Art reflects the age in which it is produced, and any facet of Art, such as music or poetry, by virtue of this fact, is intrinsically related to other facets. Such an examination as is suggested in the title of this thesis is deemed to be of use to students of English on the ground, then, that literature, or more specifically, poetry, is not an isolated cultural phenomenon which has no relationship to other arts within a given age. In some eras, many similarities exist in the arts; in other ages, fewer. It is my contention that between 1660 and 1760 in England, there were many points of resemblance in poetry and music. The first chapter discusses the approach to be taken in dealing with, similarities in the two mediums noted above, and indicates the limitations of the thesis. Because of the great amount of both primary and secondary source material relevant to the period between 1660 and 1760, the examination is confined to a comparison of certain representative works of Dryden, Purcell, Pope, and Handel. Some secondary source material is also brought into the discussion; as there has been much excellent critical work done both in regard to music and poetry, it is logical to try to bring together in this thesis comments of writers on both arts. Since this dissertation is intended primarily for literary scholars, the first chapter also includes a brief outline of developments in music in England in the post-Elizabethan and Commonwealth years; this inclusion is judged to be necessary in view of the fact that some of the facets of Restoration music relate to works produced in earlier years. The second and third chapters constitute the major part of the examination. The former deals with Dryden and Purcell, and involves (respectively) a consideration of the poetic and musical influences working upon them, the courtly, secular, and occasional nature of their productions, and the presence, in the latter, of the "spectacular," the "magnificent." This portion of the chapter considers ornamentation, such aspects of the arts as theatrical elements, innovation and improvement, form, and manner. Specific works are then discussed; these include Dryden's A Song for Saint Cecilia's Day and Alexander's Feast, and Purcell's setting of Nicholas Brady's ode for St. Cecilia's day, Hail! Bright Cecilia, and King Arthur. The third chapter is like the second in many respects, but deals with Pope and Handel. The influences on these two men are discussed, and an illustration is included to show that such influences bear a remarkable similarity to those which, in many ways, determined the nature of the works of Dryden and Purcell. The discussion dealing first with Pope and then with Handel, moves to such topics as precision and craftsmanship, representation of thought in sound, choice of words (Pope), rhythm, and selection of range and nature of music in the setting of poetry (Handel), principle of contrast, pastoral aspects, satire, influence of the belief in an ordered universe, regard for Nature, and general classification of both arts. The works of Pope dealt with in these pages include The Rape of the Lock, An Essay on Criticism. Moral Essays. Epistle to Dr. Arbuthnot, The Dunciad, and Windsor Forest: of Handel, Messiah, Kompositionen für Klavier, and Music for the Royal Fireworks. The chapter concludes with a short analysis of Handel's setting of Pope's words in the aria, "Where'er you walk" from Semele. In the case of the music of both Purcell and Handel, illustrations are provided to assist the reader. Extensive documentation also ensures the maximum utility of the dissertation. The fourth chapter draws together the lines of the discussion. That there are definite parallels between the two arts, in the light of the evidence presented, is undeniable. As the final pages state, there is still a great deal to be done in the field in terms of further research and examination of both primary and secondary sources. However, this thesis shows conclusively that the same currents which were present in the poetry between 1660 and 176O were very often present in some form in the music, and there is every reason for considering the two arts "acknowledg'd sisters." / Arts, Faculty of / English, Department of / Graduate

