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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... dealing with characters merely, but with three-dimensional persons is paralleled by the fact that he is not dealing with a setting verbally described but three-dimensionally realized, with action that actually occurs in time and space,
... dealing with characters merely, but with three-dimensional persons is paralleled by the fact that he is not dealing with a setting verbally described but three-dimensionally realized, with action that actually occurs in time and space,
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... described by other people in the same terms: Richard III as a monstrous animal. vii. forensic (i.e. manipulative) imagery: by which a character uses particular types of images to influence some other person (Iago to Roderigo, or to ...
... described by other people in the same terms: Richard III as a monstrous animal. vii. forensic (i.e. manipulative) imagery: by which a character uses particular types of images to influence some other person (Iago to Roderigo, or to ...
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... described, and also that of the speaker – the first two for professional mockers, for example, the last for clowns. In the prose of the earliest plays we find mainly the first type of imagery, the direct destructive comment, which is ...
... described, and also that of the speaker – the first two for professional mockers, for example, the last for clowns. In the prose of the earliest plays we find mainly the first type of imagery, the direct destructive comment, which is ...
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... described in another ludicrous catalogue like that of the Dromio (III, i). A newer and more intelligent theatrical way of achieving the corrective juxtaposition of Romance and realism is by paralleling scenes, as in the splendid comic ...
... described in another ludicrous catalogue like that of the Dromio (III, i). A newer and more intelligent theatrical way of achieving the corrective juxtaposition of Romance and realism is by paralleling scenes, as in the splendid comic ...
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... described with ludicrous comparisons). Speed is the first consistent mocker, for all his images are used to make someone look ridiculous: to Proteus of Julia: 'Give her no token but stones, for she's as hard as steel' (I, i, 132); to ...
... described with ludicrous comparisons). Speed is the first consistent mocker, for all his images are used to make someone look ridiculous: to Proteus of Julia: 'Give her no token but stones, for she's as hard as steel' (I, i, 132); to ...
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