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that are significant for the illustration of madness. Since many of the mad songs consist of several sections relating to different genres (e.g. passionate recitative, burlesque rondeau, as well as pathetic, airs) they will be compared to songs of similar style genre and subject. The comparative material will be selected on basis of similarities of style or genre. Attention will also be paid to the functions of the mad songs in their dramatic context, as compared to other songs featured in plays by the same author, e.g. Sir Barnaby Whigg (Z589), The Marriage- Hater Match’d (Z602). 8 For Purcell’s music the editions by Ian Spink and Margaret Laurie, supervised by the Purcell Society has been consulted. It is also their readings that are presented in the music examples. Most of the plays have been consulted in the first printed editions (often referred to as e.g. “the 1688 quatro”), except for the plays by Fletcher which has been read in an edition from 1647 called Comedies and tragedies written by Francis Beaumont and Iohn Fletcher (London 1647), and the Shakespeare plays that has been read in modern editions. All of the seventeenth-century material has been accessed through the database Early English Books Online 2009. 17 A note on quotations In preparing quotations from the seventeenth-century prints the spelling of the originals have been preserved, but italicization and capitalization have been modernized. Previous research Few of the studies of madness in literature concern the seventeenth century. Alan Ingram’s Cultural Constructions of madness in Eighteenth-Century writing (Basingstoke 2005) and Max Byrd’s Visits to Bedlam (Columbia 1974) writings deal mostly with the eighteenth century, but are nevertheless interesting. Allan Thiher’s Revels in Madness (Ann Arbor 1999) cover fictional and medical literature throughout history and has substantial chapters on the seventeenth century. Both Raymond Kilbansky (e.a. Saturn and Melancholy, London 1964) and Sander Gilman (Seeing the Insane, New York 1982) has studied the representation of madness an melancholy in art, which gives additional understanding to the descriptions of mad persons in literature. Concerning research on Henry Purcell and his contributions to the Restoration theatre it is more abundant. Curtis Price’s Henry Purcell and the London Stage (Cambridge 1984) is 17 http://eebo.chadwyck.com.ezproxy.its.uu.se.
indispensable for anyone working with the subject, as is his Music in the Restoration Theatre (Ann Arbor 1979). For issues on Purcell’s style there are among others Peter Holman’s Henry Purcell (Oxford 1994) and Martin Adams Henry Purcell: the origins and development of his musical style (Cambridge 1995). There is also Amada Eubank Winkler’s recent book O let us howle some heavy note : music for witches, the melancholic, and the mad on the seventeenth- century English stage (Bloomington 2006) discussing madness and music, particularly, in relation to gender and sexuality, and her paper partly treating Purcell’s mad song featured in Nathaniel Lee’s Sophonsiba: “Enthusiasm and Its Discontents: Religion, Prophecy and Mad- ness in the Music for Sophonsiba and The Island Princess” (Journal of Musicology 23, 2006). Concerning Thomas Durfey, John McVeagh’s Thomas Durfey and Restoration Drama (Al- dershot 2000) provides both biographical details, working conditions and good readings of the plays. 9
Page 1 and 2: UPPSALA UNIVERSITET UPPSATS 15 HP I
Page 3 and 4: CONTENTS INTRODUCTION .............
Page 5 and 6: INTRODUCTION Music and madness were
Page 7: from A Fool’s Preferment (Z571),
Page 11 and 12: and the princess would only tease h
Page 13 and 14: song” 27 (IV, i). Likewise Lyonel
Page 15 and 16: The principles for gesture and moti
Page 17 and 18: Pretended or real lunatics driving
Page 19 and 20: to bring Tom home again in spite of
Page 21 and 22: Richmond Heriess employ the method,
Page 23 and 24: THE MUSICAL REPRESENTATION OF MADNE
Page 25 and 26: Berenice: About what, the deck, for
Page 27 and 28: in farce-like scenes with confused
Page 29 and 30: dent on the interpretation that Cel
Page 31 and 32: note that the large-scale harmonic
Page 33 and 34: again to F major, and to a danceabl
Page 35 and 36: Example 4, “Let the dreadful engi
Page 37 and 38: Example 5, “From rosy bowers” b
Page 39 and 40: Example 7 “From rosy bowers” bb
Page 41 and 42: Example 9, “Blow. Boreas, blow”
Page 43 and 44: though chromatically altered figure
Page 45 and 46: the several ways antique references
Page 47 and 48: the play. Since the songs do not ap
Page 49 and 50: Example 15, “Fled is my love” b
Page 51 and 52: and so the Dog-star might be said t
Page 53 and 54: CONCLUSION The first important conc
Page 55 and 56: BIBLIOGRAPHY Sources Beaumont, Fran
Page 57 and 58: The Madhouse of Language: Writing a
Page 59 and 60:
But all are witches by this light.
Page 61 and 62:
Chor. Then mad, very mad etc. 2.1 S
Page 63:
APPENDIX B ”From rosy bowers” a
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