The Plays of Christopher Marlowe and George Peele: Rhetoric and Renaissance SensibilityUniversal-Publishers, 1999 - 358 Seiten This work is concerned with the evaluation of rhetoric as an essential aspect of Renaissance sensibility. It is an analysis of the Renaissance world viewed in terms of literary style and aesthetic. Eight plays are analysed in some detail: four by George Peele: The Battle of Alcazar, Edward I, David and Bethsabe, and The Arraignment of Paris; and four by Christopher Marlowe: Dido Queen of Carthage, Tamburlaine Part One, Dr Faustus and Edward II. The work is thus partly a comparative study of two important Renaissance playwrights; it seeks to establish Peele in particular as an important figure in the history and evolution of the theatre. Verbal rhetoric is consistently linked to an analysis of the visual, so that the reader/viewer is encouraged to assess the plays holistically, as unified works of art. Emphasis is placed throughout on the dangers of reading Renaissance plays with anachronistic expectations of realism derived from modern drama; the importance of Elizabethan audience expectation and reaction is considered, and through this the wider artistic sensibility of the period is assessed. |
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... Moreover, this deliberation could be used for the creation of character, as it could be internalized; in other words, it could form the basis of soliloquy. Character creation could only be further enhanced by the practice of the ...
... Moreover, 'though she have heavenly giftes, vertue and bewtie, is she not of earthly mettall, 36 flesh and bloud?'40 Finally, Hephestion concludes that 'there is no. Campaspe, 2. 2. 29, in Bond, II, pp. 303-58. 37 Ibid., 2. 2. 68. 38 ...
... Moreover, Seneca would have been familiar to Marlowe and Peele from their university days. Seneca's long, declamatory speeches, usually falling into one of the three modes of genus deliberativum, genus judicale, and genus demonstrativum ...
... Moreover, the central question at stake in the play -- whether or not the kingdom should be divided -- is not so much one of individual moral concern as of national politics. The lightheartedness and wit of. 52 Ibid., pp. 51-54. 53 Ibid ...
... Moreover, comedy was seen by the learned as having a varied style, which was at marked variance with the high seriousness of tragedy.58 Certainly, this flexibility of style passes over into the popular histories of the day. The ...
Inhalt
1 | |
31 | |
49 | |
69 | |
David and Bethsabe and the Clash between Ethos and Delectatio | 100 |
The Arraignment of Paris Court Ritual and the Resolution | 134 |
Christopher Marlowe Critical Approaches | 164 |
Dido Queen of Carthage Mortals versus Gods and the Ethos | 197 |
Ethical SelfCreation in Tamburlaine Part One | 223 |
Doctor Faustus and the Tragedy of Delight | 266 |
Edward II The Emergence of Realism and the Emptiness | 303 |
Conclusion | 323 |
Bibliography | 341 |
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The Plays of Christopher Marlowe and George Peele: Rhetoric and Renaissance ... Brian B. Ritchie Eingeschränkte Leseprobe - 1999 |