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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... meaning that Shakespeare had the regular grammar school education of the time. In the university the same authors were studied on a higher level, and others, including Aristotle, were added. Using sixteenthcentury editions of annotated ...
... meaning that Shakespeare had the regular grammar school education of the time. In the university the same authors were studied on a higher level, and others, including Aristotle, were added. Using sixteenthcentury editions of annotated ...
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... meaning of what one reads or hears is analysis. For the Ramists the functions of rhetoric are but two: to beautify composition and make it emotionally effective by means of a comparatively few figures of speech and to contribute the ...
... meaning of what one reads or hears is analysis. For the Ramists the functions of rhetoric are but two: to beautify composition and make it emotionally effective by means of a comparatively few figures of speech and to contribute the ...
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... meaning to another not proper, but yet near it in order to increase its force. Grammatical schemes were subdivided into orthographical and syntactical schemes; rhetorical schemes, into figures of words and figures of sentence or thought ...
... meaning to another not proper, but yet near it in order to increase its force. Grammatical schemes were subdivided into orthographical and syntactical schemes; rhetorical schemes, into figures of words and figures of sentence or thought ...
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... meaning from its relation to the other parts and to the whole. The essential general theory of composition and of reading current in Shakespeare's England, as expressed in the definitions, illustrations, and comments of the Tudor ...
... meaning from its relation to the other parts and to the whole. The essential general theory of composition and of reading current in Shakespeare's England, as expressed in the definitions, illustrations, and comments of the Tudor ...
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... meaning if one perceives in it not only the obvious travesty of excessive alliteration but also the caricature of proparalepsis. Love's Labour's Lost has been aptly called “that playground of the new language.” The schemes of ...
... meaning if one perceives in it not only the obvious travesty of excessive alliteration but also the caricature of proparalepsis. Love's Labour's Lost has been aptly called “that playground of the new language.” The schemes of ...
Contenido
The Topics of Invention | |
Argumentation | |
Pathos and Ethos | |
Part Three The General Theory of Composition and Reading | |
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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