This dissertation examines the formation of marriage in Scotland between the mid-fourteenth century and the late sixteenth century. In particular, it focuses on betrothals, marriage negotiations, ritual, and the place that these held in late medieval Scottish society. This study extends to the generation following the Reformation to examine the extent to which the Reformation influenced the marriage planning of wealthy Scots. It concludes that much of the social impact of the Reformation was not reflected in family life until at least a generation after reform. Scottish society and culture was influenced both by contemporary literature, which discussed the role of marriage formation, and by concurrent events involving high-profile marriages. These helped to define the context of marriage for society as a whole. This work relies heavily on the pre-nuptial contracts of lairds (the Scottish gentry) and nobles, which reflected certain aspects of their marriage patterns and strategies. The context and clauses of an extensive group of 272 Scottish marriage contracts from published and archival collections illuminate aspects of the formation of Scottish marriage, such as the land and money that changed hands, the extent to which brides and grooms were influenced by their kin, and the timelines for betrothals. This study is the only comprehensive work that has been done concerning the formation of marriage in medieval Scotland. The Campbells of Glenorchy and the Carnegie family both provide excellent case studies in which to examine the process of the choice of marriage partners, negotiation of marital arrangements, and the solemnizing of the unions. They also demonstrate the extent to which families were upwardly mobile through marriage. Although, until now, there has been a focus on the political potential of arranged marriage in Scotland, it is clear that there were social and financial advantages to kin groups that carried out careful marriage planning. / SSHRC

This work is a study of Tudor metrical psalmody, an historical genre or literary kind that emerged and flourished during the sixteenth century, consonant with the emergence and progress of the English Reformation(s). Working from the premise that Tudor metrical psalms were at once prayer, "poesie," and polemic, I examine the ways in which these texts participated in the social discourse of the period. / After establishing that Tudor metrical psalmody is a historical genre or literary kind whose five essential characteristics bind its constituent members together, I provide two additional interpretive readings of Tudor psalmody. The second is radically materialist, arguing that the corpus of Tudor psalmody should be deciphered "as a progression of 'symbolic resolutions' of the social contradictions which initially engendered them." In other words, metrical psalm translations of the period are fantasized resolutions of the material and doctrinal struggles of the Reformation. / The third reading approaches Tudor psalmody as a body of devotional works and Confessions of Faith. My point of departure is George Steiner's declaration in Real Presences that "any coherent understanding of what language is and how language performs, that any coherent account of the capacity of human speech to communicate meaning and feeling is, in the final analysis, underwritten by the assumption of God's presence." Conceived and nurtured on the front lines and, indeed, in the midst of the Reformation(s)' bloody altercations, early Tudor psalmody declared itself the vanguard in the struggle to maintain God's presence in the semiotic "prayingfield" by approaching the rite of psalm-translation as one of transubstantiation. Later psalmists of the century mediated the aesthetic demands of "poesie" and the theological priorities of strict Calvinism, thereby establishing a realm of prayer within which we now include works by devotional poets such as Donne and Herbert. / This study is the first comprehensive examination of Tudor metrical psalmody as a literary kind, in addition to being the first sustained exploration of the kind's complicity in Reformation polemics. It also demonstrates that Tudor metrical psalmody underwent an evolution during the course of the sixteenth century fully consonant with the theological and aesthetic developments of the Age. / For ease of reference, I have transcribed and appended to this thesis several psalms to which reference is made within the body of the thesis. / Finally, I acknowledge my indebtedness to Rivkah Zim's ground-breaking volume, English Metrical Psalms: Poetry as Praise and Prayer, 1535--1601 . Considerable inspiration was gained from her work.

