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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... thou have music? Hark, Apollo plays, And twenty caged nightingales do sing. – verse which is replete with Marlovian classical myth as a further temptation – the metamorphosis is suddenly made and Sly, now responsive to this sensuous ...
... thou have music? Hark, Apollo plays, And twenty caged nightingales do sing. – verse which is replete with Marlovian classical myth as a further temptation – the metamorphosis is suddenly made and Sly, now responsive to this sensuous ...
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... thou say, thou serge, nay thou buckram lord, now art thou within point-blank of our jurisdiction regal' (this portentous inversion of noun and adjective is just the trick of a greater braggart, Pistol) – 'Be it known unto thee by these ...
... thou say, thou serge, nay thou buckram lord, now art thou within point-blank of our jurisdiction regal' (this portentous inversion of noun and adjective is just the trick of a greater braggart, Pistol) – 'Be it known unto thee by these ...
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... thou art heir apparent' (1 Henry IV, I, ii). syllepsis: use of word having simultaneously two different meanings, but not repeated, (e.g. Falstaff (to Pistol): 'At a word, hang no more about me. I am no gibbet for you' (Merry Wives of ...
... thou art heir apparent' (1 Henry IV, I, ii). syllepsis: use of word having simultaneously two different meanings, but not repeated, (e.g. Falstaff (to Pistol): 'At a word, hang no more about me. I am no gibbet for you' (Merry Wives of ...
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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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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