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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... 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 and witte ...
... 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 and witte ...
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... sentences and the translation of Latin sentences into Greek. Next would follow the reading and writing of longer passages in prose and verse, with attention to constructions, topics, figures, and the changing of verse to prose and prose ...
... sentences and the translation of Latin sentences into Greek. Next would follow the reading and writing of longer passages in prose and verse, with attention to constructions, topics, figures, and the changing of verse to prose and prose ...
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... sentence. 3. Shewe the matter to be manifest. 4. Credible. 5. Possible. 6. Agreying to the truthe. 7. Shewe the facte comelie. 8. Profitable. For gnome, or sentence, “an oracion in fewe wordes, shewyng a godlie precept of life ...
... sentence. 3. Shewe the matter to be manifest. 4. Credible. 5. Possible. 6. Agreying to the truthe. 7. Shewe the facte comelie. 8. Profitable. For gnome, or sentence, “an oracion in fewe wordes, shewyng a godlie precept of life ...
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... sentences; but also the Rhetoricall pronunciation and gesture fit for every word, sentence, and affection. And so let him take in hand the exercise of all these three Artes at once in making somewhat of his owne, first by imitation ...
... sentences; but also the Rhetoricall pronunciation and gesture fit for every word, sentence, and affection. And so let him take in hand the exercise of all these three Artes at once in making somewhat of his owne, first by imitation ...
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... sentence from its proper 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 ...
... sentence from its proper 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 ...
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