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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... deflating movement that we should further distinguish three types of mockery: the direct destructive comment on another character, either to his face or in his absence; the indirect comment, as in a mocking aside which he does not hear ...
... deflating movement that we should further distinguish three types of mockery: the direct destructive comment on another character, either to his face or in his absence; the indirect comment, as in a mocking aside which he does not hear ...
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... deflates the master's romantic aspirations. Speed does so directly (II, i), and Launce indirectly, being in love – like Proteus – but with a milkmaid, who has 'more qualities than a water-spaniel', and who is described in another ...
... deflates the master's romantic aspirations. Speed does so directly (II, i), and Launce indirectly, being in love – like Proteus – but with a milkmaid, who has 'more qualities than a water-spaniel', and who is described in another ...
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... deflating aside is consistent later in Shakespeare, as we will see, though there are some exceptions in the early plays. In addition to being deflated indirectly here Cade is mocked subjectively by the nature of the images he uses ...
... deflating aside is consistent later in Shakespeare, as we will see, though there are some exceptions in the early plays. In addition to being deflated indirectly here Cade is mocked subjectively by the nature of the images he uses ...
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... context. For this oddly deflating use of imagery prose is the natural medium, as it has been for all the comic and derisive effects so far encountered. B. Linguistic. Structure. By 'structure' I mean the recurrent use of certain words.
... context. For this oddly deflating use of imagery prose is the natural medium, as it has been for all the comic and derisive effects so far encountered. B. Linguistic. Structure. By 'structure' I mean the recurrent use of certain words.
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... deflating Romance, for the familiar symptoms on the left-hand side are thereby isolated and demolished blow by blow, while the final pun puts the clown firmly back in character. The other clown in this play, Launce, has no less than ...
... deflating Romance, for the familiar symptoms on the left-hand side are thereby isolated and demolished blow by blow, while the final pun puts the clown firmly back in character. The other clown in this play, Launce, has no less than ...
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