The power of eloquence and English Renaissance literature
著者
書誌事項
The power of eloquence and English Renaissance literature
Harvester Wheatsheaf, 1992
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注記
Bibliography: p. 229-240
Includes index
内容説明・目次
内容説明
This work examines literary criticism in English Renaissance literature in the light of what was possibly the defining characteristic of the period, a belief in the power of eloquence. A consideration of the concept of eloquence itself is a prevailing theme of the book. The first part of the book is concerned with ideas of eloquence from its origins in the myth of Orpheus up to the early 17th century when the humanist emphasis on the importance of rhetoric came under challenge. The meanings of eloquence are explored in terms of its early association with magic, its vacillating relationship with philosophy and the theatre, its role in Renaissance humanism and concepts of selfhood and in its reflection in the Erasmian ideal of "copia". These themes provide a framework for the rest of the book. The second part of the book focuses on Marlowe and Jonson and the relationship between them. The author argues that both dramatists are centrally concerned with eloquence as an instrument of power and with its negative or impotent counterparts, and they also both explore the possibilities and limitations of eloquence in the expression of desire.
目次
- Part 1 Ideas of eloquence: the poetry of Orpheus
- rhetoric - the magic violence of speech
- orators and actors
- satire, the interloper
- Renaissance humanism and the virtue of words
- the bravery of the self
- in pursuit of "copia"
- English - the coming of age
- rhetoric in crisis
- afterword and foreword. Part 2 Marlowe's fascinations: the power of eloquence
- admiring Tamburlaine
- closing spaces
- a view from the cage. Part 3 Rhetoric and satire in the 1590s: Harvey's collisions
- Nashe's turbulence
- Marston's complaint. Part 4 Jonson's plump walkers: streams of humour
- two Thesauruses
- loquacity, and the silence of women
- eloquence and tragedy. Coda: freedom of speech in Shakespeare.
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