Shakespeare's Use of the Arts of LanguageThe 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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... heart to this false perjury? (LLL, 4.3.60) Holofernes complains of Nathaniel: He draweth out the thread of his verbosity finer than the staple of his argument. (LLL, 5.1.18) Jaques remarks of the exiled duke: He is too disputable for my ...
... heart to this false perjury? (LLL, 4.3.60) Holofernes complains of Nathaniel: He draweth out the thread of his verbosity finer than the staple of his argument. (LLL, 5.1.18) Jaques remarks of the exiled duke: He is too disputable for my ...
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... heart to report what my dream was. (MND, 4.1.215) By the use of hypallage in this instance Shakepeare achieves the tone of grotesque wonder suited to the situation without incurring the risk of mockery of the Scripture (1 Cor. 2:9) ...
... heart to report what my dream was. (MND, 4.1.215) By the use of hypallage in this instance Shakepeare achieves the tone of grotesque wonder suited to the situation without incurring the risk of mockery of the Scripture (1 Cor. 2:9) ...
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... hearts, tongues, figures, scribes, bards, poets, cannot Think, speak, cast, write, sing, number—hoo! — His love to Antony. (A & C, 3.2.16) Ariel's spiritquality and his swift and ready obedience to Prospero are enhanced by his use of ...
... hearts, tongues, figures, scribes, bards, poets, cannot Think, speak, cast, write, sing, number—hoo! — His love to Antony. (A & C, 3.2.16) Ariel's spiritquality and his swift and ready obedience to Prospero are enhanced by his use of ...
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... heart with words And fall acursing like a very drab, A scullion! Fie upon't! foh! About, my brain! Hum, I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that ...
... heart with words And fall acursing like a very drab, A scullion! Fie upon't! foh! About, my brain! Hum, I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that ...
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... hearts, and Hymen did our hands, Unite comutual in most sacred bands. (3.2.165) Bomphiologia or bombastic speech characterizes the braggart. Falstaff, a prolific and incorrigible braggart, tells Prince Hal and Poins that a hundred men ...
... hearts, and Hymen did our hands, Unite comutual in most sacred bands. (3.2.165) Bomphiologia or bombastic speech characterizes the braggart. Falstaff, a prolific and incorrigible braggart, tells Prince Hal and Poins that a hundred men ...
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Common terms and phrases
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