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. |
Im Buch
Ergebnisse 1-5 von 56
... Delight / 266 Chapter Eleven: Edward II: The Emergence of Realism and the Emptiness of Rhetoric / 303 Chapter Twelve: Conclusion / 323 Bibliography / 341 CHAPTER ONE Introduction: The Rhetorical and Linguistic Context On one v.
... delight. In this work we have called this delight delectatio, from the Latin verb delectare, to delight. The interplay between these two aspects of an overall ethos is complex, fascinating, and revealing of Elizabethan attitudes to both ...
... delight is not always to be found in the drama. Our rhetorical analysis, then, is not simply a mechanical exercise in identifying the use of figures of speech (although we are always keen to demonstrate such usage), but an attempt to ...
... delight. However, this is largely, I believe, due to the sheer length of the speeches, rather to any lack of quality in the verse or language.54 Though this formal, objective, didactic structure, an inheritance of both Seneca and the ...
... delight ( delectare), and to move ( movere). This does not of course preclude detailed psychological portrayal, but neither does it demand it. Moreover, the audience would not have demanded it either. What Cheffaud detects in the Paris ...
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 |