Shakespeare's Third Keyboard: The Significance of Rime in Shakespeare's Plays"This book springs from an unaccountable gap among the rows of "Shakespeare Studies" on bookshop and library shelves. Playgoers and readers with insatiable appetites for every kind of commentary on Shakespeare's work who discover some volumes devoted to his style may find a musical metaphor illuminating: that Shakespeare had three keyboards at his disposal. The first, blank verse, and the second, prose, have attracted some critical attention; but the third, his rime (as his contemporary printers spelled it), has been neglected. This study aims to fill that gap."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
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Page 32
... third iambic foot ( following ' corpse " ) in the first Folio line ; after the second ( following " name " ) in the second ; halfway between the second and third ( fol- lowing " I " ) and also between the third and fourth ( following ...
... third iambic foot ( following ' corpse " ) in the first Folio line ; after the second ( following " name " ) in the second ; halfway between the second and third ( fol- lowing " I " ) and also between the third and fourth ( following ...
Page 78
... third , eleventh and twelfth lines and " me " in the fifth - underlines a self - contempt that is greater than his scorn for his fellows , who have urged a show of submission on him . He stands apart — and here visually apart - not only ...
... third , eleventh and twelfth lines and " me " in the fifth - underlines a self - contempt that is greater than his scorn for his fellows , who have urged a show of submission on him . He stands apart — and here visually apart - not only ...
Page 160
... third keyboard would severely weaken the impact of their scenes . What they speak , they speak in prose - never in blank verse ; and the prose of each ac- counts for two - thirds of his part . For the remaining third , each is bound by ...
... third keyboard would severely weaken the impact of their scenes . What they speak , they speak in prose - never in blank verse ; and the prose of each ac- counts for two - thirds of his part . For the remaining third , each is bound by ...
Contents
Acknowledgments | 7 |
Still may reason warre with | 17 |
Poems | 31 |
Copyright | |
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Common terms and phrases
acceptance All's alliterative already appear assonance audience's Bertram blank verse blank verse lines Brabanzio's caesuras characters conclusion context Cordelia Coriolanus Countess critics death deliberately Diana dramatic Dumaine echoes Edgar Edmond effect emphasize ence end-rimes epilogue episode exit final couplet Folio Fool Fool's function Gary Taylor give Goneril Hamlet hath hear Helen History Hymen Iago iambic iambic pentameters identical rime impact judgment Kent Kent's kind King Lear King's Lafeu Lavatch Lear's letter listener logue lord Love's Labour's Lost masque Othello paradox Paroles pattern performance phrase play play's plet plot poems Portia prologue prophecy prose dialogue Quarto quatrain reaction Regan repetition response rimed verse riming couplets scene sense shadow's bliss Shake Shakespeare significance soliloquy song sonnet sound speak speech stage stanza theater audience thee themes third keyboard thou tion Tragedy trial Troilus and Cressida Winter's Tale wordplay words