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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... cause sorrowfull to be beleeved! What! is the sonne of Phillip, king of Macedon, 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 ...
... cause première de son échec. Mahamet, le héros de la pièce, ne doit sa prééminence qu'à ses crimes et ses défaites, -- source d'où procède le mouvement de toute l'intrigue; mais son caractère n'évolue pas, ne se développe pas au cours ...
... cause: the need to fly the murderer of his brothers, Abdallas. We are thus given an intensely positive image of Abdelmelec: he is a man with force of arms gained through important friendships. These latter he has earned by dutiful ...
... cause of the other. Again both the dumb show and the Presenter's commentary have been cut,131 but the opposition of praise and blame and the general fatal import of the dumb show remain clear: Now hardned is this haplesse heathen prince ...
... cause, the one whose actions release the force of Nemesis and the Furies; he is also the deluder of Sebastian, the one who invites him to the feast of death. But the fact remains that from Act 2 onwards the dumb shows serve to embody ...
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 |