Antony and CleopatraPenguin UK, 7 апр. 2005 г. - Всего страниц: 336 'Shakespeare's play is death-haunted from the start, and its self-glorifying lovers exist in a dream of passion' Guardian |
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... in classical rhetoric and oratory, studying authors such as Ovid, Cicero and Quintilian, and would have been required to read, speak, write and even think in Latin from his early years. This classical General Introduction.
... Rhetorical devices deriving from classical literature, such as alliteration and antithesis, extended similes and elaborate wordplay, abound. Often, as in Love's Labour's Lost and A Midsummer Night's Dream, he uses rhyming patterns ...
... rhetoric generates powerful tensions between objective reality and subjective perceptions of it, as in Cleopatra's ... rhetorical flights, or whether we give priority to its global politics. It is hardly surprising that Antony and ...
... rhetorical patterning associates Antony with this same watery cycle of flooding and excess through the use of the word ... rhetoric which is answerable only to Shakespeare's imagination. The choice of 'o'er' against 'over' and Enobarbus ...
... rhetorical texture ever more fluid. The action moreover flows continuously in such a way that fluidity itself becomes one of its defining features. In the free-wheeling ride that is Antony and Cleopatra the stage empties no fewer than ...