The Artistry of Shakespeare's ProseRoutledge, 13 вер. 2013 р. - 464 стор. First published in 1968. This re-issues the revised edition of 1979. The Artistry of Shakespeare's Prose is the first detailed study of the use of prose in the plays. It begins by defining the different dramatic and emotional functions which Shakespeare gave to prose and verse, and proceeds to analyse the recurrent stylistic devices used in his prose. The general and particular application of prose is then studied through all the plays, in roughly chronological order. |
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... Better once than never, for never too late. [Exeunt. That is the first piece of tenderness in the play, and her answer completing the couplet rhyme is in its way as appropriate a symbol of their union as is the sonnet which contains the ...
... Better once than never, for never too late. [Exeunt. That is the first piece of tenderness in the play, and her answer completing the couplet rhyme is in its way as appropriate a symbol of their union as is the sonnet which contains the ...
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... better) from a distracting interest in imagery as a key to Shakespeare's own personality and taste, and also from the method of analysing images in terms of their content (from the open air, 6 say, or sports and games); but despite ...
... better) from a distracting interest in imagery as a key to Shakespeare's own personality and taste, and also from the method of analysing images in terms of their content (from the open air, 6 say, or sports and games); but despite ...
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... better related to the play. The other clown Launce is the bumbler, with a revealing malapropism ('the Prodigious Son', II, iii, 3), but in fact he is the type that looks stupid but is actually very witty, as we see in the two scenes ...
... better related to the play. The other clown Launce is the bumbler, with a revealing malapropism ('the Prodigious Son', II, iii, 3), but in fact he is the type that looks stupid but is actually very witty, as we see in the two scenes ...
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... better than Shakespeare, for no writer in this period (or any other?) uses the whole resources of rhetoric so naturally as he does. The most frequently used of these schemata verborum are all based on parallelism, either of sense ...
... better than Shakespeare, for no writer in this period (or any other?) uses the whole resources of rhetoric so naturally as he does. The most frequently used of these schemata verborum are all based on parallelism, either of sense ...
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... better poise by those symmetrical figures, and the real significance is that Shakespeare here in his own person – as before and after through the mouths of hundreds of imagined characters – writes prose which belongs to a widespread and ...
... better poise by those symmetrical figures, and the real significance is that Shakespeare here in his own person – as before and after through the mouths of hundreds of imagined characters – writes prose which belongs to a widespread and ...
Зміст
From Clown to Character | |
The World of Falstaff | |
Gay Comedy | |
Two Tragic Heroes | |
Serious Comedy | |
Clowns Villians Madmen | |
The Return of Comedy | |
Conclusion | |
Notes | |
Index | |
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abuse action answer appears applied argument attitude becomes begins better character clown comedy comes comic complete continues contrast Coriolanus course created critics death deflating described detail device direct effect Elizabethan equivocation expressed eyes Falstaff feeling figure final follows fool force further give given goes Hamlet hand hath human humour Iago imagery images important ironic King language later lines logic look lord master meaning mock nature never normal once Pandarus parallel Parolles pattern perhaps person piece play plot present produces prose reason repartee repetition rhetorical scene seems seen sense serious Shakespeare shown significant situation soliloquy speak speech stage structure style stylistic suggest symmetries tell thee thing thou Troilus true turn verse whole witty