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    Line Endings in Renaissance Poetry
    Picturing Shakespeare
    Ebook series2 titles

    Anthem Studies in Renaissance Literature and Culture Series

    By Stephen Guy-Bray and Jean-Louis CLARET

    ()

    About this series

    This book looks at how Renaissance poets ended their poetic lines. It considers a range of strategies and argues that line endings are crucial to our understanding of the poems. It begins with an introduction summarizing the work that has already been done in this area and demonstrating the author’s own method. The main part of the book is divided into three chapters: one on rhyme; one on enjambment; and one on the sestina. These are the most significant kinds of line endings used by English Renaissance poets. The book ends with a brief afterword, wherein the author’s findings and some new areas for research are sketched out.

    LanguageEnglish
    PublisherAnthem Press
    Release dateMay 7, 2024
    Line Endings in Renaissance Poetry
    Picturing Shakespeare

    Titles in the series (2)

    • 1

      Picturing Shakespeare
      Picturing Shakespeare

      Picturing Shakespeare

      Jean-Louis CLARET
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      This study investigates the capacity of Shakespeare’s texts – obviously destined for stage performances – to generate images and mental colours in the readers’ and in the spectators’ minds. Such notions as Ut pictura poesis and the paragoneare discussed in the first part of this book, along with the function and nature of colours. After considering the sets of correspondences and the major differences between texts and images, the author presents and analyzes some of his own illustrations of Shakespearean characters. Jean-Louis Claret, both a university professor specialized in Shakespeare’s theatre and an illustrator, proposes to shed light on the process that led him from the perusal of the written text to the visualization of visages. The voice of poets is unconventionally called upon to shed light on the complex mechanisms he describes.

      This study investigates the capacity of Shakespeare’s texts – obviously destined for stage performances – to generate images and mental colours in the readers’ and in the spectators’ minds. Such notions as Ut pictura poesis and the paragoneare discussed in the first part of this book, along with the function and nature of colours. After considering the sets of correspondences and the major differences between texts and images, the author presents and analyzes some of his own illustrations of Shakespearean characters. Jean-Louis Claret, both a university professor specialized in Shakespeare’s theatre and an illustrator, proposes to shed light on the process that led him from the perusal of the written text to the visualization of visages. The voice of poets is unconventionally called upon to shed light on the complex mechanisms he describes.

    • Line Endings in Renaissance Poetry
      Line Endings in Renaissance Poetry

      Line Endings in Renaissance Poetry

      Stephen Guy-Bray
      0 ratings
      0 ratings

      This book looks at how Renaissance poets ended their poetic lines. It considers a range of strategies and argues that line endings are crucial to our understanding of the poems. It begins with an introduction summarizing the work that has already been done in this area and demonstrating the author’s own method. The main part of the book is divided into three chapters: one on rhyme; one on enjambment; and one on the sestina. These are the most significant kinds of line endings used by English Renaissance poets. The book ends with a brief afterword, wherein the author’s findings and some new areas for research are sketched out.

      This book looks at how Renaissance poets ended their poetic lines. It considers a range of strategies and argues that line endings are crucial to our understanding of the poems. It begins with an introduction summarizing the work that has already been done in this area and demonstrating the author’s own method. The main part of the book is divided into three chapters: one on rhyme; one on enjambment; and one on the sestina. These are the most significant kinds of line endings used by English Renaissance poets. The book ends with a brief afterword, wherein the author’s findings and some new areas for research are sketched out.

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