Inaug.-diss.--Leipzig. / "Die vorliegende Untersuchung ist nur ein Teil der Dissertation ... Die gesamte Arbeit wird unter dem Title: 'Congreve und Molière' binnen kurzem ... erscheinen." Vita.

This paper is a study of the differences in orthography which are found in contrasting late seventeenth-century written English with that of today.

Thesis (M.A.)--University of Detroit, 1936. / "June, 1936." Includes bibliographical references (p. 97-99).

Reproduction de : Thèse de doctorat : Etudes anglaises : Lyon 3 : 2004. / Titre provenant de l'écran-titre. Bibliogr. Index.

Diss.: Geisteswissenschaftlichen Fakultät: Salzburg: 1978. Bibliogr. p. 230-242.

Thesis--Salzburg. / Summary and vita in German. Includes bibliographical references (p. 220-242).

Thesis--Salzburg. / Summary and vita in German. Includes bibliographical references (p. 220-242).

Thesis (Ph. D.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaves 192-203).

Considering the comedies of the Restoration, and those of Congreve in particular, as the prototype of the comedy of manners and as the model for Sheridan later to revive and emulate, this thesis proposes to point out how the concepts of morality and wit have been a major obstacle to literary critics in analyzing the comedy of manners from its very beginnings, to discuss morality and wit as the basis of a proper evaluation of the comedy of manners both from the standpoint of seventeenth-century precepts and those of a century later, and, finally, to show how, during the early periods in which the comedy of manners flourished,--that of Congreve, 1693-1700; and of Sheridan, 1775-1779--morality and wit were modified and used to suit the divergent sociological and psychological conditions of each period.

The faculty of judgment, whether aesthetic, political, or moral, held a central position in the life of eighteenth-century England. This dissertation reveals the political ideologies underlying the aesthetic judgments (made by composers, audiences, and characters) in a repertoire of masque settings of William Congreve's libretto, The Judgment of Paris from 1701 to 1742. / Chapter One provides an introduction to English political history in the early to mid-eighteenth century, in particular the Parliamentary strife which existed between the Whig and Tory parties, and documents the influence of politics on cultural production and aesthetic ideology. Chapter Two outlines the events surrounding the "The Prize Musick" competition including the circumstances of its inception, sponsors, competitors, and outcome. This chapter also discusses Congreve's ties to the Whig party and the structure and content of his libretto. Chapter Three analyses and compares the settings of the original extant settings from the competition by Daniel Purcell, John Weldon, and John Eccles with emphasis on their relative strengths of orchestration, harmonic structure, and motivic content. In Chapter Four new settings of Congreve's libretto, dating from the 1740s, by Giuseppe Sammartini and Thomas Arne are analysed and compared, both to each other and to the earlier "Prize" settings. This chapter also discusses the rise of other dramatic works based on similar "judgment" or "choice" plots such as Handel's The Choice of Hercules. Finally, Chapter Five outlines the historical function of music and aesthetic judgment in maintaining an orderly society and the role of The Judgment of Paris settings in fulfilling this function.