seigneur Dieu! Pistol. O Signieur Dew should be a gentleman ...
... thou reportest him to be. (TGV, 2.5.42) This vice is especially amusing when a word of one language is understood ... Art thou a gentleman? What is thy name? Discuss. French. O Seigneur Dieu! Pistol. O Signieur Dew should be a gentleman ...
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... thou not suspect my place? Dost thou not suspect my years? (76) By this time our sexton hath reformed Signior Leonato of the matter. (5.1.261) The clue to the peculiar humor in Dogberry ... thou villain, thou art full of piety, as shall.
... thou not suspect my place? Dost thou not suspect my years? (76) By this time our sexton hath reformed Signior Leonato of the matter. (5.1.261) The clue to the peculiar humor in Dogberry ... thou villain, thou art full of piety, as shall.
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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