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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... Lord, and wellbeloved father, to answere first to the last point. That is whereas you coniecture that this hand and this dagger shall be armde against your life: no, know my beloved father, far be the thoughts of your sonne, sonne said ...
... Lord of Exeter speak for me: pardon me, pardon good father, not a word: ah he wil not speak one word: I Harry, now thrice unhappy Harry. But what shall I do: I wil go take me into some solitarie place, and there lament my sinfull life ...
... Lord Muly Molocco. (1.1) Perhaps the first impression given by this passage is the immense amount of detail given within so short a space. This is one complex sentence couched in the form of a blank verse which is in general regular but ...
... Lord Muly Molocco.' This is brought about partly by Peele's use of alliteration; it contrasts markedly with the curtness of the previous two lines which are given over to negative descriptions of the enemy. Moreover, Peele uses another ...
... Lords, as in a hollow place a farre, The dreadfull shrikes and clamors that resound, And sound revenge upon this traitors soule; Traitor to kinne and kinde, to Gods and men . . . (2.1) There is a subtly evocative interplay taking place ...
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 |