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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... unto Arte Experience: experience is more profitable voide of arte then arte which hath not experience. Of itselfe arte is unprofitable without experience, and experience rashe withoute arte. Art, as Richard Rainolde explained ...
... unto Arte Experience: experience is more profitable voide of arte then arte which hath not experience. Of itselfe arte is unprofitable without experience, and experience rashe withoute arte. Art, as Richard Rainolde explained ...
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... unto the Logician, who talketh of thinges universally, without respect of person, time, or place. And yet notwithstanding, Tullie doth say, that whosoever will talke of particular matter must remember, that within the same also is ...
... unto the Logician, who talketh of thinges universally, without respect of person, time, or place. And yet notwithstanding, Tullie doth say, that whosoever will talke of particular matter must remember, that within the same also is ...
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... Latin]: lastelie, the measure and compas of everie sentence, must nedes, by litle and litle drawe unto it the like shape of eloquence, as the author doth use, which is red. As to the number of topics, Brinsley had his pupils.
... Latin]: lastelie, the measure and compas of everie sentence, must nedes, by litle and litle drawe unto it the like shape of eloquence, as the author doth use, which is red. As to the number of topics, Brinsley had his pupils.
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... unto Philosophicall exercises. Neyther let any man thinke, that because in common meetings and assemblies the woordes and tearmes of Logike bee not named, therefore the force and operation of Logike is not there used and apparent. For ...
... unto Philosophicall exercises. Neyther let any man thinke, that because in common meetings and assemblies the woordes and tearmes of Logike bee not named, therefore the force and operation of Logike is not there used and apparent. For ...
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... Unto our climature and countrymen (Ham., 1.1.124) The following epitaph on the death of a deer, which Holofernes composed extemporaneously in Love's Labour's Lost, parodies a number of figures, including this scheme proparalepsis, by ...
... Unto our climature and countrymen (Ham., 1.1.124) The following epitaph on the death of a deer, which Holofernes composed extemporaneously in Love's Labour's Lost, parodies a number of figures, including this scheme proparalepsis, by ...
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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