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Cambridge University Press 978-0-521-51530-6 - Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages Edited by Mary Carruthers Index More information Index Abelard, Peter 133, 160, 174, 250–1, 275 and ductus 215, 216, 228, 239–43 Commentaria in Epistolam Pauli ad and memory 215–16, 231, 233, 239–43 Romanos 252–4 and scholasticism 20–8 Commentary on Boethius’ De differentiis arrangement (dispositio) in 36–8, 229–30 topicis 202, 251 as concept in rhetorical discourse 4, 26, 27, Easter liturgy for Paraclete 256–63 32, 190–1 Letter 5 257–8 borrows rhetorical vocabulary 4, 7, 36–7 on rhetoric 202, 251–63 compared to poetry 26, 190–1 accent see inflection Aristotle 24–5, 131 Accursius (Bolognese jurist) 125 influence of Physics and Metaphysics Ackerman, James S. 40 21–2, 24–5 acting 161–3, 166–7 on epistēmē, téchnē and empeiría 1–2 compared to oratory 10, 127, 157–8 on ethos, logos and pathos 7 masks and 158–9 Rhetoric 2, 7, 36, 127, 128 actio see delivery theory of causality 21–2, 24–5 Adam of Dryburgh (Adam Scot), De tripartite Topics 202 tabernaculo 233, 242 Arnulf of St Ghislain 65 Aelred of Rievaulx (abbot) 124, 133–5 arrangement (dispositio) De spiritali amicitia 134 and ductus 196, 199–206, 229–30, 263 agency as mapping 191–2 of audiences 2, 165–6 Geoffrey of Vinsauf on 190–2 of ductus 199–206 in architecture 36–8, 229–30 of roads 191 personified as ‘Deduccion’ 205–6 of the work itself 201–2 Quintilian on 4, 230 shared by composer and performer 88 see also consilium; ductus; maps, mapping; Agrippa (Roman emperor) 281–3 scopus Aimeric of Angoulême, Ars lectoria 130, 174 Ars amatoria (Ovid) 152 Alan of Lille, Complaint of Nature 73, 74–5 Ars lectoria (Aimeric of Angoulême) 130, 174 Alberti, Leon Battista 41 Ars lectoria (Siguinus) 175 Alcuin, Dialogus de rhetorica et virtutibus 129 Ars major (Aelius Donatus), as a model for Ambrose, St 196 Tinctoris 58–9 Apologia (St Bernard of Clairvaux) 15 Ars memorativa (Laurent Fries) 240 Aquinas, St Thomas 75, 134, 230 Ars praedicandi populo (Francesc Eiximenis) 193 on architects 25 artifex see author, authorship architects 7 artists Aquinas on 25 representations of 100–2 as teachers 28–36 social position 97, 99–102 changing perceptions of 14–28 Athenaeus 128 compared to clergy 23, 27–8 auctor see author, authorship representations of 29–32, 30 audience 139–41, 197–8, 201–2 architecture and letter writing 173–4, 179, 182 311 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51530-6 - Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages Edited by Mary Carruthers Index More information 312 Index audience (cont.) Caesarius of Heisterbach 136 and masks 159, 163 Calboli Montefusco, Lucia 198, 207 and persuasion 4–5, 203–4 Calliopius 165 participation and agency 2, 165–6 Camille, Michael 154 readers as 96, 140 Canterbury Tales (Chaucer) 174 religious community as 236–7 Canticle of Brother Sun (St Francis of Assisi) Augustine of Hippo, St 73, 129 142–3 De doctrina Christiana 126, 142, 193, 274 Carruthers, Mary 73, 194, 256 meditation on Psalm 41 194–5, 230–1 Caviness, Madeline 234 on ductus 230–1 Chartres cathedral see ductus; processions; on music 53 windows, rose; windows, stained glass on scopus 200 Cicero, Marcus Tullius 5, 127, 230 Austin, J. L. 135 De amicitia 133, 135 author, authorship 20–4, 26–7, 76–8, 135, De inventione 199–200, 203, 251, 253 199–200, 201 De oratore 57, 195, 197 Avray, David d’ 22 on delivery 128, 199 on vultus 156–60 Bacon, Roger 3, 60 circles, significance of 281–2 Barsby, John 166 see also windows, rose Baxandall, Michael 33, 211 Claussen, Peter Cornelius 33 Bede, Venerable, Historia Ecclesiastica 281, 300 cognition, distributed 86–8 Bene of Florence 176–82 colon see punctuation on delivery 177–82 color (rhetorical) 