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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... true whether or not Shakspere ever went to school a day. Manifesdy, the sensible thing to do is to permit him to complete Stratford grammar school, as there is every reason to believe that he did. Particularly interesting is Baldwin's ...
... true whether or not Shakspere ever went to school a day. Manifesdy, the sensible thing to do is to permit him to complete Stratford grammar school, as there is every reason to believe that he did. Particularly interesting is Baldwin's ...
Ñòîð³íêà
... true and primary, its instrument the demonstrative syllogism, its result knowledge through formal causes, that is, true and universal knowledge; dialectic, treated in the Topics, its matter probable premises discussed in the spirit of ...
... true and primary, its instrument the demonstrative syllogism, its result knowledge through formal causes, that is, true and universal knowledge; dialectic, treated in the Topics, its matter probable premises discussed in the spirit of ...
Ñòîð³íêà
... true propositions and false demands such separate treatment according to subject matter as Aristotle had given in his Analytics, his Topes and Rhetoric, and his De sophisticiselenchis.Fraunce reasons thus: Because of these two kinds of ...
... true propositions and false demands such separate treatment according to subject matter as Aristotle had given in his Analytics, his Topes and Rhetoric, and his De sophisticiselenchis.Fraunce reasons thus: Because of these two kinds of ...
Ñòîð³íêà
... true use of Logike is as well apparant in simple playne and easie explication, as in subtile, strict, and concised probation. Reade Homer, reade Demosthenes, reade Virgill, read Cicero, reade Bartas, reade Torquato Tasso,reade that most ...
... true use of Logike is as well apparant in simple playne and easie explication, as in subtile, strict, and concised probation. Reade Homer, reade Demosthenes, reade Virgill, read Cicero, reade Bartas, reade Torquato Tasso,reade that most ...
Ñòîð³íêà
... 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.
... 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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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