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T. S. Eliot once remarked that Shakespeare’s first tragedy, Titus Andronicus, was “one of the stupidest and most uninspired plays ever written”. However, Shakespeare’s use of rhetoric in this play is anything but “stupid” or “uninspired,” for it heightens the tragic elements of the action through a sophisticated orchestration of rhyme throughout the script that […]

This is the first instance in which these characters encounter misidentification, yet Antipholus of Syracuse delivers a short soliloquy in perfect rhyme in which he resolves to play along. Perfect rhyme is used throughout The Comedy of Errors in moments of personal resolve, which consistently reinforces the harmony of each major decision in the play. […]

In direct opposition to that opinion, I plan to show that Shakespeare exhibits artistic mastery in the way he cleverly interweaves rhyme throughout his plays, effectively manipulating how audiences view the action onstage. I also plan to demonstrate how we need to help students discover the intricacies of rhyme in the plays to learn to […]

In 1947, Sister Miriam Joseph explored Shakespeare’s extended use of rhetoric, cataloging his treatment of over 200 rhetorical tropes and figures and prompting a deluge of rhetorical analyses of Shakespeare’s work. This, in turn, may be what first led teachers to place a focus on Shakespeare’s rhetorical tropes and figures, having students identify anaphora or […]

As we move into the end of the play we can consider the performance choices and issues raised by a line that exists only in the Folio text of act 5, scene 2 (there is no way of knowing if this line was omitted from Q2 or added only after that text was published). Although […]