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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... propositions and the rules of the syllogism. In reading a poem he would construe, parse, scan, describe the metrical form, point out the topics and forms of logic and the figures of rhetoric, and then write verses of his own in ...
... propositions and the rules of the syllogism. In reading a poem he would construe, parse, scan, describe the metrical form, point out the topics and forms of logic and the figures of rhetoric, and then write verses of his own in ...
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... propositions, and the syllogism. b. The Ramists.—The Ramists differed from the traditionalists in ignoring the rhetorical topics—such as the credible, the profitable, the difficult—and in considering only the logical topics. In ...
... propositions, and the syllogism. b. The Ramists.—The Ramists differed from the traditionalists in ignoring the rhetorical topics—such as the credible, the profitable, the difficult—and in considering only the logical topics. In ...
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Sister Miriam Joseph. The Ramists asserted that neither the distinction between necessary propositions and those merely contingent or probable nor that between true propositions and false demands such separate treatment according to ...
Sister Miriam Joseph. The Ramists asserted that neither the distinction between necessary propositions and those merely contingent or probable nor that between true propositions and false demands such separate treatment according to ...
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... propositions, assumptions, & other woords of art, yet doo wee secretly practise them in our disputations, the vertue whereof is, to make our discourses seeme true to the simple, and probable to the wise. (120r) Despite differences as to ...
... propositions, assumptions, & other woords of art, yet doo wee secretly practise them in our disputations, the vertue whereof is, to make our discourses seeme true to the simple, and probable to the wise. (120r) Despite differences as to ...
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... propositions of a lover. (AYLI, 3.2.245) Longaville protests to his lady: Did not the heavenly rhetoric of thine eye, 'Gainst whom the world cannot hold argument, Persuade my heart to this false perjury? (LLL, 4.3.60) Holofernes ...
... propositions of a lover. (AYLI, 3.2.245) Longaville protests to his lady: Did not the heavenly rhetoric of thine eye, 'Gainst whom the world cannot hold argument, Persuade my heart to this false perjury? (LLL, 4.3.60) Holofernes ...
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