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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... once we must make an important qualification, for the prose does not go into a decline in quality as it does in quantity in the period of the great tragedies; it is now applied with increasing skill to the whole design of the play, and ...
... once we must make an important qualification, for the prose does not go into a decline in quality as it does in quantity in the period of the great tragedies; it is now applied with increasing skill to the whole design of the play, and ...
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... once. Another inconsistency comes in the following scene between master and servant (both of Syracuse, this time) which begins in verse and continues thus for nearly forty lines before suddenly descending to prose. At this point in the ...
... once. Another inconsistency comes in the following scene between master and servant (both of Syracuse, this time) which begins in verse and continues thus for nearly forty lines before suddenly descending to prose. At this point in the ...
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... 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 first ...
... 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 first ...
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... the old Sly that we used to know: Well, bring our lady hither to our sight, And once again a pot o'th'smallest ale. – and on being told that he's slept fifteen years, These fifteen years! By my fay, a goodly nap. The.
... the old Sly that we used to know: Well, bring our lady hither to our sight, And once again a pot o'th'smallest ale. – and on being told that he's slept fifteen years, These fifteen years! By my fay, a goodly nap. The.
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... once how many factors are to be taken into account: with any one image at any point in the play we must consider the meaning of the play as a whole (in so far as we think we have been shown its meaning), the dominant situations in ...
... once how many factors are to be taken into account: with any one image at any point in the play we must consider the meaning of the play as a whole (in so far as we think we have been shown its meaning), the dominant situations in ...
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