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dc.contributor.advisorRhodes, Neil
dc.contributor.advisorSutton, Emma
dc.contributor.advisorMurray, Barbara
dc.contributor.advisorJones, Tom, 1975-
dc.contributor.authorBrooks, Scott A.
dc.coverage.spatialv, 182en_US
dc.date.accessioned2014-07-16T15:59:05Z
dc.date.available2014-07-16T15:59:05Z
dc.date.issued2014-06-24
dc.identifier.urihttp://hdl.handle.net/10023/5034
dc.description.abstractBy examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.en_US
dc.language.isoenen_US
dc.publisherUniversity of St Andrews
dc.relationEdmund Spenser's 'The Shepheardes Calender'en_US
dc.relationEdmund Spenser's 'The Faerie Queene'en_US
dc.relationJohn Milton's 'Lycidas'en_US
dc.subject17th-century musicen_US
dc.subject17th-century poetryen_US
dc.subjectPoetry and musicen_US
dc.subjectPoetry and operaen_US
dc.subjectMiltonen_US
dc.subjectSpenseren_US
dc.subjectElizabethan literary criticismen_US
dc.subjectLycidasen_US
dc.subjectShepheardes Calenderen_US
dc.subjectOrpheusen_US
dc.subjectFaerie Queeneen_US
dc.subjectComusen_US
dc.subject.lccPR545.M85B8
dc.subject.lcshEnglish poetry--Early modern, 1500-1700--History and criticismen_US
dc.subject.lcshMusic--17th century--History and criticismen_US
dc.subject.lcshPoetry and the artsen_US
dc.subject.lcshSpenser, Edmund, 1552?-1599--Criticism and interpretationen_US
dc.subject.lcshMilton, John, 1608-1674--Criticism and interpretationen_US
dc.titleTo move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579 - 1674en_US
dc.typeThesisen_US
dc.type.qualificationlevelDoctoralen_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US


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