No abstract included. / Arts, Faculty of / History, Department of / Graduate

This thesis is an analysis of the conditions which promoted the industrialization of the countryside in Leicestershire in the second half of the seventeenth century and the transformation of its agricultural economy from a peasant-subsistence level to market-oriented production. Although the particular focus of the thesis is the emergence of rural industrialization in West Goscote and agricultural commercialization in Framland (both of which are hundreds in Leicestershire), it was necessary to place the Leicestershire experience both within a broader national context and in a historical perspective. The years following 1660 were marked by the accelerated progress of agricultural modernization on the national, county and local level. An important by-product of this agricultural modernization was the creation not only of food surpluses but also of rural underemployment as the land became concentrated into a relatively small number of large-scale productive units. As labour was freed from agriculture it could be engaged in industrial activity. In our examination of West Goscote and Framland it was found that as the soil type was not consistent within each hundred it was necessary to distinguish sub-regions: the Soar river valley, and the Coal Measures and Charnwood Forest in West Goscote; the Vale of Belvoir, the Wreak valley and the Eastern Uplands, and North-east Framland in Framland. By using the Probate Inventories for the 1660 - 80 period (stored in the Leicestershire County Record Office) to reconstruct the socio-economic profiles for the average villages in each of these sub-regions, we could see the influence of soil structure in retarding or accelerating the modernization of the individual agrarian economies. The inability of the peasant society in the Soar valley to transform itself from peasant-subsistence farming to market-oriented production resulted in the emergence of endemic underemployment and desperate poverty. The existence of cheap labour in the Soar valley attracted merchant capitalist who established the framework knitting industry in the over-populated, poverty-stricken villages. / Arts, Faculty of / History, Department of / Graduate

It is generally agreed that Cistercian architecture of the twelfth century is plain and simple. Many writers attribute this severity wholly to the influence of St. Bernard, without considering the political, social and economic conditions that prevailed during the early years of the Cistercian order's history. In this paper, a wider approach is taken; from a study of early Cistercian architecture in England it is suggested that the simplicity was the product of several factors, rather than the decree of one man. The paper begins with a brief resume of the events leading to the foundation of the Cistercian order and of its early development. The impact of St. Bernard on the order was considerable. Without him it is doubtful if the order would have expanded or, indeed, survived. In England, the movement was faced with many problems. The land was inadequate to support a community that wished to live entirely on its own agricultural production. As the order expanded, the acquisition of extra land became an ever present problem, thus involving the Cistercians in the secular world they had vowed to leave. They took to producing cash crops, such as wool and adopted other financial practices contrary to their rules. The Cistercian ideal had proved unattainable in the England of the time. Early French Cistercian buildings reflect the essential simplicity of the architecture. Although the early churches share the same characteristic features, absolute uniformity was not required. Little decoration was added before the fourteenth century. There is no example of Cistercian architecture left intact in England. However examination of the ruins that remain do reveal the severity of the earliest constructions. As these were extended more decoration and higher quality stonework is evident. English Cistercian architecture of the twelfth and thirteenth centuries reflects the development of the order in England during those years. As the order deviated from its rules, so its architecture became more elaborate. Because of this we may conclude that simplicity in English Cistercian architecture was the result of factors other than strict legislation. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

One area of history that historians have ignored is that of children and their relationship to witchcraft and the witch trials. This thesis begins with a survey of historical done on the general theme of childhood, and moves on to review secondary literature about children and the continental witch trials. The thesis also reviews demonological theory relating to children and the roles children played in the minds of continental and English demonologists. Children played various roles: murder victims, victims of dedication to Satan, child-witches, witnesses for the prosecution, victims of bewitchment or possession, and victims of seduction into witchcraft. The final section of the thesis deals with children and English witchcraft. In England children tended to play the same roles as described by the demonologists.

The classical genre of marriage poems called epithalamia appeared in England in the late sixteenth century. The English epithalamia of the Renaissance form a closely related body of literature. This work will be a close analysis of this small body of English Renaissance poetry.

This thesis is a study of early modern English travel narratives and the ways they presented the German states and their people to the public through the medium of print. It is based on an analysis of forty seven published travel narratives written by men and women who toured Germany and wrote about their experiences. The study situates these writings in the context of the growing sense of national identity in early modern Europe and offers an assessment of how these travel narratives contributed to a uniquely English understanding of Germany. As English travel narratives about Germany in the early modern period evolved, writers highlighted distinctive characteristics they believed Germans possessed, and compared their subjects to themselves. Travelers presented diverse and even conflicting views on a variety of subjects related to Germany. Nevertheless, by the late eighteenth century, English travelers had fashioned a common set of images, stereotypes, and characteristics of Germany and its people.

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