Contrary to the widespread assumption that Elizabethan drama grows out of an essentially homiletic tradition, The Tudor Play of Mind proposes that many important plays—including such diverse works as Gorboduc, Endimion, Tamburlaine, The Spanish Tragedy, Every Man in His Humour, and Bussy D’Ambois—are informed by the ancient rhetorical tradition of posing questions and arguing them in utramque partem emphasized in humanist education. This accounts for the complex and often ambivalent responses they demand. In support of this thesis, Joel B. Altman shows how abstract debate questions were developed into increasingly subtle mimetic fictions in the sixteenth century. He discusses the significance of this process for the drama through detailed analyses of early debate plays, the Terentian commentaries and English comedy, Lyly's court allegories, Senecan tragedy, and the experimental plays of Marlowe. Altman’s argument that Tudor playwrights offered their audiences dramatized inquiries will profoundly affect our interpretation of individual plays and our assessment of the larger cultural function of drama in the period. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1978.
Shakespeare’s dramatis personae exist in a world of supposition, struggling to connect knowledge that cannot be had, judgments that must be made, and actions that need to be taken. For them, probability—what they and others might be persuaded to believe—governs human affairs, not certainty. Yet negotiating the space of probability is fraught with difficulty. Here, Joel B. Altman explores the problematics of probability and the psychology of persuasion in Renaissance rhetoric and Shakespeare’s theater. Focusing on the Tragedy of Othello, Altman investigates Shakespeare’s representation of the self as a specific realization of tensions pervading the rhetorical culture in which he was educated and practiced his craft. In Altman’s account, Shakespeare also restrains and energizes his audiences’ probabilizing capacities, alternately playing the skeptical critic and dramaturgic trickster. A monumental work of scholarship by one of America’s most respected scholars of Renaissance literature, The Improbability of Othello contributes fresh ideas to our understanding of Shakespeare’s conception of the self, his shaping of audience response, and the relationship of actors to his texts.
Contrary to the widespread assumption that Elizabethan drama grows out of an essentially homiletic tradition, The Tudor Play of Mind proposes that many important plays—including such diverse works as Gorboduc, Endimion, Tamburlaine, The Spanish Tragedy, Every Man in His Humour, and Bussy D’Ambois—are informed by the ancient rhetorical tradition of posing questions and arguing them in utramque partem emphasized in humanist education. This accounts for the complex and often ambivalent responses they demand. In support of this thesis, Joel B. Altman shows how abstract debate questions were developed into increasingly subtle mimetic fictions in the sixteenth century. He discusses the significance of this process for the drama through detailed analyses of early debate plays, the Terentian commentaries and English comedy, Lyly's court allegories, Senecan tragedy, and the experimental plays of Marlowe. Altman’s argument that Tudor playwrights offered their audiences dramatized inquiries will profoundly affect our interpretation of individual plays and our assessment of the larger cultural function of drama in the period. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1978.
Shakespeare’s dramatis personae exist in a world of supposition, struggling to connect knowledge that cannot be had, judgments that must be made, and actions that need to be taken. For them, probability—what they and others might be persuaded to believe—governs human affairs, not certainty. Yet negotiating the space of probability is fraught with difficulty. Here, Joel B. Altman explores the problematics of probability and the psychology of persuasion in Renaissance rhetoric and Shakespeare’s theater. Focusing on the Tragedy of Othello, Altman investigates Shakespeare’s representation of the self as a specific realization of tensions pervading the rhetorical culture in which he was educated and practiced his craft. In Altman’s account, Shakespeare also restrains and energizes his audiences’ probabilizing capacities, alternately playing the skeptical critic and dramaturgic trickster. A monumental work of scholarship by one of America’s most respected scholars of Renaissance literature, The Improbability of Othello contributes fresh ideas to our understanding of Shakespeare’s conception of the self, his shaping of audience response, and the relationship of actors to his texts.
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