The purpose of this thesis is to give a basic understanding of Percy Shelley's introduction to Gothicism and to explore the Gothic elements found within his writings.

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William Percy (1573 - 1648) wrote The Faery Pastorall in 1603 with the expectation that it would be performed before King James, probably when the new king visited. Sion House to thank the Earl, Percy's older brother, for assisting James's efforts to succeed Elizabeth on the English throne. The Faery Pastorall is one of five plays Percy wrote between 1601 and 1603, all of which may have been used as part of the Percy family's backing of James's bid for the crown. The plays remain in three separate manuscripts transcribed by Percy himself in his old age. Two of the three documents, Alnwick Castle MS 508 (1644) and Alnwick Castle MS 509 (1646), remain in the Duke of Northumberland's library, and one, the copy text for this edition, Huntington MS HM4 (1647), is in the Huntington Library in California. Although there is no evidence that any of Percy's plays was ever produced, the plays are valuable to theatre historians, because they include many stage directions and full descriptions of the staging and properties that Percy expected to be at his disposal. This edition of The Faery Pastorall includes an introduction which examines Percy's life, the history and description of the manuscripts, the possibility of the play's performance, its structure and themes, sources and analogues, and the stage directions and list of properties. Also included are an old-spelling version of the text complete with textual notes incorporating substantive variations of all three manuscripts, two appendices incorporating valuable material from the manuscripts not included in the play proper, and a full commentary glossing difficult words and passages.

Percy Grainger collected English folk song only for a short period between 1905 and 1909 as part of the revival of interest in all things English among antiquarians, folklorists, and nationalists. Grainger’s publication of his transcriptions and analysis in the Journal of the Folk Song Society in 1908 is considered one of the most insightful and groundbreaking examinations of English folk song of its time, far removed from the dilettante activities of many other collectors. His article was, however, harshly criticized by the Editorial Committee of the Journal, and Grainger subsequently never again published any significant transcriptions of English folk music. Grainger’s English folk song transcriptions have received their fair share of attention from ethnomusicologists. Thus far, however, no one has examined the connections between this aspect of his musical activities and his modernist philosophy of music. I contend that Grainger’s article contains the seeds of what would eventually become his mature, though never fully realized, musical aesthetic, and that it was this aesthetic that allowed him to examine English folk song in a manner never before imagined by other collectors. This dissertation follows the thread of his aesthetic throughout his numerous musical interests in order to demonstrate the potency of his philosophy as manifest in his examination of folk song in the Journal. To this end, I bring to bear a wide range of critical methodologies, including those of ethnomusicology, aesthetics, and critical theory. Grainger never spelled out with any clarity the fundamental tenets of his aesthetic, but I believe that such an aesthetic can be reconstructed through a broad examination of his writings and his music. Grainger shares his role in this dissertation with many other characters including Benjamin Britten, Evald Tang Kristensen, Cecil Sharp, Bela Bartok, Ferruccio Busoni, and even Jacques Derrida, often even ceding his place in the spotlight to them. This is, however, a crucial occurrence, for as my examination demonstrates, this fully realized version of his aesthetic means that Grainger emerges as a far more important and revolutionary thinker in the history of music than he has thus far been considered.

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