4, 176, 196–9, 204–5, 230, 254 on punctuation 179–82 comma see punctuation Benedictine Rule 131, 132 Commentaria in Epistolam Pauli ad Romanos Bernard of Clairvaux, St 133, 136, 250 (Peter Abelard) 252–4 Apologia 15 Complaint of Nature (Alan of Lille) 73, 74–5 Bernard of Cluny, Customary 132 composition Bettini, Maurizio 154 and delivery 175–6, 178–9 Biard, Nicolas de 22–4, 31–2, 36 and performance 76, 78 Boen, Johannes 63–5 rules of 178 Boethius, Anicius Manlius Severinus 7–8, 60 verbs for 203 on persona 161–3 consilium 199–200, 205 Bohun family 96–7 see also ductus Bohun, Humphrey de, seventh earl of correct (recte) and done well Hereford 99, 100–4 (bene) 26, 52, 56 Bohun, Humphrey de, sixth earl of counterpoint, musical see under music Hereford 99 curiosity (curiositas) 15, 83 Bohun, Mary de 99, 104–6 singers admonished against 75 Bolingbroke, Henry (later Henry IV, king of cursus 176, 179–82, 191 England) 99, 104 cursus, liturgical 260–2, 264 Bonaventura, St 204–5, 212, 232 Customary (Bernard of Cluny) 132 Boncompagno of Signa, Rota Veneris 182–3 Boniface IV (pope) 281, 285 Daedalus 15–16 Bony, Jean 38 Daniel, Walter 133–4 books, liturgical, as itineraries 288–9 De amicitia (Cicero) 133, 135 Bower, Calvin 61 De differentiis topicis (Boethius), Abelard’s Bridlington Prophecies 103 commentary on 202, 251 Bromyard, John, Summa 36 De doctrina Christiana (St Augustine of Brunschwig, Jacques 2 Hippo) 126, 142, 193, 274 Burmeister, Joachim 61 De inventione (Cicero) 195, 199–200, 203, 251, 253 cadence 57, 176, 179–80 De oratore (Cicero) 57, 195, 197 deceptive in music 85–6 De spiritali amicitia (Aelred of see also punctuation Rievaulx) 134 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51530-6 - Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages Edited by Mary Carruthers Index More information Index 313 De tripartite tabernaculo (Adam of facies 156–7 Dryburgh) 233, 242 Fassler, Margot 227, 244 Dedicatio basilicae sanctae Maria ad Fitzalan, Joan 99, 104–5 martyres 286–300 Fortunatianus, Consultus 129, 156, 207 delivery (actio, pronuntiatio) 2–3, 10, 126–31 on ductus 195, 196, 197–200, 230–9, 254 actio and pronuntiatio distinguished 124, Francis of Assisi, St 125 126 Canticle of Brother Sun 142–3 and composition 175–6, 178–9 Frankl, Paul 45, 51 Bene of Florence on 177–82 Fredborg, Karin Margareta 26, 202 Cicero on 128, 199 Fries, Laurent, Ars memorativa 240 Geoffrey of Vinsauf on 130, 177, 178, 182 letter writing and 177–84 Geoffrey of Vinsauf 26, 206 Martianus Capella 129 on delivery 130, 177, 178, 182 musical performance as 65–6 on ductus and arrangement 190–2 Quintilian on 129 on invention 190–2 Delusor Terentii 165–6, 167 geometry 3, 29, 36, 232–3, 234, 239 Demosthenes 128 Gervase of Canterbury 15 Dialogus de rhetorica et virtutibus (Alcuin) 129 Gervase of Mont-Saint-Éloi 28 Didascalicon (Hugh of St Victor) 18, 27, 89 gesture (gestus) 125–6, 129, 137–8, 141–2, 178, Dio Cassius 282 182–3 division see punctuation as linguistic system 126 doctor, meaning of the term 31–5 see also sign language; silence Donatus, Aelius 52, 160, 166–7 gestus see gesture Ars major as a model for Tinctoris 58–9 glass, stained see windows, stained glass Douze dames de rhétorique, Les 205–6 grammar ductus 190–206 counterpoint as 54–5, 57, 58, 63 agency of 199–206 music compared to 52 and architecture 215, 216, 228, 239–43 vocabulary shared with music 52 and arrangment 196, 199–206, 229–30, 263 Gregory the Great, St (pope) 134, 284 as liturgy 227–30, 288–9 Grosseteste, Robert 26 Consultus Fortunatianus on 195, 196, Guerric of St Quentin 21 197–200, 230–9, 254 Guilelmus Abbas 155 Geoffrey of Vinsauf on 190–2 journey as metaphor 190, 193–4 Hadrian (Roman emperor) 281–3 Martianus Capella on 195, 196, 197–8, 254 Heito of Reichenau 230 Quintilian