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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... force , not faith , by appointment , not affection . Ramia . Why doe you lay that knot aside ? Cupid . For death . Tel . Why ? Cupid . Because the knot was knit by faith , and must onely be unknit of death . Eurota . Why laugh you ...
... force of arms gained through important friendships. These latter he has earned by dutiful service, which in turn implies the bravery of having 'servd in field'. Moreover, his motives are honourable; they have been honourable in the past ...
... forces of retribution. In this sense the dumb shows perform a kind of allegorical function, but what allegory there is is fully explained by the Presenter; Peele is keen to avoid presenting his audience with insurmountable intellectual ...
... forces of vengeance, the appearance of the classical figure, is followed by a trope, a prosopopoeia or personification which stands out because of its relative rarity in Peele's language. 124 This is the 'speechlesse night, / Divine ...
... forces of light, Peele makes it clear that through the naiveté of youth he commits an enormous error. This the Presenter makes plain at the beginning of Act 3: Lo thus into a lake of bloud and gore, The brave couragious king of ...
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 |