Thesis (Ph. D.)--University of Wisconsin--Madison, 1961. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 437-462).

This thesis is an examination of Lancelot Andrewes' (1555-1626) Eucharistic theology which is explored in order to see how far he might act as a catalyst for ecumenism with Rome on the topic of Eucharistic sacrifice. The purpose of the thesis is to develop a fuller exposition of Andrewes' Eucharistic theology as a unique theologian who maintained a view of sacrifice that was denied by Protestants on the continent of Europe and by most within the English Church of his day. In the first four chapters Andrewes' own views are not always juxtaposed to more contemporary views. This is intentional in order to develop his own thought before looking at him as an ecumenical partner on sacrifice. The first chapter explores Andrewes as a theologian within his own context of ecclesiology, placing Andrewes within a more Catholic framework as opposed to Puritanism that was becoming politically influential during the reign of King James I. The second chapter then looks at Andrewes' view of Eucharistic instrumentality where I characterise him as an ‘effectual instrumentalist' over against some contemporary scholars who place him alongside John Calvin who is sometimes described as a ‘symbolic instrumentalist'. I find Andrewes closer to a Catholic framework of instrumentalism. The third chapter further explores Andrewes' view of presence where I conclude that he should be characterised as one holding to an objective view of presence and give him the Cappodocian label as a Transelementationist. This is to emphasise that Andrewes did encourage the faithful to look for Christ in the elements themselves, which goes beyond Christ's presence within the faith of the believer alone. The fourth chapter is the lengthiest chapter as it develops Andrewes' views of sacrifice. I see him as someone immersed in the sacrificial nature of the Eucharist defined within the writings of the Fathers of the first five centuries. It was here that Andrewes is able to be set fully within the framework of a Catholic view of the mystery as the Christian sacrifice offered to God in return for the gift of the Christ-event to the world. Andrewes' description of the offering as containing a propitiatory effect in the application of the forgiveness of sins through ‘instrumental touching' was a unique understanding of someone in the Church of England during the sixteenth and early seventeenth centuries. In the final chapter, I juxtapose Andrewes with Catholic teaching as it is explored in contemporary Catholic theology as well as, perhaps more importantly, within papal documents and authoritative Catholic statements on the sacrifice of the Mass. This is to show how similar Andrewes is in his description of the sacrifice of the Eucharist to Rome and how he goes further in that direction than any of his contemporaries or even modern ecumenical statements in Anglican and Roman Catholic dialogue.

Thesis (Ph.D.) - University of St Andrews, September 2008. / Electronic version restricted until 4th September 2013.

Although it is generally acknowledged that an Elizabethan grammar school education was intensely oral and aural, few studies have approached the literature of its pupils principally in light of such an understanding. There may be good reason for this paucity, since the reading of textual remains in the hopes of reconstituting sound and movement—particularly in non-dramatic literature—will always, in the end, be confronted by an inaudible and static text. Yet for the Elizabethan schoolboy, composition and performance were inseparable, whether of an epistle, a theme, or a translation of Latin poetry. The purpose of this project is firstly to describe the conditions which led to and ingrained that inseparability, and then offer some readings of the poetry, oratory, and drama of those whose voices and pens were trained in the grammar school, here Merchant Taylors’ School in 1560s London. Edmund Spenser, Lancelot Andrewes, and Thomas Kyd all attended Merchant Taylors’ in this period, and their poetry, sermons, and drama, respectively, are treated in the following discussion. It is argued that their texts reflect the same preoccupation with pronuntiatio et actio, or rhetorical delivery, held by their boyhood schoolmaster, Richard Mulcaster. I suggest that delivery provides a unique way of assessing literature in the context of an oral/aural education, largely because its classical and Renaissance rules invariably stipulate that vocal and gestural modulations must follow the emotional and intentional sense of words rather than their literal meanings. Delivery is thus shown to exist at the nexus of orality and literacy, performance and text, wholly absorbed with the concerns of speech, but distinct from language as well. In imagining the physicality of this middle ground within their narratives, it is proposed that Mulcaster’s students recalled an education very often spent stirring the emotions with and for their bodily expression.

My dissertation explores Shakespeare’s negotiation of Reformation controversy about theories of salvation. While twentieth century literary criticism tended to regard Shakespeare as a harbinger of secularism, the so-called “turn to religion” in early modern studies has given renewed attention to the religious elements in Shakespeare and his contemporaries. Yet in spite of the current popularity of early modern religion studies, there remains an aura of uncertainty regarding some of the doctrinal or liturgical specificities of the period. This historical gap is especially felt with respect to theories of salvation, or soteriology. Such ambiguity, however, calls for further inquiry into historical theology. As one of the “hot-button” issues of the Reformation, salvation was fiercely contested in Shakespeare’s day, making it essential for scholarship to differentiate between conformist (Church of England), godly (puritan), and recusant (Catholic) strains of soteriology in Shakespearean plays. I explore how the language and concepts of faith, grace, charity, the sacraments, election, free will, justification, sanctification, and atonement find expression in Shakespeare’s plays. In doing so, I contribute to the recovery of a greater understanding of the relationship between early modern religion and Shakespearean drama. While I share Kastan’s reluctance to attribute particular religious convictions to Shakespeare (A Will to Believe 143), in some cases such critical guardedness has diverted attention from the religious topography of Shakespeare’s plays. My first chapter explores the tension in The Merchant of Venice between Protestant notions of justification by faith and a Catholic insistence upon works of mercy. The infamous trial scene, in particular, deconstructs cherished Protestant ideology by refuting the efficacy of faith when it is divorced from ethical behaviour. The second chapter situates Hamlet in the stream of Lancelot Andrewes’s “avant-garde conformity” (to use Peter Lake’s coinage), thereby explaining why Claudius’s prayer in the definitive text of the second quarto has intimations of soteriological agency that are lacking in the first quarto. The third chapter argues that Hamlet undermines the ghost’s association of violence and religion, thus implicitly critiquing the proliferation of religious violence on both sides of the Reformation divide. The fourth chapter argues that Calvin’s theory of the vicarious atonement of Christ, expounded so eloquently by Isabella in Measure for Measure, meets substantial resistance, especially when the Duke and others attempt to apply the soteriological principle of substitution to the domains of sexuality and law. The ethical failures that result from an over-realized soteriology indicate that the play corroborates Luther’s idea that a distinction must be maintained between the sacred and secular realms. The fifth chapter examines controversies in the English church about the (il)legitimacy of exorcising demons, a practice favoured by Jesuits but generally frowned upon by Calvinists. Shakespeare cleverly negotiates satirical source material by metaphorizing exorcisms in King Lear in a way that seems to acknowledge Calvinist scepticism, yet honour Jesuit compassion. Throughout this study, my hermeneutic is to read Shakespeare through the lens of contemporary theological controversy and to read contemporary theology through the lens of Shakespeare. / Graduate / 2023-11-20