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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... argument) that Shakespeare's prose came to maturity before his poetry. But at 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 ...
... argument) that Shakespeare's prose came to maturity before his poetry. But at 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 ...
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... argument is, I think, unassailable – that Shakespeare had a normal grammar-school education, with all its intense training in the traditional literary arts, including logic and rhetoric. As the nature of this training is not widely ...
... argument is, I think, unassailable – that Shakespeare had a normal grammar-school education, with all its intense training in the traditional literary arts, including logic and rhetoric. As the nature of this training is not widely ...
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... arguing that it should not have been cut: I say unto thee, I bid thy master cut out the gown, but I did not bid him cut it ... argument: 'that I can deny by a circumstance' – '... but I'll prove it by another'; the comic syllogism: 'The ...
... arguing that it should not have been cut: I say unto thee, I bid thy master cut out the gown, but I did not bid him cut it ... argument: 'that I can deny by a circumstance' – '... but I'll prove it by another'; the comic syllogism: 'The ...
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... argument (that children learn best when youngest) in pairs of clauses which are in themselves perfectly clear, and in addition are organized into a movement from the simple to the complex and back, with an air of finality, to the simple ...
... argument (that children learn best when youngest) in pairs of clauses which are in themselves perfectly clear, and in addition are organized into a movement from the simple to the complex and back, with an air of finality, to the simple ...
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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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