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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... explanation, see Wilbur Samuel Howell, Logic and Rhetoric in England 1500-1700 (Princeton: Princeton University Press, 1956), p. 10. 31 Arte of Rhetorique, p. 203. 32 Clarence Griffin Child, John Lyly and Euphuism (Erlangen: Boheme, 13.
... Lyly's Euphues, but Lyly was by no means its inventor, though he brought it to its highest degree of sophistication and gave added impetus to its dissemination. Essentially, it is a prose style based on the antithetical balancing of ...
... Lyly was to become the chief exponent. Although euphuism in Lyly's plays is less intense and less continuous than in Euphues itself, it is nevertheless present throughout his dramatic output, particularly in the earlier dramas. But the ...
... Lyly's dramas forward. There is a continuous moral debate, which is sophisticated and ironic in that the antitheses continually qualify varying points of view; the continual play of schemes creates a fabric which is static and choppy ...
... Lyly's self-contained world retains its set boundaries, just as the language retains all emotion within its strict management. It is not, then, that Lyly does not use tropes, but that they are subordinated to reason, and therefore to ...
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 |