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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... follows falls under the regimen of schemes: parison, isocolon, and antithesis: 'she [fortune] setteth up tyrants, beateth down kings.' This is further reinforced in the latter part of the speech by symploche: phrase follows phrase with ...
... follows: Report-speeches, derived largely from Seneca; Planning-speeches, which serve to apprise the audience of future action; Resolution-speeches, which can show the process. 49 Wolfgang Clemen, English Tragedy before Shakespeare: The ...
... follows set speech with monotonous regularity. And even these speeches lack the emotional intensity and emotional development present in Senecan tragedy. This is because Gorboduc has an overwhelming didactic function: it is indeed a ...
... follows: My conscience accuseth me, most soveraign Lord, and wellbeloved father, to answere first to the last point. That is whereas you coniecture that this hand and this dagger shall be armde against your life: no, know my beloved ...
... follow rule and climbe the stately chaire, With great desire inflames the Portingall, An honorable and couragious king, To undertake a dangerous dreadfull warre, And aide with Christian armes the barbarous Moore, The Negro Muly Hamet ...
Inhalt
1 | |
31 | |
49 | |
Edward I The Rhetoric of Ethos and Theatrical Display | 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 |