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In Modern English, EACH OTHER and ONE ANOTHER are morphologically fixed as reciprocal compound pronouns. The reciprocal construction has been developed and used in every period of the English language. The main purpose of this study, nevertheless, was to investigate the ways to express the notion of reciprocity in Middle English and Early Modern English.The morphological analyses of the citations demonstrate that Middle English employed a great variety of head words and phrases than does Modern English in reciprocal structures. EACH, EITHER, EVERY, and ONE most frequently appear as head words of Middle English reciprocal construction, and OTHER usually occurs as a subsequent elements. OTHER, however, may also serve as the head word. Middle English also permits EACH MAN, ILLC MANN, EACH ONE, ILLC ONE, EVERY MAN, EVERY ONE, and THE ONE to function as head phrases. In Early Modem English, Malory employs various structures in his writings, but he prefers EITHER, EITHER OF (US, YOU, THEM) as the head of reciprocal patterns. Shakespeare, nevertheless, more frequently uses ONE as the head word.In Middle English, according to the data, the reciprocal sequence (EACH, EITHER, ONE) / OTHER stands in subject position in twenty examples between c. 1200 - c.1450. Rarely, however, do the pronouns function as a compound subject (subject / complement). The underlying structure of the sentence pattern SOV, nevertheless, is SVO. The need to rhyme, therefore, may cause the change of the word order in the period.(EACH, EITHER, EVERY, ONE, OTHER) may be compounded with the pronoun OTHER in forty examples between c. 1285 - c.1513, but the sequence most frequentlyoccur as direct / indirect object. (EACH, EITHER, EVERY, ONE, OTHER) + OTHER functions as object of preposition in four examples between c.1328 - c.1440.The modem usage of EACH OTHER as a compound object is established in Early Modern English learned, imaginative texts, and the use of ONE ANOTHER as the compound direct object and object of preposition are being established in that period.Since the rules for compounding reciprocal pronouns and for their morpho-syntatic features were not restrictly established before the time of Shakespeare, OTHER could function as an uninflected, separable pronoun in Middle English. In position except modification. the development of OTHER as a nominal occured after Middle English except where the head word is ONE. In Modem English, OTHER must be used as a nominal if the reciprocal pronouns are not compounded. / Department of English

Chapter 1 considers Barclay's 'Ship of Fools' in relation to other folly literature in English, particularly Lydgate's 'Order of Fools', Skelton's 'Bowge of Courte', and 'Cocke Lorrel's Bote'. Motifs, allegories and the woodcuts of the text are discussed and some are included in an Illustrations section. Chapter 2 discusses Erasmian folly looking back to the Neoplatonic writings of Nicholas of Cusa, and to the debt Erasmian exegeses owe to Origen. Erasmus' own philosophical and theological views are examined, particularly as they are found in his 'Enchiridion', and in the influence of Thomas à Kempis' 'Imitation of Christ'. A close textual analysis of the 'Moriae Encomium' is undertaken in this light. Chapter 3 defines the lateral boundaries of folly, where it blends into madness. In the context of Renaissance psychology sixteenth century medical works are analysed, including Boorde's 'Breviary of Healthe', Barrough's 'Method of Physicke' and Elyot's 'Castel of Helth'. Blurring between madness and sin, the negative judgments on the mad as demon-possessed, and the biblical models from which such judgments largely arose give alternative perspectives on madness and its relation to folly. Chapters 4-6 look at three Shakespearean comedies showing the development of a primarily Erasmian view of folly. This moves from overt references in 'Love's Labour's Lost' to natural folly, the folly of love and theological folly, through carnivalesque aspects of folly and madness in 'Twelfth Night', to an embedded notion of folly which influences and affects the darker comedy of 'Measure for Measure'. Chapter 7 considers satires of Hall, Marston and Guilpin, and looks at Jonson's Humour plays in this context. 'Volpone' and 'Epicoene', and 'The Alchemist' and 'Bartholomew Fair' are discussed in pairs, showing the softening of Jonson's attitude to folly, and his increasing representation of Erasmian folly reaching its full expression in 'Bartholomew Fair'.

This is a study of the translation and reception of the Roman historian Livy in the sixteenth century in the British Isles. The thesis examines five major translations of Livy's history of Rome, the Ab Urbe Condita, into the English and Scottish vernaculars. The texts considered here span from the earliest extant translation of around 1533 to the first, full-scale translation published in 1600. By taking a broad view across the century, the thesis uncovers the multiple and versatile uses to which Livy was being put and maps out the major trends surrounding his reception. The first chapter examines Livy's initial reception into print in Europe, outlining the attempts of his earliest editors to impose a critical order onto his enormous work. The subsequent chapters consider the respective translations undertaken by John Bellenden, Anthony Cope, William Thomas, William Painter, and Philemon Holland. Each translation is treated as a case study and compared in detail with the Latin original, thereby revealing the changes Livy's history experienced through the process of translation. By locating these translations in the cultural and political contexts from which they emerged, this study reveals how Livy was exploited in some of the most pressing debates of the period, from arguments over women's apparel to questions of faith. The thesis also considers how these translations responded to the most recent developments in European scholarship on the Ab Urbe Condita and on classical history more generally. Livy's contribution to the development of Scottish historiography is also considered, both as a stylistic model and as a rich source of narrative material. Ultimately this thesis demonstrates that Livy played a fundamental though hitherto underexplored role in the development of vernacular literature and historiography in the British Isles.

