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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... present, in the flyting between Valentine and Thurio for the love of Silvia (II, iv), and in that between Proteus and Thurio for Julia (V, ii). Here prose is needed because of the lower tone of these scenes, and already it is associated ...
... present, in the flyting between Valentine and Thurio for the love of Silvia (II, iv), and in that between Proteus and Thurio for Julia (V, ii). Here prose is needed because of the lower tone of these scenes, and already it is associated ...
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... present in his mind at each moment that he wrote, and also his controlling artistic intentions. As far as concerns the imagery of Shakespeare's prose, little of value seems to have been written. The pioneer study of Miss Spurgeon ...
... present in his mind at each moment that he wrote, and also his controlling artistic intentions. As far as concerns the imagery of Shakespeare's prose, little of value seems to have been written. The pioneer study of Miss Spurgeon ...
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... present purpose is the fact that even a perfunctory analysis shows that the majority of the abusive images are used in prose, and Miss Tschopp's frequent comments on the 'ironic' or 'biting' speeches of one character against another in ...
... present purpose is the fact that even a perfunctory analysis shows that the majority of the abusive images are used in prose, and Miss Tschopp's frequent comments on the 'ironic' or 'biting' speeches of one character against another in ...
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... present; and the self-destructive comment, when a character is made to refer to himself disparagingly or (more often) when he uses an image which is patently ridiculous and which therefore lowers our estimate of him. All three ...
... present; and the self-destructive comment, when a character is made to refer to himself disparagingly or (more often) when he uses an image which is patently ridiculous and which therefore lowers our estimate of him. All three ...
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... present 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 ...
... present 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 ...
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