John Marston’s literary legacy has inevitably existed in the larger-than-life shadows of his great contemporaries William Shakespeare and Ben Jonson. In the last two centuries, his works were hardly taken on their own terms but were perceived instead in overt or implicit comparison to Shakespeare’s or Jonson’s. As a result, Marston’s plays acquired the lasting but unfair image of haphazard concoctions whose cheap sensationalism and personal satire often got them in trouble with the authorities. This was the case until recently, especially with Marston’s comic drama. Following revisionist trends, this study sets out to restore some perspective: it offers a fresh reading of Marston’s comic plays and collaborations—Antonio and Mellida, What You Will, Jack Drum’s Entertainment, The Dutch Courtesan, The Malcontent, Parasitaster, Eastward Ho, and Histrio-Mastix—by pursuing a more nuanced contextualization with regard to religious context and archival evidence. The first central contention here is that instead of undermining political and religious authority, Marston’s comic drama can demonstrate consistent conformist and conservative affinities, which imply a seriously considered agenda. This study’s second main point is that the perceived failures of Marston’s comic plays—such as tragic elements, basic characterization, and sudden final reversals—can be plausibly read as deliberate effects, designed with this agenda in mind. The significance of this analysis lies in its interpretation of Marston’s comedies from the angle of religious and political conformism, which argues for an alternative identity for this playwright. The discussion opens with a presentation of Marston’s early satirical books as texts informed by a moderate Church of England Protestantism, yet coinciding at times with some of Calvin’s writings, and by a distrust of the individualistic tendencies of the English Presbyterian movement as well as the perceived literal ritualism of the old Catholic faith. On this basis, it then proceeds to reveal an identical philosophy behind Marston’s comic plays and collaborations. Antonio and Mellida and What You Will are interpreted to dramatize the human soul’s dependence on God’s favourable grace; Jack Drum’s Entertainment and The Dutch Courtesan to insist on the acknowledgement of God in romantic desire; The Malcontent and Parasitaster to present the dangers of the political immorality; and Eastward Ho and Histrio-Mastix to argue for the necessity of edifying occupations for the wayward human will. In its conclusion, this study further highlights Marston’s bias for political and religious individual obedience to established hierarchies and his suspicion of the early modern forces of change. The conformist identity that emerges from the present discussion is consistently supported by the archival evidence surviving from the playwright’s life. Thus, Marston’s comic drama can be interpreted as the result of carefully considered and skilfully implemented political and religious ideas that have been neglected so far.

There has been a great deal of research into Victorian religious ideas and organisations carried out in recent years. However, the research tends to focus on areas in which evidence is most manageable - that is, on denominations and sects which have a relatively limited and well-defined membership, or, if the Church of Ireland is concerned, on the activities of the professional full-time representatives of the Church, the clergy. In choosing to study the role of the laity in the Church of England, I have attempted to extend the circle of research a little further from the centre towards which it ordinarily tends to contract. [continued in text ...]

Historians often describe how the ideas of national identity, race, religious affiliation, and political power greatly influenced the development of societies in colonial America. However, historians do not always make clear that these ideas did not exist independently of one another. Individuals in colonial Americans societies often conflated and incorporated one or more of these ideas with another. In other words, individuals did not always think of national identity and race and religious affiliation as independent entities. The specific case of the Reverend Morgan Godwyn illuminates just how connected these ideas were in the minds of some colonial Americans. As a minister in the Church of England, Godwyn spoke and wrote within an overtly religious context. His words, however, reveal that to him, religion and politics, national identity and race and ethnicity, could not be unpacked and viewed separately-each heavily influenced the others. Godwyn used his position as a cleric to challenge the authority of English colonial elites. He attempted to convince the English public of the necessity of reining in the growing powers of colonial elites in order to preserve the authority of the English monarch and the Church of England clergy. From studying Morgan Godwyn, one can see how complex and convoluted ideas-and simultaneously important-ideas of national identity, race, religion and political influence were in seventeenth-century colonial American societies.