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This thesis offers an edition of the English and Latin poems found in MS. Folger bd with STC 22957, attributed to Henry Vaux (c. 1559—1587), a recusant, priest-smuggler, and child prodigy. THE TEXT of the edition is preceded by an introduction comprising three parts: a GENERAL INTRODUCTION describing Vaux‘s socio-historical and biographical context; a CRITICAL INTRODUCTION describing the Medieval and Early Modern literary contexts of Vaux‘s poems and the forms, traditions, topoi, and conventions adhered to in them; and a TEXTUAL INTRODUCTION describing the seventeenth-century manuscript copy of the poems used as the source text and explaining and justifying the editorial decisions made. Textual variants and instances of doubtful authorship are also discussed. THE TEXT itself is presented in the original spelling of the MS. and is a diplomatic edition: the scribe‘s use of characters that are now defunct (such as long ‗s‘ and ‗=‘ for ‗-‘) has not been modernised. A critical apparatus is provided with THE TEXT. THE TEXT is followed by an extensive COMMENTARY, which glosses un-usual or archaic words and phrases, points out allusions and their likely sources, discusses literary forms and conventions which inform the reading of the po-ems, and observes peculiarities in poetic metre. Translations and commentary are offered for Vaux‘s Latin poems. The five appendices following the COMMEN-TARY comprise a MODERNISED TEXT of the poems, a FACSIMILE OF THE FOLGER MS., a SUBSEQUENT HISTORY OF THE VAUX FAMILY after Henry Vaux‘s death, a text JOHN OF PECHAM‘S PHILOMENA PRAEVIA (a text which informs the reading of Vaux‘s ―A complaint to the Nightingale‖) along with a parallel translation by me, and transcriptions of TEXTUAL VARIANTS. A BIBLIOGRAPHY of works cited, re-ferred to or consulted follows the appendices. A comprehensive GENERAL INDEX of subjects, people, places, and literary works and forms follows this, and an IN-DEX OF FIRST LINES AND TITLES of Vaux‘s poems completes the edition.

Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. This thesis is an attempt to re-moor a work of literature to its authorial origins; particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. Although there is a significant overlap between the real-life Herrick and the Hesperidean Herrick, the two figures cannot be regarded as identical. Instead, Herrick‘s deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances provide him with a semi-fictionalised way of declaring who he understands himself to be and how he wants himself to be understood. At the same time, the rich classical mythological associations of Herrick‘s title, Hesperides, declare his status as an inheritor of the classical literary tradition, whose hallmark during the Renaissance was the melding of classical, Christian and secular associations into new and complexly polyvalent literary works. For example, Herrick‘s appropriation of the classical mythological figure of Hercules provides him with both a narrative way and an allegorical way of reconciling the so-called secular, or profane poetry of Hesperides with the so-called religious, or divine poetry of Noble Numbers. In Noble Numbers, Herrick reveals new facets of his self-presentation to the reader, whilst also making explicit the theological congruencies between the two works. Herrick‘s religious self-presentation demonstrates his expansive scholarly interests, as well his instinct to include, rather than to exclude, the religious beliefs of others within his syncretistic sense-of-self. Finally, the placement of Noble Numbers after Hesperides is not a signal that Herrick privileged the former, or took his religion less seriously than he did his love for classical poetry, but rather that in Herrick‘s understanding of his world, man‘s fleeting glimpses of God in the secular sphere give way to a fuller comprehension of Him in the divine sphere.

This thesis examines the social politics of literary production at London's Inns of Court from 1572 to 1634. Pierre Bourdieu's concepts of cultural production are widened beyond his own French academic context so that the Inns may be located as institutions central to the formation of literary and, in particular, dramatic culture in early modern London. A significant part of Bourdieu's research has concerned the establishment of a foundation for a sociological analysis of literary works. The literary field, Bourdieu argues, is but one of many possible fields of cultural production—social networks of struggle over valued economic, cultural, scientific, or religious resources. As a historically constituted arena of activity with its own specific institutions, rules, and capital, the juridical field of early modern London was a competitive market in which legal agents struggled for the power to determine the law. Within this field, the Inns of Court served as unchartered law schools in which the valuable cultural currency of the common law was transmitted to the resident students, whose association with this currency was crucial for their pursuit of social prestige. Focusing on the four Inns of Court as central institutions in the juridical field and their relationship with the larger political and economic forces of London, that is, the field of power, the thesis demonstrates how the literary art associated with these institutions relates to the students' struggle for social legitimation, particularly in their interaction with the City and the Crown. By demonstrating how the structures of literary texts reflect the structures of the relationship between the Inns and other centers of urban power, this analysis examines the pivotal role(s) played by law students in the development of London's literary culture. / Arts, Faculty of / English, Department of / Graduate

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