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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... question. Both are tropes tending to increase emotional intensity. But the speech which follows falls under the regimen of schemes: parison, isocolon, and antithesis: 'she [fortune] setteth up tyrants, beateth down kings.' This is ...
... question at stake in the play -- whether or not the kingdom should be divided -- is not so much one of individual moral concern as of national politics. The lightheartedness and wit of. 52 Ibid., pp. 51-54. 53 Ibid., p. 62. 54 This is ...
... questions oratoires avec arguments pour et contre, -- sont totalement absentes de notre pièce; et il serait malaisé d'y découvrir un seul emprunt à l'histoire surnaturelle de Lyly.76 72 Ibid. 73 Yet Peele, he notes, has a verbal art of ...
... question we ask is that even if this is so, need we condemn the play as a whole because of it? Again, we must try to place ourselves in the position of an Elizabethan audience, whose set of expectations did not necessarily include a ...
... questions to be asked of one who we would praise or blame are the following: What kinds of power has he wielded? What have been his titles to fame? What his friendships? Or what his private friends, and what act of bravery has he ...
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 |