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 79
... sense the study of rhetoric can be seen as essentially the recovery of lost knowledge. This is why a knowledge of the pedagogical concerns of the Elizabethans and the rhetorical handbooks which were used (both in the Latin and ...
... sense or another: we can find a host of rhetorical figures in Wordsworth, just as we can in, say, Sidney. But to the Elizabethan, who had such a rigorous education in technique, the use of rhetorical art, if not always a fully conscious ...
... sense of transformation , of power , of originality , of creativity . Again , one feels that Marlowe's Tamburlaine is the apotheosis , the materialization of Erasmus ' ideal on the Renaissance stage . At the same time as rhetoric's ...
... sense cannot conceive.'42 Yet Alexander himself turns out not to be a really passionate lover, for he, as it were, merely participates in the intellectual debate; his affirmations are forced by the playwright into the language of logos ...
... sense is clear and there is a complete absence of either schemes or tropes. Winchcomb is given a high ethical standing without any tricks of language: he is simply described as morally sound and well-beloved. Deloney, however, does not ...
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 |