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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... become ' word - things ' ; the notion of a single domain ( language ) having a double aspect replaces that of two distinct domains , language and thought . ' ( Terence Cave , The Cornucopian Text : Problems of Writing in the French ...
... become the chief exponent. Although euphuism in Lyly's plays is less intense and less continuous than in Euphues itself, it is nevertheless present throughout his dramatic output, particularly in the earlier dramas. But the exigencies ...
... become the subject of Campaspe, the captive of Thebes? Is that minde, whose greatnes the world could not containe, drawn within the compasse of an idle alluring eie? Wil you handle the spindle with Hercules, when you shoulde shake the ...
... becomes a kind of lament in which self-apostrophe is used: 'Harry, now thrice unhappie Harry.' The speech finally becomes a kind of resigned resolution speech as the emotional intensity finally abates somewhat. All this is made the more ...
... become increasingly evident as set speeches were increasingly transformed into dialogue, and schemes of language gave way to tropes, with all the rich suggestiveness which the latter could possess. Leornard Ashley admits, in a way ...
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 |