Guilty Creatures : Renaissance Poetry and the Ethics of Authorship: Renaissance Poetry and the Ethics of Authorship
Oxford University Press, USA, 05.04.2001 - 280 Seiten
In this innovative and learned study, Dennis Kezar examines how Renaissance poets conceive the theme of killing as a specifically representational and interpretive form of violence. Closely reading both major poets and lesser known authors of the early modern period, Kezar explores the ethical self-consciousness and accountability that attend literary killing, paying particular attention to the ways in which this reflection indicates the poet's understanding of his audience. Among the many poems through which Kezar explores the concept of authorial guilt elicited by violent representation are Skelton's Phyllyp Sparowe, Spenser's Faerie Queene, Shakespeare's Julius Caesar, the multi-authored Witch of Edmonton, and Milton's Samson Agonistes.
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Spenser and the Poetics of Indiscretion
The Properties of Shakespeares Globe
The Witch of Edmonton and the Guilt of Possession
Samsons Death by Theater and Miltons Art of Dying
Guilt and the Constitution of Authorship in Henry V and the Antitheatrical Elegies of W S and Milton
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Guilty Creatures: Renaissance Poetry and the Ethics of Authorship
Eingeschränkte Leseprobe - 2011
actor ambiguous antitheatrical appears argument art of dying audience authorship Basilike Calidore Cambridge cannibals chapter Charles's Chorus Cinna claims conscience court criticism cultural Danites death Donne Donne's dramatic dramatist early modern Eikon Basilike elegiac elegy Elizabeth England English epitaph ethical fact Faerie Queene Funeral Elegy Goodcole Goodcole's Gosson's Greenblatt guilt Hamlet Henry interpretive Jane Jane's John John Donne John Milton John Skelton Jonson Julius Caesar killing poem king lines literary London lyric meditation Milton moriendi murder Orpheus Oxford Passion performance Phyllyp Sparowe play play's playwright poem's poet poet's poetic poetry political praise prologue public theater question Ralegh readers reading Renaissance representation represents response reveals rhetoric Salve Samson Agonistes satire Sawyer scene seems self-consciousness Serena Shakespeare's shame Sir Walter Ralegh Skelton skepticism social Sonnet spectators Spenser's stage Stephen Greenblatt suggests textual theatrical tion University Press victim violence Witch of Edmonton witchcraft
Seite 11 - I'll leave you till night: you are welcome to Elsinore. Ros. Good my lord ! [Exeunt Rosencrantz and Guildenstern. Ham. Ay, so, God be wi' you : — Now I am alone. O, what a rogue and peasant slave am I ! Is it not monstrous, that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit...
Seite 103 - Caesar's blood Up to the elbows, and besmear our swords; Then walk we forth, even to the marketplace, And waving our red weapons o'er our heads, Let's all cry, "Peace, freedom, and liberty!
Seite 74 - ... the sage And serious doctrine of Virginity; And thou art worthy that thou shouldst not know More happiness than this thy present lot. Enjoy your dear wit, and gay rhetoric, 790 That hath so well been taught her dazzling fence; Thou art not fit to hear thyself convinced.
Seite 114 - I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ.
Seite 100 - I do not strain at the position, It is familiar; but at the author's drift: Who, in his circumstance," expressly proves — That no man is the lord of any thing, (Though in and of him there be much consisting,) Till he communicate his parts to others...
Seite 148 - Extolling patience as the truest fortitude, And to the bearing well of all calamities, All chances incident to man's frail life, Consolatories writ With studied argument, and much persuasion sought, Lenient of grief and anxious thought.
Seite 117 - tis done, then 'twere well It were done quickly : If the assassination Could trammel up the consequence, and catch, With his surcease, success ; that but this blow Might be the be-all and the end-all here, But here, upon this bank and shoal of time, — We'd jump the life to come.
Seite 19 - Or I shall live your epitaph to make, Or you survive when I in earth am rotten; From hence your memory death cannot take, Although in me each part will be forgotten. Your name from hence immortal life shall have, Though I, once gone, to all the world must die : The earth can yield me but a common grave, When you entomb'd in men's eyes shall lie.
Seite 144 - Nor the other light of life continue long, But yield to double darkness nigh at hand : So much I feel my genial spirits droop, My hopes all flat, nature within me seems In all her functions weary of herself ; My race of glory run, and race of shame, And I shall shortly be with them that rest.