The Artistry of Shakespeare's ProseRoutledge, 13/09/2013 - 464 páginas 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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... course much of his particular greatness is not to be limited to purely linguistic effects, and we have to neglect the detail of his language to consider such things as the whole meaningful development of an action, the adaptation of ...
... course much of his particular greatness is not to be limited to purely linguistic effects, and we have to neglect the detail of his language to consider such things as the whole meaningful development of an action, the adaptation of ...
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... course both are also given verse) is to think of others whose very existence depends on prose: Bottom, Shylock, Falstaff, Shallow, Mistress Quickly, Beatrice and Benedick, Dogberry and Verges, Rosalind and Touchstone, Sir Toby Belch ...
... course both are also given verse) is to think of others whose very existence depends on prose: Bottom, Shylock, Falstaff, Shallow, Mistress Quickly, Beatrice and Benedick, Dogberry and Verges, Rosalind and Touchstone, Sir Toby Belch ...
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... course, but it does suggest that in both cases we are dealing with an alternation of media according to certain definite artistic conventions (and in both arts the changes have emotional connotations). The distinction must have been ...
... course, but it does suggest that in both cases we are dealing with an alternation of media according to certain definite artistic conventions (and in both arts the changes have emotional connotations). The distinction must have been ...
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... course the defence there is slightly loaded ('conscious artifice', 'systematically'), but I for one do not find it abhorrent to think of Shakespeare obeying his creative imagination while still working within a plan: masterpieces like ...
... course the defence there is slightly loaded ('conscious artifice', 'systematically'), but I for one do not find it abhorrent to think of Shakespeare obeying his creative imagination while still working within a plan: masterpieces like ...
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... course making a serious comment on human attitudes to conscience, and yet one which would be quite hilarious outside its present context. For this oddly deflating use of imagery prose is the natural medium, as it has been for all the ...
... course making a serious comment on human attitudes to conscience, and yet one which would be quite hilarious outside its present context. For this oddly deflating use of imagery prose is the natural medium, as it has been for all the ...
Índice
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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Palavras e frases frequentes
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