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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... Falstaff boasts that Mistress Ford loves him. I can construe the action of her familiar style, and the hardest voice of her behaviour (to be English'd rightly) is 'I am Sir John Falstaff's.' (MWW, 1.3.50) The patrician Coriolanus is ...
... Falstaff boasts that Mistress Ford loves him. I can construe the action of her familiar style, and the hardest voice of her behaviour (to be English'd rightly) is 'I am Sir John Falstaff's.' (MWW, 1.3.50) The patrician Coriolanus is ...
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... Falstaff. Pistol! Pistol. He hears with ears. Evans. The tevil and his tarn! What phrase is this? 'He hears with ear'? Why, it is affectations. (MWW, 1.1.149) Juliet's nurse, reporting Tybalt's death, insists: I saw the wound, I saw it ...
... Falstaff. Pistol! Pistol. He hears with ears. Evans. The tevil and his tarn! What phrase is this? 'He hears with ear'? Why, it is affectations. (MWW, 1.1.149) Juliet's nurse, reporting Tybalt's death, insists: I saw the wound, I saw it ...
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... Falstaff, not characteristically as in Shallow, but occasionally for a purpose. Falstaff remarks to Prince Hal: An old lord of the Council rated me the other day in the street about you, sir, but I mark'd him not; and yet he talk'd very ...
... Falstaff, not characteristically as in Shallow, but occasionally for a purpose. Falstaff remarks to Prince Hal: An old lord of the Council rated me the other day in the street about you, sir, but I mark'd him not; and yet he talk'd very ...
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... Falstaff, a prolific and incorrigible braggart, tells Prince Hal and Poins that a hundred men attacked him and his three companions near Gadshill and robbed them of the thousand pounds they had taken. I am a rogue if I were not at ...
... Falstaff, a prolific and incorrigible braggart, tells Prince Hal and Poins that a hundred men attacked him and his three companions near Gadshill and robbed them of the thousand pounds they had taken. I am a rogue if I were not at ...
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... Falstaff. Pistol. I will retort the sum in equipage. Falstaff. I will not lend thee a penny. Pistol. Why, then, the world's mine oyster, Which I with sword will open. (MWW, 2.2.1) Pistol mingles bomphiologia, soraismus, and ...
... Falstaff. Pistol. I will retort the sum in equipage. Falstaff. I will not lend thee a penny. Pistol. Why, then, the world's mine oyster, Which I with sword will open. (MWW, 2.2.1) Pistol mingles bomphiologia, soraismus, and ...
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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