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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... whole, according to the traditional pattern of exordium, narratio, divisio, confirmatio, refutatio, and conclusio. Book four deals with elocutio and is largely a list, with examples, of figures of speech. For an additional source of ...
... whole words, sometimes of endings ( homoioteleuton), sometimes of leading consonants ( alliteration), the latter taking place in adjacent words and/or adjacent clauses. But the essence of the style would appear to be the balanced ...
... whole play into a kind of epideictic performance to which its various elements are subsidiary. Paris' choice is ultimately irrelevant, because love, majesty, and wisdom are unified and reconciled in the person of the Queen. 88 Ibid., p ...
... 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 psychological realism. Cheffaud's criticism of Edward I is mainly one of ...
... whole. He complains of the schematicism of Peele's language which 'enlèvent trop souvent à son style toute efficacité dramatique'.103 Moreover, Le vers blanc lui-même ... est peu dramatique. Pauvre en enjambements, pauvre en syllabes ...
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 |