The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama

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The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama

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Like the self, and like rhetoric, probability is present as an accretion that nevertheless erases the process through which it came into being. And probability is what makes persuasion possible. His scholarship is a pleasure to witness, and difficult to paraphrase. I am not that I am: So might the terms of rhetoric say to us, even today. What about some of those surprisingly un-self-identical terms we began with — invention, circumstances, evidence? To return to invention, as several scholars recently have: There were five elements to classical rhetoric as it was practiced by a Roman orator such as Cicero — inventio , dispositio , elocutio , memoria , and pronuntiatio.

Today, when we think of rhetoric, we tend to think of only one of these five branches: elocutio. In fact, for Cicero and Quintilian and the anonymous author of the Rhetorica ad Herennium , and for the renaissance humanists who took up their methods, it was inventio — the invention of subject matter, or the finding of plausible arguments — that took priority.

Rhetoric meant discovering what to say, not only how to say it. In a vivid set of introductory chapters, Skinner usefully synthesizes the historical argument that has underpinned much of this kind of scholarship, at least since T.

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That is to say, Shakespeare himself thought of his poem as the beneficiary of an epistemological method — one that also produced logical arguments and convictions in the courtroom — more than a feat of style. The plots often seem odd, overly complicated; even confused. Think of Two Gentlemen of Verona , whose scattershot contradictions about events and settings have led another critic, Adrian Kiernander, to suggest that the play would be more accurately titled Nonconsensual Sex Somewhere in the Vicinity of Milan.

What kind of time exists where these characters do? But unlike Shakespearean character , Shakespearean circumstance has been little considered as a source for this lifelikeness.

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In Lucrece , the heroine explicitly contemplates the best forensic rhetorical strategies and devices for convincing her husband and her audience of the crime committed against her — mimesis , descriptio , narratio? When Lucrece sees how easily evidentia language with vivid and especially visual clarity, with subjective appeal can and will become our notion of evidence things outside of language, thought to be objective, even empirical — when Lucrece sees, in other words, both the power and the mutability in rhetoric, in her means of persuasion and her means of survival — she would rather renounce her life than live it.

Such are the losses of rhetoric.


  • Czasopismo zatwierdzone;
  • The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama.
  • Wild Marjoram: The Vote (Stop 1 on the Uproar in The Broken Apple Road Trip);
  • Dont Sleep With Your Drummer.
  • Matthew Ritger is a graduate student in the English department at Princeton University.

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