Tragedy At Law
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Tragedy at Law follows a rather self-important High Court judge, Mr Justice Barber, as he moves from town to town presiding over cases in the Southern England circuit. When an anonymous letter arrives for Barber, warning of imminent revenge, he dismisses it as the work of a harmless lunatic. But then a second letter appears, followed by a poisoned box of the judge's favourite chocolates, and he begins to fear for his life. Enter barrister and amateur detective Francis Pettigrew, a man who was once in love with Barber's wife and has never quite succeeded in his profession - can he find out who is threatening Barber before it is too late?
This book, the first to trace revenge tragedy's evolving dialogue with early modern law, draws on changing laws of evidence, food riots, piracy, and debates over royal prerogative. By taking the genre's legal potential seriously, it opens up the radical critique embedded in the revenge tragedies of Kyd, Shakespeare, Marston, Chettle and Middleton.
It is 1900 and Marion Marlowe is now a nurse at the Charity Hospital. She had passed through many trials since she came to the city, acting the part of heroine on several occasions, yet each time withdrawing herself and her noble deeds as rapidly as possible into the background so as not to attract too much attention. Her sister, Dollie, has also moved into the city where she has found work as a secretary with a company of lawyers. An old friend Bert decides to visit Dollie and calls upon her at the office, where social calls are frowned upon. She finds Bert has been rescued from poverty and has been adopted by a wealthy gentleman, who offers him the world. He is in town to find Marion and intends proposing to her – now that he is being educated and will soon be wealthier than he could imagine. However, Bert is disappointed to find Marion is already spoken for. Dollie has not quite realised that her employer, Mr Atherton, is sweet on her and could be blindly walking into what could become a messy social situation. Marion finds Dollie at lunch with her employer, whose intentions she challenges. Only then does Dollie realise what is going on. Dressed down and found out, Mr Atherton retreats. An old gentleman overhears the exchange and congratulates them on their win. But who is George Colebrook? What happened between him and Marion and what has he played in their past and what role will he play in their futures? 10% of the profit from the sale of this book will be donated to charity. ============= KEYWORDS-TAGS: Marion Marlowe, Noble, Deeds, Works, Allyn, Archie, Ass, Atherton, Belle, Bert, Beauty, Body, Breasts, Brookes, cat, carriage, doctor, Dollie, employer, friend, girl, Greenaway, heart, Horseless Carriage, Charity Hospital, hospital, Island, Jackson, laughing, lawyer, lawyer, love, Manhattan, Marion, Marion’s, Marlowe, money, Motor Car, nurse, poor, prison, pussy, Ralph, Ray, Reginald, sister, sweetheart, wife, woman, young, Grace Shirley
This re-visioning of the Marlowe canon aims to explain the ambiguous effects that readers have long associated with Marlowe's signature. Marlovian tragedy has been inadequately theorized because Marlowe has too often been set under the giant shadow of Shakespeare. Grande, by contrast, takes Marlowe on his own terms and demonstrates how he achieves his notorious moral ambiguity through the rhetorical technique of dilation or amplification. All of Marlowe's plays end in the conventional tragic way, with death. But each play, as well as Hero and Leander, repeatedly evokes the reader's expectations of a tragic end only to defer them, dilating the moment of pleasure so that the protagonists can dally before the "law" of tragedy.
Adjudication between conflicting normative universes that do not share the same vocabulary, standards of rationality, and moral commitments cannot be resolved by recourse to traditional principles. Such cases are always in a sense tragic. And what is called for, in our pluralistic and conflictual world is not to be found, as many would suppose, in an impersonal set of procedures with which all participants could be treated as having rationally agreed. The very idea of such a neutral system is an illusion. Rather, what is needed, Julen Etxabe argues in this book, is a heightened awareness of the difficulty of judgment. The Experience of Tragic Judgments draws upon Sophocles’ play Antigone in order to consider this difficulty and the virtues that attend its acknowledgment. Based on the transformative experience that the audience undergoes in engaging with this play what is proposed is a reconceptualization of judgment: not as it is generally thought to occur in a single isolated moment, like the falling of an axe, but rather as an experience that develops in and through space and time.