Marlovian Tragedy: The Play of DilationBucknell University Press, 1999 - 221 páginas This re-visioning of the Marlowe canon aims to explain the ambiguous effects that readers have long associated with Marlowe's signature. Marlovian tragedy has been inadequately theorized because Marlowe has too often been set under the giant shadow of Shakespeare. Grande, by contrast, takes Marlowe on his own terms and demonstrates how he achieves his notorious moral ambiguity through the rhetorical technique of dilation or amplification. All of Marlowe's plays end in the conventional tragic way, with death. But each play, as well as Hero and Leander, repeatedly evokes the reader's expectations of a tragic end only to defer them, dilating the moment of pleasure so that the protagonists can dally before the "law" of tragedy. |
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Página 21
... kind which originates in Boccaccio's De casibus virorum illustrium and passes into England through Lydgate's The Fall of Princes . As shown by the popular Renaissance compendium of the genre , the collective work A Mirror for ...
... kind which originates in Boccaccio's De casibus virorum illustrium and passes into England through Lydgate's The Fall of Princes . As shown by the popular Renaissance compendium of the genre , the collective work A Mirror for ...
Página 164
... kind of narrative teasing of the reader's expectations of tragedy has attempted to correct a critical oversight ... kind of oral gratification produced by Marlowe's plays in perfor mance , a kind of vocalized pleasure implicit in the ...
... kind of narrative teasing of the reader's expectations of tragedy has attempted to correct a critical oversight ... kind of oral gratification produced by Marlowe's plays in perfor mance , a kind of vocalized pleasure implicit in the ...
Página 176
... kind [ in this case epic ] are extended to modify another kind " ( 107 ) . The first part of Tamburlaine , taken alone , seems more completely to mix two distinct kinds , de casibus tragedy and epic romance , since the hero does not in ...
... kind [ in this case epic ] are extended to modify another kind " ( 107 ) . The first part of Tamburlaine , taken alone , seems more completely to mix two distinct kinds , de casibus tragedy and epic romance , since the hero does not in ...
Contenido
Acknowledgments | 9 |
Dilation in Hero and Leander | 25 |
Tamburlaines Fortunate Fall | 44 |
Derechos de autor | |
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Términos y frases comunes
Aeneas Aeneas's allusion Anippe argues authoritative authority Barabas Barabas's biblical burlaine Cambridge casibus tragedy Christ Christian Christopher Marlowe classical comic context conventional critics dalliance death Dido Dido and Aeneas Dido's différance dilation dilatory divine echo edited Edward Edward II Elizabethan English Studies epic erotic Essays on Christopher fall father Faustus Faustus's Ferneze filthy Play-maker Fortune Fortune's Frye Ganimed Gaveston genre Hero and Leander hero's heroic Ibid Icarus ironic Jew of Malta Jupiter Jupiter's Kenneth Friedenreich king language Latin law of tragedy literary London lovers lowe's Marlovian Marlovian tragedy Marlowe's Hero Marlowe's play Massacre at Paris Mephostophilis Mirror for Magistrates moral Mortimer Musaeus Musaeus's narrative narrator night Overreacher Ovid Ovid's parody Pelops Phaeton play's pleasure Poetry prologue protagonists reader reading Renaissance Drama Renaissance writers retribution rhetorical scapegoat scene Shakespeare shows speech structure Studies suggests Tamburlaine tion tradition tragic translation University Press vernacular Virgil word York Zenocrate's