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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... matter as do the logic and rhetoric texts combined; third, that these two forms, though outwardly different, are fundamentally alike; fourth, that the theory in its entire scope, whether in the one form or in the other, is, with two or ...
... matter as do the logic and rhetoric texts combined; third, that these two forms, though outwardly different, are fundamentally alike; fourth, that the theory in its entire scope, whether in the one form or in the other, is, with two or ...
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... matter or sentence: in the other to grounde profunde and subtill argument, to fortifie & make stronge our assercion or sentence, to prove and defende, by the force and power of arte, thinges passyng the compasse & reach of our capacitee ...
... matter or sentence: in the other to grounde profunde and subtill argument, to fortifie & make stronge our assercion or sentence, to prove and defende, by the force and power of arte, thinges passyng the compasse & reach of our capacitee ...
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... matter, by employing the topics of logic. In Modus conscribendi epistolas Erasmus applied these principles to letter writing. The boy would next observe these precepts exemplified in the classical authors and finally apply them to the ...
... matter, by employing the topics of logic. In Modus conscribendi epistolas Erasmus applied these principles to letter writing. The boy would next observe these precepts exemplified in the classical authors and finally apply them to the ...
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... matter valuable for writing such themes was furnished in the collections of Erasmus, Adagia, Afofhthegmata, and Parabolae and in Pliny's De historia naturali. The histories of Livy, Sallust, Caesar, Justin, Valerius Maximus, and Lucius ...
... matter valuable for writing such themes was furnished in the collections of Erasmus, Adagia, Afofhthegmata, and Parabolae and in Pliny's De historia naturali. The histories of Livy, Sallust, Caesar, Justin, Valerius Maximus, and Lucius ...
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... matter of intense interest to the readers for whom the books were designed. The Latin works were school texts, but ... matters of vital interest among men of their own time: to the understanding of the ancient classics and of the new ...
... matter of intense interest to the readers for whom the books were designed. The Latin works were school texts, but ... matters of vital interest among men of their own time: to the understanding of the ancient classics and of the new ...
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