Shakespeare's Use of the Arts of LanguageRavenio Books, 2016 M04 23 The contribution of the present work is to present in organized detail essentially complete the general theory of composition current during the Renaissance (as contrasted with special theories for particular forms of composition) and the illustration of Shakespeare’s use of it. It is organized as follows: Part One: Introduction I. The General Theory of Composition and of Reading in Shakespeare’s England 1. The Concept of Art in Renaissance England 2. Training in the Arts in Renaissance England 3. The English Works on Logic and Rhetoric 4. The Tradition 5. Invention and Disposition Part Two. Shakespeare’s Use of the Theory II. Shakespeare’s Use of the Schemes of Grammar, Vices of Language, and Figures of Repetition 1. The Schemes of Grammar 2. The Vices of Language 3. The Figures of Repetition III. Logos: The Topics of Invention 1. Inartificial Arguments or Testimony 2. Definition 3. Division: Genus and Species, Whole and Parts 4. Subject and Adjuncts 5. Contraries and Contradictories 6. Similarity and Dissimilarity 7. Comparison: Greater, Equal, Less 8. Cause and Effect, Antecedent and Consequent 9. Notation and Conjugates IV. Logos: Argumentation 1. Syllogistic Reasoning 2. Fallacious Reasoning 3. Disputation V. Pathos and Ethos 1. Pathos 2. Ethos Part Three. The General Theory of Composition and Reading as Defined and Illustrated by Tudor Logicians and Rhetoricians VI. Schemes of Grammar, Vices of Language, and Figures of Repetition 1. The Schemes of Grammar 2. Vices of Language VII. Logos: The Topics of Invention 1. Inartificial Arguments or Testimony 2. Definition 3. Division: Genus and Species, Whole and Parts 4. Subject and Adjuncts 5. Contraries and Contradictories 6. Similarity and Dissimilarity 7. Comparison: Greater, Equal, Less 8. Cause and Effect, Antecedent and Consequent 9. Notation and Conjugates 10. Genesis or Composition 11. Analysis or Reading VIII. Logos: Argumentation 1. Syllogistic Reasoning 2. Fallacious Reasoning 3. Disputation IX. Pathos and Ethos 1. Pathos 2. Ethos |
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... Eighth The Tragedy of Julius Caesar The Life and Death of King John The Tragedy of King Lear Love's Labour's Lost Much Ado about Nothing The Tragedy of Macbeth Measure for Measure MND A Midsummer Night's Dream MV The Merchant of Venice.
... Eighth The Tragedy of Julius Caesar The Life and Death of King John The Tragedy of King Lear Love's Labour's Lost Much Ado about Nothing The Tragedy of Macbeth Measure for Measure MND A Midsummer Night's Dream MV The Merchant of Venice.
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... Caesar, Justin, Valerius Maximus, and Lucius Florus provided further matter. From the Rhetorica ad C. Herennium and Quintilian's Institutio oratoria the student received instruction in reading and writing orations and thereby reached ...
... Caesar, Justin, Valerius Maximus, and Lucius Florus provided further matter. From the Rhetorica ad C. Herennium and Quintilian's Institutio oratoria the student received instruction in reading and writing orations and thereby reached ...
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... Caesars Commentaries, Virgils Aeneis, Ovids Metamorphosis, and Horace. In whom for his first exercise of unfolding the Arte, he shall observe the examples of the hardest poynts in Grammar, of the arguments in Logike, of the tropes and ...
... Caesars Commentaries, Virgils Aeneis, Ovids Metamorphosis, and Horace. In whom for his first exercise of unfolding the Arte, he shall observe the examples of the hardest poynts in Grammar, of the arguments in Logike, of the tropes and ...
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... Caesar's mantle before the crowd, showing them the rent through which the wellbeloved Brutus stabbed. This was the most unkindest cut of all. (JC, 3.2.188) Hypallage of this kind confers vitality and compression. Alas, what ignorant sin ...
... Caesar's mantle before the crowd, showing them the rent through which the wellbeloved Brutus stabbed. This was the most unkindest cut of all. (JC, 3.2.188) Hypallage of this kind confers vitality and compression. Alas, what ignorant sin ...
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... Caesar, Who at Philippi the good Brutus ghosted (A & C, 2.6.12) Had our great palace the capacity To camp this host (A & C, 4.8.32) Wouldst thou be window'd in great Rome and see Thy master . . . bending down His corrigible neck (A & C ...
... Caesar, Who at Philippi the good Brutus ghosted (A & C, 2.6.12) Had our great palace the capacity To camp this host (A & C, 4.8.32) Wouldst thou be window'd in great Rome and see Thy master . . . bending down His corrigible neck (A & C ...
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adjuncts adversary answer antanaclasis Antony Apemantus argument Aristotle audience AYLI Blundeville Brutus Caesar called cause character Cicero Clown composition conclusion contrary Coriolanus Cymbeline death declares Desdemona disputation doth effect Elizabethan enallage enthymeme Ergo ethos evil example eyther fallacy false Falstaff father fear figures of repetition figurists fool forme of speech Fraunce give grammar Hamlet hast hath hearers heart heaven honest honour hypallage hypothetical syllogism Iago Ibid kind King Henry language Latin Lear logic and rhetoric logicians Logike logos Lord Love’s Labour’s Lost Macbeth major premise material fallacies matter meaning metonymy mind Orator Othello pathos Peacham premise Prince proposition Puttenham question Ramists reason Renaissance rhetoricians Rhetorike Richard Richard II schemes sentence Shakespeare Sherry speak speaker syllepsis syllogism Syllogisme tell thee thing thou art thought Timon Troilus true Tudor unto verse Wilson words wrong