on 197, 200–1 Helinand of Froidmont 136 terminolgy of 195–9, 254 Heloise 174, 250–1, 256–63, 275 see also pilgrimage; processions Henri de Mondeville 35–6 ductus figuratus 256, 263, 269, 274 Henry of Ghent 21–2, 24, 27–8, 34 ductus subtilis 203, 254–5, 256, 263, 274 Hildebert of Lavardin, ‘Rome elegy’ 151–6 Dulong, Gilles 83 Hildegard of Bingen 250–1, 264–75 Cum uox sanguinis 264–75 Easter liturgy for Paraclete 256–63 Historia Ecclesiastica (Venerable Bede) 281, 300 Eden, William Arthur 25 Honnecourt, Villard de 20 Eiximenis, Francesc, Ars praedicandi populo 193 Horace 4, 57, 201 Elias of Dereham 19 Hugh of St Victor 233 enargeia 4–5 Didascalicon 18, 27, 89 Quintilian on 4 Hutchins, Edwin 86 Engelbert of Admont 54 Ergom, John see Bridlington Prophecies illumination, manuscript exaggeratio 254, 263 adapted to patron 106, 109–17 expression, facial see vultus as persuasion 96 as punctuation 98 Faba, Guido, Summa dictaminis 175 biblical narratives 106–17 facial expression see vultus marginalia 98, 100, 103–101 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51530-6 - Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages Edited by Mary Carruthers Index More information 314 Index images Dedicatio basilicae sanctae Mariae ad form narrative sequence 232 martyres 286–300 form path through cathedral 216–29, 231 Hildegard of Bingen’s contribution to mental 230–1, 232–3 264–75 representing professions 29–32, 100–2 Paraclete 256–63 see also illumination, manuscript; windows, Paraclete for Easter 256–63 stained glass see also books, liturgical; cursus, liturgical; inductio 202–3 processions inflection, vocal 56–7, 65, 174–5, 180–1 Lucan 152, 153–4 Inglis, Erik 27 Luko, Alexis 57 intentio see scopus Luscius Lanuvius (or Lavinius) 165 invention (inventio) 26–7, 72–4, 77 Geoffrey of Vinsauf on 190–2 Machaut, Guillaume de, Isidore of Seville Remede de Fortune 76 divisions of architecture 37 Macrobius 74 on the classical stage 164 Mâle, Émile 214 Iulius Victor, C.
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    Shadows and the Substance of Shakespearean Drama

    Shadows and the Substance of Shakespearean Drama by Janine Harper A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Janine Harper 2018 Shadows and the Substance of Shakespearean Drama Janine Harper Doctor of Philosophy Department of English University of Toronto 2018 Abstract England in the late sixteenth and early seventeenth centuries was the stage for explorations of the physics of light and its representation in art. Although much critical attention has been paid to this interest in light, there has not yet been sufficient attention to the concurrent fascination with its absence as epitomized by shadows. I argue in this dissertation that the phenomenon of the shadow existed as a powerful trope for artistic and literary expression in the period; I conceive of the Renaissance shadow not, however, just as a figure of negativity or privation, but also as one of doubling and of excess in English usage. My study identifies three prominent and interconnected senses of shadows that are of special importance to Renaissance dramatists such as Shakespeare, Francis Beaumont and John Fletcher, Richard Brome, and John Webster. I investigate debates surrounding the nature of the “shades” of ghosts, familiars, and other supernatural phenomena as they are discussed by natural scientists and demonologists, and as they are staged in Hamlet, Macbeth, and The Late Lancashire Witches. The problems of imitation, subordination, and spectrality that haunt these plays also figure in staged relations of social “shadowing” that obtain between speakers and mediators in Measure for Measure and The Merchant of ii iii Venice, and between masters and servants in The Tempest and The Duchess of Malfi.