John Donne’s poetry has long been famous for its metaphysical conceits, which powerfully register the impact of the “New Philosophy,” yet the question of how his work is implicated in the new forms of knowledge-making that exploded in the early seventeenth century has remained unanswered. “Donne and the Sidereus nuncius” examines the relation between method and metaphor on the cusp of the Scientific Revolution by reading the poetry and prose of Donne in the context of developments in early modern astronomy, anatomy and natural philosophy. I focus primarily on two texts, Ignatius, his Conclave (1610) and the Anniversaries (1611-2), which are linked not only by chronology, but also by their mutual concern with the effects of distorted perception on the process of understanding the universe. Written directly after the publication of Galileo’s Sidereus nuncius (1610), these works offer a historicized perspective on Donne’s changing use of scientific metaphor in relation to the transformative crux of the discovery of the telescope, which provided a startling new optical metaphor for the process of knowing. In this context, “Donne and the Sidereus nuncius” considers the conceptual work performed by scientific metaphor as part of an ongoing transformation from emblematic to analogic figuration. Donne’s search for material that is, in his phrase, “appliable” to other subjects, depends on an analogic conception of metaphor, a comparison that enables new thinking by identifying underlying commonalities between disparate objects. Building on this understanding of metaphor as comparative, I examine Donne’s self-conscious use of metaphors of methodical knowledge making—invention, innovation, anatomy and progress—in the context of instrumental metaphors, such as the telescope, spectacles, perspective, and travel narratives. In doing so, I suggest that Donne’s metaphorical conceits explore the conflict between scientific attempts to discern order in nature and the distorting effects of methodological frameworks imposed on the object of analysis.

John Donne’s poetry has long been famous for its metaphysical conceits, which powerfully register the impact of the “New Philosophy,” yet the question of how his work is implicated in the new forms of knowledge-making that exploded in the early seventeenth century has remained unanswered. “Donne and the Sidereus nuncius” examines the relation between method and metaphor on the cusp of the Scientific Revolution by reading the poetry and prose of Donne in the context of developments in early modern astronomy, anatomy and natural philosophy. I focus primarily on two texts, Ignatius, his Conclave (1610) and the Anniversaries (1611-2), which are linked not only by chronology, but also by their mutual concern with the effects of distorted perception on the process of understanding the universe. Written directly after the publication of Galileo’s Sidereus nuncius (1610), these works offer a historicized perspective on Donne’s changing use of scientific metaphor in relation to the transformative crux of the discovery of the telescope, which provided a startling new optical metaphor for the process of knowing. In this context, “Donne and the Sidereus nuncius” considers the conceptual work performed by scientific metaphor as part of an ongoing transformation from emblematic to analogic figuration. Donne’s search for material that is, in his phrase, “appliable” to other subjects, depends on an analogic conception of metaphor, a comparison that enables new thinking by identifying underlying commonalities between disparate objects. Building on this understanding of metaphor as comparative, I examine Donne’s self-conscious use of metaphors of methodical knowledge making—invention, innovation, anatomy and progress—in the context of instrumental metaphors, such as the telescope, spectacles, perspective, and travel narratives. In doing so, I suggest that Donne’s metaphorical conceits explore the conflict between scientific attempts to discern order in nature and the distorting effects of methodological frameworks imposed on the object of analysis.

This study explores the problem of female defense in relation to the constitution of women as disempowered speaking subjects within the dominant rhetorical structures of early Stuart literature. The discourse of male rhetoricians defines a subordinate place for women in the order of language. The English formal controversy arguments over the nature of women in the sixteenth and early seventeenth centuries similarly deploy tropes of male precedence and female subordination to restrain women in the symbolic order and to inhibit any form of female discourse. In order to construct an effective defense a female apologist must reconstitute herself by working within and subverting these constraints. Early Stuart drama provides numerous instances in which women confront and contest the pre-established limits for female speech in their efforts to defend themselves and/or their sex. However, in the dramas selected for this scrutiny, despite the forceful defense strategies that female characters use in their attempts to negotiate their negative positions in language, they are ultimately marginalized. My final chapter therefore examines the rhetorical strategies whereby in her life and writing one woman author, Elizabeth Cary, successfully appropriated and transformed the gendered tropes into compelling female defenses.

