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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... show how value judgements based on present-day expectations can distort the evaluation of a writer's work. I am not suggesting that Cheffaud's observations on Peele's style are invalid in themselves, or that he is wrong to recognize our ...
... show both as a means of clarifying the dramatic action, and of reinforcing attitudes towards the characters. As the play progresses these dumb shows at the beginning of each act take on an increasingly didactic function as exposition ...
Rhetoric and Renaissance Sensibility Brian B. Ritchie. The Presenter's speech and the dumb show at the beginning of Act I fulfil two main functions: that of filling in the background to the ensuing action as clearly and as succinctly as ...
... show. Peele is concerned to convey as swiftly as he can the blackest portrait possible of the villain. Parison is reinforced by alliteration in order to hammer home the Moor's villainy: 'Blacke in his looke, and bloudie in his deeds ...
... show . According to Inga - Stina Ewbank , the dumb shows form the imaginative core of the play , in that they form an overall visual pattern which shows us evil deeds leading to retribution.120 In this first dumb show the Presenter ...
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 |