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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... human motives and feelings, and the confrontation of varying emotional states: all these elements of a play go beyond its language. But nevertheless (and it is the constant paradox of a literary work) these larger elements are only ...
... human motives and feelings, and the confrontation of varying emotional states: all these elements of a play go beyond its language. But nevertheless (and it is the constant paradox of a literary work) these larger elements are only ...
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... human voices for the human ear. 3 It follows that the critic must consider the physical representation of the drama – such things as visual imagery, significant groupings or stage-movement – and that the student of Shakespeare's style ...
... human voices for the human ear. 3 It follows that the critic must consider the physical representation of the drama – such things as visual imagery, significant groupings or stage-movement – and that the student of Shakespeare's style ...
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... human reason, such as drunks (the porter in Macbeth, characters in the drinking-scenes in Henry IV, Antony and Cleopatra, and Othello), and lastly madmen, the use of prose showing both the feigned madness of Hamlet and the real madness ...
... human reason, such as drunks (the porter in Macbeth, characters in the drinking-scenes in Henry IV, Antony and Cleopatra, and Othello), and lastly madmen, the use of prose showing both the feigned madness of Hamlet and the real madness ...
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... humanity in the prose, and we love many of the essentially prose characters, but it cannot be denied that the vision and emotions of such people (and also their temporal power) is limited by prose: in this medium we find no heroes, no ...
... humanity in the prose, and we love many of the essentially prose characters, but it cannot be denied that the vision and emotions of such people (and also their temporal power) is limited by prose: in this medium we find no heroes, no ...
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... human interest and emotional scope, it is not surprising to find that the images in Shakespeare's prose are largely of a negative nature: they are used to attack and deflate characters, attitudes or ideas, and although this deflating ...
... human interest and emotional scope, it is not surprising to find that the images in Shakespeare's prose are largely of a negative nature: they are used to attack and deflate characters, attitudes or ideas, and although this deflating ...
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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