The Artistry of Shakespeare's ProseRoutledge, 13.09.2013 - 464 Seiten 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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... in later tragedies, is characteristic, for in the brief scenes in which he appears (IV, iii, 80–120, IV, iv, 4–50), the Roman nobility are made to speak prose in some but not all of their speeches to him (this inconsistency within a.
... in later tragedies, is characteristic, for in the brief scenes in which he appears (IV, iii, 80–120, IV, iv, 4–50), the Roman nobility are made to speak prose in some but not all of their speeches to him (this inconsistency within a.
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... appears and the ceremonies begin, the emotional level rises with the ominous verse: Patience, good lady, wizards know their times. Deep night, dark night, the silence of the night, The time of night when Troy was set on fire, The time ...
... appears and the ceremonies begin, the emotional level rises with the ominous verse: Patience, good lady, wizards know their times. Deep night, dark night, the silence of the night, The time of night when Troy was set on fire, The time ...
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... appears as the speech belonging to the great dimension and intensity, of high worth. (pp. 116–17; my translation) That series of antitheses sums up Shakespeare's view of prose quite accurately (I can think of few cases where prose is ...
... appears as the speech belonging to the great dimension and intensity, of high worth. (pp. 116–17; my translation) That series of antitheses sums up Shakespeare's view of prose quite accurately (I can think of few cases where prose is ...
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... appear only once, in the pun on the destruction to be wreaked by the rebels and especially by 'Smith the weaver': 'Argo, their thread of life is spun' (IV, ii, 29) – the pun also includes, as T. R. Henn has pointed out, an echo of the ...
... appear only once, in the pun on the destruction to be wreaked by the rebels and especially by 'Smith the weaver': 'Argo, their thread of life is spun' (IV, ii, 29) – the pun also includes, as T. R. Henn has pointed out, an echo of the ...
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... appear to men like angels of light: light is an effect of fire, and fire will burn; ergo, light wenches will burn. (IV, iii, 51–8) It is significant that Shakespeare only uses 'ergo', and its malapropist variants 'argo' and 'argal' in ...
... appear to men like angels of light: light is an effect of fire, and fire will burn; ergo, light wenches will burn. (IV, iii, 51–8) It is significant that Shakespeare only uses 'ergo', and its malapropist variants 'argo' and 'argal' in ...
Inhalt
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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