There is no abstract available for this dissertation.

This study offers a comparative repertory-based approach to drama in early modern Lancashire. From 1587 to 1590, the Lancastrian Stanley household accounts record two acting companies’ frequent visits to the Stanley household. The Stanleys were a powerful northern family in the troubled region of Lancashire. The companies, the Queen’s Men and Strange’s Men, were famous, and their patrons, Queen Elizabeth I and Ferdinando Stanley respectively, make their visits to the Stanleys noteworthy. A comparative repertory approach examines how the companies’ repertories treat two contemporary concerns about Lancashire—region and religion. The companies’ repertories treat regional and religious issues differently because of their patrons’ differing political agendas. Strange’s Men’s plays reject characters’ associations to regions and punish religious diversity, and, above all, the plays praise the nobility’s role in protecting the nation. Ultimately, Strange’s Men’s plays promote ideals that suited their patron’s need to demonstrate loyalty to the realm. In contrast, the Queen’s Men’s plays value characters’ associations to regions and allow religious diversity, and, significantly, the plays promote a vision of a forgiving, inclusive monarch. Fundamentally, the Queen’s Men’s plays support Elizabeth I’s campaign to create a unified nation. The implications of this thesis are groundbreaking for the treatment of provincial drama. This repertory-based project demonstrates that Lancashire hosted a lively dramatic tradition and suggests that the Stanley household was a crucial destination for both companies. The discussion of the themes of region and religion shows both patrons negotiated political agendas and religious attitudes in the drama that they sponsored. The repertory-based approach re-examines discounted dramatic material and considers plays as part of overall trends in companies’ repertories. This thesis is the first to extensively compare two acting companies’ repertories and performances in a geographical location outside of London. / Graduate

This thesis sets out, firstly, to establish the relationship "between the known representatives of the textandmdash;the editio princeps of 1652 [1652], Trinity College, Cambridge MSS R.7. 32 and 33 [T], Shrewsbury Public Library MS 295 [S], and a manuscript in the possession of Dr. B.E. Juel-Jensen [J]; and, secondly, to provide, as far as is possible, a readable text of the latest state of revision of the work, and a critical apparatus setting out all the passages from the earlier states of the text that were either altered or omitted during the process of revision. The relationship of the four witnesses of the text, established on the basis of irreversible error and alterations that could only have been authorial, may be represented by the following schema, where X, T, and Z stand for three states of revision: [Diagram omitted from transcription] Readings in the present text have been taken from 1652 except where it is thought to be in error. Errors in 1652 have been corrected with readings from T or J and S, depending on where in the transmissional process error was introduced; in a few isolated cases I have emended the text. The accidental characteristics of none of the representatives of the text have been preserved. Spelling, typography and punctuation have all been brought into line with modern conventions, except insofar as this would involve the introduction of historical inaccuracies. The critical apparatus has been constructed so as to allow for an approximate reading of the early state of the text represented by J and S. I have included in the introduction a schematic representation of the transformations to which the work was subjected. This schema will help to locate the material of J and S as it may be found in 1652 and T. In the introduction I have argued that the commonly accepted title of the work should be replaced with that of the Trinity College, Cambridge manuscript: A Dedication to Sir Philip Sidney. This title is not only in accord with Greville's intentions, but it draws attention to the relationship between the work and Greville's other writings. The introduction also includes brief discussions of the literary traditions of the Dedication, of Greville's sources that have been identified, of the period of composition of the text from before March 1610 till the second half of 1614, and of the prose styles employed by Greville. In the notes, particular textual problems only mentioned in the introduction have been considered. I have also been able, in the limited time available to me, to collect about two-thirds of the material necessary for an adequate commentary on the text.

viii, 290 leaves / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1972

Inaug.-Diss.--Friedrich-Wilhelms-Universität, Berlin. / Vita.