Abstract

THE RECENT ARTICLE, “Language, Style, and Meaning in Troilus and Cressida,” by T. McAlindon,1 is indeed a formidable one, because Mr. McAlindon brings to bear upon the play a knowledge of Renaissance rhetoric that is all too often neglected in discussions of Shakespeare's work. The author also gives us substantial new insights into the pervasive interest Shakespeare showed, in Troilus and Cressida, in nuances of language and decorum.

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