Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.

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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.

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This dissertation examines the manner in which Benjamin Keach used metaphors in his published sermons. The first chapter provides a thorough introduction to the dissertation, including the research objective, methodology, and source materials. Chapter 2 concerns Keach's role as a preacher. In particular, the chapter assesses the formative influences upon Keach's preaching, including the political and religious environment of England in the mid-seventeenth century. Keach's preaching in rural Buckinghamshire as well as his pastoral ministry in London are explored. Chapter 3 contains a survey of Keach's published sermons. These messages are organized into three primary groups: pastoral, doctrinal, and parabolic. Each sermon or collection of sermons is examined for general themes and textual basis. Chapter 4 considers Keach's own understanding of metaphors in general, which is necessary in order to demonstrate the ways in which Keach employed metaphors and perceived the relationship of metaphor to the task of preaching. Keach's Tropologia contains substantial material pertinent to this investigation. Chapter 5 explores the various ways in which Keach interpreted specific metaphors, both metaphors from Scripture and those from his personal experiences. His interpretive method was informed heavily by a commitment to the authority of the Bible. Chapter 6 details the manner in which Keach specifically used metaphors, and his sermons provide many supporting examples. The use of established rhetorical criteria makes possible the task of locating, categorizing, and evaluating the material. Chapter 7 synthesizes the pertinent information from the previous chapters and draws specific conclusions from the research. These conclusions support the thesis of the study and bring the dissertation to an appropriate end. This work contends that Keach utilized metaphors in his sermons as a primary means to enable a greater understanding of the biblical text and to connect readily with the intellect and emotions of his audience. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.