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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... thing to a particular audience to achieve the required aim.'4 It was an essentially public technique, therefore, rather than a method of private expression. It helped, according to him, subsume 'the individual subject within a social ...
... thing when it surges along like a golden river, with thoughts and words pouring out in rich abundance. Yet the pursuit of speech like this involves considerable risk ... We find that a good many mortal men who make great efforts to ...
... thing when it surges along like a golden river , with thoughts and words pouring out in rich abundance . ' Here is ... things ' ; the notion of a single domain ( language ) having a double aspect replaces that of two distinct domains ...
... thing not worthy the desiring for itself, but made worthy for your highnesses' request. My picture I mean: in which if the inward good mind towards your grace might as well be declared as the outward face and countenance shall be seen ...
... not the Crowne that I come for, sweete father, because I am unworthie, and those vilde and reprobate company I abandon, & utterly abolish their company 58 Ibid., p. 53. for ever. Pardon sweete father, pardon: the least thing and 26.
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 |