Browsing by Author "Doughtie, Edward"

Now showing 1 - 6 of 6
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    Evian and Magdalenic representations in medieval and Elizabethan drama: The expression of contemporary antifeminism
    (1983) Englerth, Rachel; Doughtie, Edward; Chance, Jane; Huston, J. Dennis
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    Music and the poetry of George Herbert
    (1966) Dykes, Sayre Ellen; Doughtie, Edward
    The purpose of this paper is two-folds generally, to investigate three different approaches to the problem of the relationship between the arts of music and poetry; and, specifically, to investigate three ways in which music influences the poetry of George Herbert. Music -- incorporated into Herbert's poetry as metaphor, as external or stanzaic structure, and as internal or sound structure -- deepens and helps to convey Herbert's poetic and religious vision. Herbert's imagery is derived both from Platonic and Pythagorean doctrines of world harmony as transmitted through Boethius, Augustine and Macrobius and from technical aspects of the music of his own day. The imagery shows Herbert's concern with man's "untuned state as contrasted with God's "harmony;" but it. also shows that Herbert is ultimately optimistic in his belief that, through God's Grace, man can be redeemed and inspired. The air was very popular in Herbert's day, and his poetry employs many of the technical devices of that musical form, including the conventional lyric diction, refrains, repetition and variation, and parallel stanzaic form. These devices are responsible for the simplicity of surface texture and allow for the underlying associational complexity of his verse. Like other poets, Herbert incorporates "musical" components of sound and rhythm into the verbal structure which is his poetry. In contrast to most other poets, however, he uses these "musical" components as formal elements to unify and synthesize, not only the stanza or verse, but the intellectual concepts as well. These "musical" components are used to supplement the intellectual and emotional content of his poetry? they become a means of grasping that content and of enlarging its significance.
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    Skelton's perspective: the maner of the world
    (1966) Henry, C. Jeanne; Doughtie, Edward
    The popular and still current picture of the poet John Skelton -- scholar, satirist, priest and rogue -- is little, more than a "superficial epitome-effigy" of the man as he appears in his poetry. At the center of his work is a serious, orthodox purpose and perspective which may be discovered by examining several of his most characteristic works. The group of religious poems which precede his entrance into Holy Orders provide a sufficient basis for the statement that there is in Skelton's work, as there is in most medieval poetry, a core, kernel, or "pyth" of faith and devotion to the Church, which in Skelton becomes a devotion to truth. This strain may be traced through poems representative of his attitude toward all aspects of the world with which he is familiar, a world which encompassed a wide range of humanity, from court nobles to peasants. He uses his satire as a weapon against the evils he finds gnawing at the roots of all levels of society. An early poem, "The Maner of the World Now A Dayes," serves as a framework to the body of Skelton's work, since it incorporates the themes of most of his later poems. In "Elinour Rumming" and a group of early secular lyrics, which are poems in the tradition of medieval grotesquerie, Skelton attacks the vices of women; in "The Bowge of Courte" he points out the folly of that august gathering; "Colin Clout" walks a middle line between the apparent corruption within the Church, especially the bishops, and the equally apparent error of the heretical, "reforming" element. Skelton's long-time enmity to Thomas Wolsey, Cardinal and Chancellor of England, is expressed in several poems, of which "Why Come Ye Nat to Courte?" is the most explicit. In all of these, Skelton comes back again and again to what he considers a bad and worsening situation, the "maner of the world." Finally, at the end of a lifetime as an "uncomfortably unorthodox" thorn in the side of those at whom he directed his satire, Skelton affirms his dignity as a poet and defends his right to take his place beside Philosophers and theologians as protector and defender of the truth. He sees himself as vates, prophet, and this function is the source of his perspective. "A Replycacion" records what has already been found in Skelton's other poetry -- the dedication of his life and work for one purpose: to reveal to itself the "maner of the world," and to convince its inhabitants that We have exiled veritie.
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    The idea of order and unity in Mandeville's Travels
    (1984) MacDaniel, Elizabeth J.; Chance, Jane; Doughtie, Edward; Nelson, Deborah
    Mandeville's Travels, a fourteenth century work said by some critics to be wholly fictional, by others to be partially fictional, has defied scholarly attempts at definition and at placement within a genre. I do not intend to make such an attempt, to define Mandeville's Travels as a romance or moral treatise, for example, but rather will examine and explicate the text. It is my contention that Mandeville's belief in an order and unity that can simultaneously encompass and transcend disorder and diversity was the organizational and thematic principle upon which he created the work. I will provide a socio-historical context for the work, for I believe that the idea of Mandeville's Travels grew from a reaction to socio-historical events and changes within Mandeville's world. Mandeville's plan was to demonstrate the existence of order and unity despite the apparent disorder and diversity of the author's time. The text, then, is an exemplum of Mandeville's vision of the underlying unity and order in the universe, and, with an examination of the text, I prove that this idea governs the unified structure, the choice of formal techniques (such as juxtaposition, links across space and time, and repetition of images, among others), and the development of the theme of order underlying diversity.
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    Toward a revaluation of the imagery of Thomas Campion in "A Booke of Ayres"
    (1988) Risinger, Mark Preston; Doughtie, Edward
    This thesis is an attempt to redefine the concept of imagery in the ayres of Thomas Campion's first published work, A Booke of Ayres (1601). Though Walter Davis and others have commented on the auditory imagery of Campion's poetry, no one has carried out a systematic analysis of the visual elements which are present. The five groups discussed here are night and darkness, fire, the heart, the eyes, and music. After a survey of the solo ayre in England as Campion knew and understood it, there is a discussion of the verbal connection between ayres which relate them to one another and to the five groups of images already mentioned. Analysis of individual songs within each of these five categories demonstrates that Campion's images are conceptualized more then they are visualized, and musical examples point out places where Campion uses text painting to clarify and highlight these image groups.
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    Words for Music: Simplicity and Complexity in the Elizabethan Air
    (Rice University, 1965-01) Doughtie, Edward; Electronic version made possible with funding from the Rice Historical Society and Thomas R. Williams, Ph.D., class of 2000.