The Artistry of Shakespeare's ProseRoutledge, 2013. szept. 13. - 464 oldal 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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22. oldal
... mockery to brutal cynicism, and is applied differently in each play, we seldom if ever find prose images which ennoble their object or their subject, or present it in any positive or admirable way. Essentially their function derives ...
... mockery to brutal cynicism, and is applied differently in each play, we seldom if ever find prose images which ennoble their object or their subject, or present it in any positive or admirable way. Essentially their function derives ...
23. oldal
... mocking Romance. Thus the only prose-imagery of any significance in The Comedy of Errors comes in the scene which parallels the love-interest aroused by the mistaken identities of the upper plot: now one of the Dromios is mistaken, and ...
... mocking Romance. Thus the only prose-imagery of any significance in The Comedy of Errors comes in the scene which parallels the love-interest aroused by the mistaken identities of the upper plot: now one of the Dromios is mistaken, and ...
26. oldal
... mocked in prose asides by his own men (2 Henry VI, IV, ii and IV, vii), who are first used to show how in the riot which is being raised each profession will be (metaphorically and literally) applied to destruction (IV, ii, 1–33) – a ...
... mocked in prose asides by his own men (2 Henry VI, IV, ii and IV, vii), who are first used to show how in the riot which is being raised each profession will be (metaphorically and literally) applied to destruction (IV, ii, 1–33) – a ...
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Tartalomjegyzék
1 | |
19 | |
3 From Clown to Character | 52 |
4 The World of Falstaff | 89 |
5 Gay Comedy | 171 |
6 Two Tragic Heroes | 240 |
7 Serious Comedy | 272 |
Clowns Villains Madmen | 331 |
9 The Return of Comedy | 405 |
Conclusion | 429 |
Notes | 432 |
Index | 449 |
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abuse action anaphora antimetabole Apemantus applied argument Armado attitude Autolycus bawdy Beatrice begins Benedick Bertram Cassio character Claudio clauses clown comedy comic contrast Coriolanus Cressida deflating detail device disguise Dogberry dramatic Duke effect Elizabethan emotional epistrophe equivocation Euphuism Falstaff figure final fool give given Gobbo grotesque Hal's Hamlet hath humour Iago Iago's imagery images ironic King lady Lafeu language Launce Lear logic lord Love's Labour's Lost Lucio ludicrous madness malapropism Malvolio meaning metaphor Mistress mock mockery mood nature Olivia Othello Pandarus parallel Parolles pattern piece play plot Polonius Pompey Prince puns repartee repetition rhetorical structure Roderigo Romance Rosalind scene seems seen serious servant Shake Shakespeare Shylock significant situation soliloquy speak specious speech stage style stylistic syllogism symmetries syntax thee Thersites thou Timon Toby Touchstone tragedy trap Troilus Troilus and Cressida Twelfth Night verse whole witty words