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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... 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.
... 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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... Love's Labour's Lost, when Holofernes quotes the opening lines of the eclogues of Mantuan, his words would have awakened reminiscences of school days in Shakespeare's contemporaries. Fauste, precor, gelida, quando pecus omne sub umbra ...
... Love's Labour's Lost, when Holofernes quotes the opening lines of the eclogues of Mantuan, his words would have awakened reminiscences of school days in Shakespeare's contemporaries. Fauste, precor, gelida, quando pecus omne sub umbra ...
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... Love's Labour's Lost (The Arden Shakespeare), and W. L. Rushton, in Shakespeare and 'The Arte of English Poesie' cite details indicating that Shakespeare was well acquainted with Puttenham's work. That he was familiar with Peacham's ...
... Love's Labour's Lost (The Arden Shakespeare), and W. L. Rushton, in Shakespeare and 'The Arte of English Poesie' cite details indicating that Shakespeare was well acquainted with Puttenham's work. That he was familiar with Peacham's ...
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... Love's Labour's Lost Berowne promises henceforth to woo in simple language, and forswears Taffeta phrases, silken terms precise, Threepil'd hyperboles, spruce affectation, Figures pedantical— (5.2.406) And Berowne's exclamation, Fie ...
... Love's Labour's Lost Berowne promises henceforth to woo in simple language, and forswears Taffeta phrases, silken terms precise, Threepil'd hyperboles, spruce affectation, Figures pedantical— (5.2.406) And Berowne's exclamation, Fie ...
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... Love's Labour's Lost, parodies a number of figures, including this scheme proparalepsis, by adding the syllable el. The preyful princess pierc'd and prick'd a pretty pleasing pricket; Some say a sore; but not a sore till now made sore ...
... Love's Labour's Lost, parodies a number of figures, including this scheme proparalepsis, by adding the syllable el. The preyful princess pierc'd and prick'd a pretty pleasing pricket; Some say a sore; but not a sore till now made sore ...
Contenido
The Topics of Invention | |
Argumentation | |
Pathos and Ethos | |
Part Three The General Theory of Composition and Reading | |
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Términos y frases comunes
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