Shakespeare's Poetic Styles: Verse into DramaRoutledge, 11/10/2013 - 272 من الصفحات First published in 1980. At their most successful, Shakespeare's styles are strategies to make plain the limits of thought and feeling which define the significance of human actions. John Baxter analyses the way in which these limits are reached, and also provides a strong argument for the idea that the power of Shakespearean drama depends upon the co-operation of poetic style and dramatic form. Three plays are examined in detail in the text: The Tragedy of Mustapha by Fulke Greville and Richard II and Macbeth by Shakespeare. |
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الصفحة 8
... nature, therein (though he know it not) doth according to art, though not by art: where the other, using art to show art, and not to hide art (as in these cases he should do), flieth from nature, and indeed abuseth art. The interest in ...
... nature, therein (though he know it not) doth according to art, though not by art: where the other, using art to show art, and not to hide art (as in these cases he should do), flieth from nature, and indeed abuseth art. The interest in ...
الصفحة 9
... [Nature's] world is brazen, the poets only deliver a golden' (p. 24). O. B. Hardison Jr in his essay 'The Two Voices of Sidney's Apology for Poetry'3 has seen quite clearly that Sidney is committed to defending two antithetical schools ...
... [Nature's] world is brazen, the poets only deliver a golden' (p. 24). O. B. Hardison Jr in his essay 'The Two Voices of Sidney's Apology for Poetry'3 has seen quite clearly that Sidney is committed to defending two antithetical schools ...
الصفحة 15
... Nature, from her selfe, make such diuorces? Tell on; that all the World may rue, and wonder. (V, ii, 38—42) Like Horatio in Hamlet, Zanger explicitly designates the appropriate emotional effects of the tragedy, expounding simultaneously ...
... Nature, from her selfe, make such diuorces? Tell on; that all the World may rue, and wonder. (V, ii, 38—42) Like Horatio in Hamlet, Zanger explicitly designates the appropriate emotional effects of the tragedy, expounding simultaneously ...
الصفحة 20
... Nature good, or evill are. The problem is that the mother of invention is often disgraced by the harlot of ornate ... natural (i.e. the real) world, and the problem is simply to find the words that correspond to, or reflect more or less ...
... Nature good, or evill are. The problem is that the mother of invention is often disgraced by the harlot of ornate ... natural (i.e. the real) world, and the problem is simply to find the words that correspond to, or reflect more or less ...
الصفحة 23
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المحتوى
1 | |
7 | |
3 Tragedy and history in Richard II | 46 |
the moral and the golden | 56 |
the metaphysical and the Shakespearean | 77 |
style and the character of Bolingbroke | 106 |
style and the character of Richard | 114 |
8 Tragic doings political order and the closed couplet | 144 |
bombast and wonder | 168 |
style and form | 196 |
Notes | 221 |
Index | 253 |
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عبارات ومصطلحات مألوفة
Achmat action Altick Aristotle attempt blank verse Bolingbroke bombastic caesura Camena character closed couplet Coleridge Coleridge’s critical Cunningham death deflected despite drama dramatist Elizabethan eloquent style emotional effects England English essentially expression F. R. Leavis fear feeling Gaunt Gaunt’s Gaunt’s speech Greville Greville’s heroic couplet high style Howard Baker human imagery images imitation individual influence intention J. V. Cunningham John of Gaunt kind king’s language Leavis libertine London lyric Macbeth means metaphor metaphysical metaphysical poetry moral style murder Mustapha nation native plain style nature one’s passage Petrarchan phrase play poem poet poetic styles poetry present question remarks reprinted rhetoric Richard II Richard the Second Rossa scene sense sermo humilis Shakespeare Sidney Sidney’s soliloquy stanza subjunctive suggests Tamburlaine thee things thou thought tion Titus Andronicus traditional tragedy tragic truth University Press Winters’s wonder word York’s Yvor Winters