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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... thought to the logical topics of invention and emphasized the importance of both logic and rhetoric in developing the “wit” deemed necessary for the composition of all forms of Renaissance literature. Rosemond Tuve, in “Imagery and ...
... thought to the logical topics of invention and emphasized the importance of both logic and rhetoric in developing the “wit” deemed necessary for the composition of all forms of Renaissance literature. Rosemond Tuve, in “Imagery and ...
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... thought and in methods of developing a thought results in a corresponding difference in expression principally because the Renaissance theory of composition, derived from an ancient tradition, was permeated with formal logic and ...
... thought and in methods of developing a thought results in a corresponding difference in expression principally because the Renaissance theory of composition, derived from an ancient tradition, was permeated with formal logic and ...
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... thought, rather than action determines the course of events, logic, rhetoric, and poetic are fused, functioning simultaneously, as in Plato's dialogues, which Aristotle regarded as poems. In his works on logic Aristotle distinguishes ...
... thought, rather than action determines the course of events, logic, rhetoric, and poetic are fused, functioning simultaneously, as in Plato's dialogues, which Aristotle regarded as poems. In his works on logic Aristotle distinguishes ...
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... thought or expression, from the ordinary and simple method of speaking, as our bodies assume different postures when ... thought. The rhetorical figures of words were figures of repetition. Some authors gave the name figures of ...
... thought or expression, from the ordinary and simple method of speaking, as our bodies assume different postures when ... thought. The rhetorical figures of words were figures of repetition. Some authors gave the name figures of ...
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... thought, which he considered preeminent, declared the poet to be the most ancient orator (p. 196). Peacham emphasized the value of the figures as means of persuasion, considering the knowledge of them so necessary, that no man can reade ...
... thought, which he considered preeminent, declared the poet to be the most ancient orator (p. 196). Peacham emphasized the value of the figures as means of persuasion, considering the knowledge of them so necessary, that no man can reade ...
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