Much work has been done over the last fifty years in the study of the English ecclesiastical courts. One court that thus far has escaped much significant scholarly attention, however, is the one located in Chester, England. The author analyzes the acta of that court in order to determine what types of cases were being heard during the years 1540-42. His analysis shows that the Chester court did not deviate significantly from the general legal and theological structure and function of Tudor church courts of the period.

No description available.

This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.

No description available.

Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.

The Church of England was at a crossroads in 1914 as the First World War began. The war was seen as an opportunity to revitalize it and return it to its role of prominence in society. In comparison to other areas of study, the role of the Church of England during this time period is inadequately examined. Primary sources including letters, diaries, contemporary newspaper accounts and pastors' sermons were used. Also secondary sources provided background and analysis about the people, events and movements of the time. A handful of papers and journal articles that specifically dealt with a particular aspect of the research provided some analysis. This thesis examines the Anglican Church as the war began and during the war both domestically and at the front in order to judge the response it made to the war.

The "beauty of holiness," the ceremonialist agenda of the Laudians during the Personal Rule of King Charles I (r.1625-1649), was in many ways a serious shift from and challenge to the devotional and theological ethos that had dominated the Church of England since the 1570s. So stark was this shift that scholars today regularly cite the rigid enforcement of the "beauty of holiness" as one of the precipitating causes of the English Civil Wars that broke out in 1642. The rise of Laudianism, then, and its claim on the character of the nation's established church, the church's devotional life, and England's confessional identity, was no small matter. Perhaps the most understudied aspect of the Laudian movement was the way this circle of clergy argued that their program for the church was neither a challenge nor, for that matter, innovative. Recent historians have described how the Laudians used various rhetorical strategies to present their vision as perfectly orthodox, a mere restatement of old-fashioned principles and practices long enjoyed since the happy reign of Queen Elizabeth (r.1558-1603). Developing arguments from scripture, from the practice of the early church, or simply the more obvious need to worship God with reverence, the Laudians shifted their apologetic strategies depending on the moment. This project considers in detail a particular Laudian strategy - the appeal to precedents from the Elizabethan church. In addition to reflecting on the malleable nature of history in the early modern period and on the character of what one might call the rhetoric of conservatism, this project reveals the power of the image of Elizabeth Tudor in seventeenth century religious polemics. This dissertation is concerned not so much with Puritans, but rather with two groups who both claimed to be conformists and who both based that claim on adherence to Elizabethan principles. Both Laudians and, as one scholar describes them, "old style" conformists both claimed ownership of a legitimating Elizabethan past and thus ownership of a normative identity. At a broad level, my research seeks to understand a moment of religious and social change and how that change was persistently negotiated by recourse to history. My goal is to consider the way the Laudians appropriated the image of Elizabeth for their own designs. This examination does not end with the reign of Charles, however. The Laudian claim of true conformity and denial of innovation did not end when civil war erupted in 1642 or even when the king was executed in 1649. One finds this historical claim in the mouth of Archbishop William Laud at his trial for treason. Likewise, one finds during the Cromwellian Protectorate in the 1650s the rise of full historical enterprises, not simply the invocation of history in polemic. When the monarchy was restored in 1660, works by the Laudian historian Peter Heylyn were ready for Royalist consumption and, as one might suspect, they offer an interpretation of the past that legitimates the Laudian program and brands its opponents as foreign and dangerous. This type of literature was polemic under the form of history. Yet we cannot casually dismiss such arguments as simple propaganda. We must understand them instead as alternative readings of the past, stories that contemporaries told themselves and which worked to confirm a particular vision of the world. My project, in sum, will offer an assessment of the way historical claims functioned within the discourse of religious and political legitimacy at a time of intense religious and political strife. My concluding argument is that the tradition known as Anglicanism, while it had a long gestation, was born not in the reign of Elizabeth or even in the early Stuart period, but rather at the Restoration in 1660 when Charles II came to the throne and a particular vision of what it meant to be a loyal conformist achieved canonical status.