A Reader in the Language of Shakespearean DramaVivian Salmon, Edwina Burness In recent years the language of Shakespearean drama has been described in a number of publications intended mainly for the undergraduate student or general reader, but the studies in academic journals to which they refer are not always easily accessible even though they are of great interest to the general reader and essential for the specialist. The purpose of this collection is therefore to bring together some of the most valuable of these studies which, in discussing various aspects of the language of the early 17th century as exemplified in Shakespearean drama, provide the reader with deeper insights into the meaning of Shakespearean text, often by reference to the social, literary and linguistic context of the time. |
Contents
SHAKESPEARE AND THE ENGLISH LANGUAGE | 3 |
SHAKESPEARE AND THE TUNE OF THE TIME | 23 |
II ASPECTSOF COLLOQUIAL ELIZABETHAN ENGLISH | 35 |
ELIZABETHAN COLLOQUIAL ENGLISH IN THE FALSTAFF PLAYS | 37 |
THE SOCIAL BACKGROUND OF SHAKESPEARES MALAPROPISMS | 71 |
A STUDY IN STYLISTIC ETIQUETTE | 101 |
CLASS CONNOTATIONS OF TWO SHAKESPEAREAN IDIOMS | 117 |
III STUDIES IN VOCABULARY | 131 |
SENTENCE STRUCTURES IN COLLOQUIAL SHAKESPEARIAN ENGLISH | 265 |
PRONOMINAL CASE IN SHAKESPEAREAN IMPERATIVES | 301 |
THE PERFECT AUXILIARIES IN THE LANGUAGE OF SHAKESPEARE | 309 |
MAY AND MIGHT IN SHAKESPEARES ENGLISH | 319 |
NOTES ON THE USE OF THE INGRESSIVE AUXILIARIES IN THE WORKS OF WILLIAM SHAKESPEARE | 329 |
MULTIPLE NEGATION IN SHAKESPEARE | 339 |
2 Studies in inflection | 347 |
SHAKESPEARES USE OF ETH AND ES ENDINGS OF VERBS IN THE FIRST FOLIO | 349 |
ASPECTS OF SHAKESPEARES LANGUAGE | 133 |
SOME NOTES ON THE INTERPRETATION OF SHAKESPEARES LANGUAGE | 145 |
A STUDY IN THE SECOND PERSON PRONOUN | 153 |
YOU AND THOU IN SHAKESPEARES RICHARD III | 163 |
A NOTE ON THE INTERPRETATION OF KING LEAR III VII113 HE CHILDED AS I FATHERD | 181 |
2 Lexical innovation | 191 |
SOME FUNCTIONS OF SHAKESPEARIAN WORDFORMATION | 193 |
SHAKESPEARES LATINATE NEOLOGISMS | 207 |
LATINSAXON HYBRIDS IN SHAKESPEARE AND THE BIBLE | 229 |
3 Shakespeares use of specialised vocabularies | 235 |
SHAKESPEARE AND THE ORDINARY WORD | 237 |
THIEVES CANT IN KING LEAR | 245 |
LEGAL LANGUAGE IN CORIOLANUS | 255 |
IV SHAKESPEARE AND ELIZABETHAN GRAMMAR | 263 |
SHAKESPEARES USE OF S ENDINGS OF THE VERBS TO DO AND TO HAVE IN THE FIRST FOLIO | 371 |
V STUDIES IN RHETORIC AND METRE | 389 |
SHAKESPEARES USE OF RHETORIC | 391 |
HENDIADYS AND HAMLET | 407 |
THE IAMBIC PENTAMETER REViSiTED | 433 |
VI PUNCTUATION | 443 |
SHAKESPEARiAN PUNCTUATION A NEW BEGINNING | 445 |
REPUNCTUATION AS INTERPRETATION IN EDITIONS OF SHAKESPEARE | 455 |
VIITHE LINGUISTIC CONTEXT OF SHAKESPEAREAN DRAMA | 471 |
AN HiSTORiCAL PERSPECTiVE | 473 |
THE POOR CATS ADAGE AND OTHER SHAKESPEAREANPROVERBS IN ELIZABETHAN GRAMMARSCHOOL EDUCATION | 489 |
LANGUAGE IN LOVES LABOURS LOST | 499 |
| 511 | |
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Common terms and phrases
adjective adverb appear auxiliary century characters Clarence clause collocations colloquial com comma compound con contemporary context Coriolanus deep structure dis doth dramatic Early Modern English early plays edition editors Elizabethan English English Studies eth ending examples exclamation expression Falstaff figures Folio function grammatical Hamlet hath haue have+PP hendiadys Henry Henry IV Henry VI iambic pentameter imperative instances interpretation Julius Caesar King Lear Kiparsky Laertes language later plays Latin lexical linguistic London Lord Love's Labour's Lost malapropisms Master meaning Modern English neologisms normal noun occurs Othello passage pattern phrase poet prefixes pronoun pronunciation prose proverb punctuation Randolph Quirk reference rhetoric Richard Richard III says scene seems semantic sense sentences Shake Shakespeare speak speaker speech spoken stress style suffixes syllable syntactic syntax thee thou tion usage verb verse vocabulary words