The Plays of Christopher Marlowe and George Peele: Rhetoric and Renaissance SensibilityUniversal-Publishers, 1999 - 358 páginas 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. |
Dentro del libro
Resultados 1-5 de 37
... act transforms the 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 ...
... act take on an increasingly didactic function as exposition shifts towards allegory. Moreover, whether expository or allegorical, they are interpreted for us by the speech of a presenter, through whose words we are invited to make ...
... Act I fulfil two main functions: that of filling in the background to the ensuing action as clearly and as succinctly as possible, and that of contrasting through praise and blame some of the major characters of the play. The Presenter ...
... What have been his titles to fame? What his friendships? Or what his private friends, and what act of bravery has he performed in conducting these feuds? With what motive has he entered into feuds? With what loyalty, goodwill, and 55.
... Act 2 the focus is still firmly on the evil deeds of the villain; the character of the verse is what we have now come to expect: generally regular, lightly end-stopped, but with the occasional significant variation. It is schematic ...
Contenido
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 |
Otras ediciones - Ver todas
The Plays of Christopher Marlowe and George Peele: Rhetoric and Renaissance ... Brian B. Ritchie Vista previa limitada - 1999 |