To send content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about sending content to .
To send content items to your Kindle, first ensure email@example.com
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about sending to your Kindle.
Note you can select to send to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
In Titus Andronicus, Shakespeare wrestles with the rhetorical and ethical depiction of profound grief. Act Three, scene one pushes to extremes what can be spoken and endured, as the exchange between Titus and Marcus stages a clash of rhetorical traditions. Marcus expresses a Stoical belief in the ability of reason to temper the passions, and a preference for rationally ordered rhetoric. For Titus, the horrors done to his family outstrip Stoic maxims, and his rhetoric and actions become unconstrained, hyperbolic, and unreasonable, evoking the biblical book of Lamentations. Rather than trying to reconcile the competing Roman and Judeo-Christian rhetorical ideas about lamentation found in classical and exegetical literature, Shakespeare translates these contradictions into dramatic conflict. The interplay of classical and biblical rhetoric of lamentation generates a shifting dynamic that renders grief as both stasis and excess, past and future, allowing for a theatrical and philosophical exploration of the lamenter.
This book examines the many and varied uses of apocalyptic and anti-Catholic language in seventeenth-century English drama. Adrian Streete argues that this rhetoric is not simply an expression of religious bigotry, nor is it only deployed at moments of political crisis. Rather, it is an adaptable and flexible language with national and international implications. It offers a measure of cohesion and order in a volatile century. By rethinking the relationship between theatre, theology and polemic, Streete shows how playwrights exploited these connections for a diverse range of political ends. Chapters focus on playwrights like Marston, Middleton, Massinger, Shirley, Dryden and Lee, and on a range of topics including imperialism, reason of state, commerce, prostitution, resistance, prophecy, church reform and liberty. Drawing on important recent work in religious and political history, this is a major re-interpretation of how and why religious ideas are debated in the early modern theatre.