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The contribution of the present work is to present in organized detail essentially complete the general theory of composition current during the Renaissance (as contrasted with special theories for particular forms of composition) and the illustration of Shakespeare’s use of it. It is organized as follows:

Part One: Introduction

I. The General Theory of Composition and of Reading in Shakespeare’s England
1. The Concept of Art in Renaissance England
2. Training in the Arts in Renaissance England
3. The English Works on Logic and Rhetoric
4. The Tradition
5. Invention and Disposition

Part Two. Shakespeare’s Use of the Theory

II. Shakespeare’s Use of the Schemes of Grammar, Vices of Language, and Figures of Repetition
1. The Schemes of Grammar
2. The Vices of Language
3. The Figures of Repetition

III. Logos: The Topics of Invention
1. Inartificial Arguments or Testimony
2. Definition
3. Division: Genus and Species, Whole and Parts
4. Subject and Adjuncts
5. Contraries and Contradictories
6. Similarity and Dissimilarity
7. Comparison: Greater, Equal, Less
8. Cause and Effect, Antecedent and Consequent
9. Notation and Conjugates

IV. Logos: Argumentation
1. Syllogistic Reasoning
2. Fallacious Reasoning
3. Disputation

V. Pathos and Ethos
1. Pathos
2. Ethos

Part Three. The General Theory of Composition and Reading as Defined and Illustrated by Tudor Logicians and Rhetoricians

VI. Schemes of Grammar, Vices of Language, and Figures of Repetition
1. The Schemes of Grammar
2. Vices of Language

VII. Logos: The Topics of Invention
1. Inartificial Arguments or Testimony
2. Definition
3. Division: Genus and Species, Whole and Parts
4. Subject and Adjuncts
5. Contraries and Contradictories
6. Similarity and Dissimilarity
7. Comparison: Greater, Equal, Less
8. Cause and Effect, Antecedent and Consequent
9. Notation and Conjugates
10. Genesis or Composition
11. Analysis or Reading

VIII. Logos: Argumentation
1. Syllogistic Reasoning
2. Fallacious Reasoning
3. Disputation

IX. Pathos and Ethos
1. Pathos
2. Ethos