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3 septembre 2018
- handle: 10670/1.2yof9d
- isbn: 9782878542950
- eisbn: 9782878548594
https://www.openedition.org/12554 , info:eu-repo/semantics/openAccess
Mots-clés
Renaissance plaisir diable féminin enfers Literature, British Isles Medieval & Renaissance Studies LIT019000 DSBDSujets proches
Revival of letters Renaissance--Europe Renaissance--History Lucifer Satanael Satanail Beelzebul Satan Beelzebub Civilisation de la Renaissance Renaissance (subdivision chronologique) +* 1400......- 1599......+:1400-1599: (Renaissance) Lucifer Tentateur (démon) Belzébuth Démon Esprit du Mal Séducteur (démon) Bélial Adversaire (démon) Ange déchu (démon) Prince des ténèbres Malin (démon) Prince de ce monde Esprit malin Prince des démons Béhémot Béelzéboul Béelzébuth Béliar SatanCiter ce document
Claire Balderman, « “Musicke in some ten languages” : les musiques du diable dans le théâtre élisabéthain », Presses Sorbonne Nouvelle, ID : 10670/1.2yof9d
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The devil’s music in Elizabethan drama is a highly ambivalent one. The devil is an outstanding musician able to produce very melodious vocal and instrumental music, but he is also associated with characteristic cacophonies and with such “lewd” dances as the antic, coranto or volta. Nevertheless, the music of the devil cannot be reduced to such cut-and-dried opposition, since its main feature is its polyvalence. Whatever the means, the end is always the same — incantare, i.e. to seduce or enchant by the means of music and song.