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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... 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 further reinforced in the latter part of the speech by ...
... intensity and emotional development present in Senecan tragedy. This is because Gorboduc has an overwhelming didactic function: it is indeed a ' "Mirror for Magistrates" in dramatic form'.53 The characters are merely mouthpieces for ...
... intensity reaches its peak. Henry's speech, in fact, begins as justification, modulates to petition, and then, with the apparent failure of his plea, becomes a kind of lament in which self-apostrophe is used: 'Harry, now thrice unhappie ...
... intensity of a Marlowe, the poeticism of a Peele, or the organic development of a Shakespeare, is relatively unadorned with schemes and which effectively reproduces the rhythms of ordinary speech. The anonymous Woodstock (c.1591-94)60 ...
... intensity of the Furies. 'Vengeance' is used in an anadiplosis, in that it comes towards the end of line 10 and at the beginning of line 11, hammering home the certainty of retribution. The first two lines contain two imperatives, 'Saie ...
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 |