This dissertation demonstrates that the optimal account of English phonology denies phonemic status to oral glides. That is, it shows that all instances of phonetic [y] and [w] are predictable by rule. These occurrences include the following: formative initial glides, such as those in yet and wet; post-consonant, pre-vocalic [w] in such forms as quit, guava, and white and post-consonant, pre-vocalic [y] in such forms as cute, few, million, onion, and champion; the [y] following the tense vowels in bite, beet, bate, and boy and the [w] following the tense vowels in bout, boot, boat, cute, and few; and, finally, the post-vocalic centering glide [h] in spa, cloth, beer [bihr], and bear. The new proposals, described and justified in Chapter III, have the effect of eliminating the glides [y] and [w] from the inventory of underlying phonemes of English. From this flows what is perhaps more significant: they render the feature [Syllabic] completely redundant in the lexical representations of English formatives.
In this paper I will examine the sources for the tradition of the address of the soul to the body or the dialogue between, the two. I will consider the Old and Middle English poetic expressions of the body-and-soul legend in terms of the criticism of the ten poems which specifically belong to that tradition and the elements which constitute that genre. I will also deal with those poems written at the same time which exhibit one or more of those elements, with the body-and-soul tradition in English morality plays, with the Ars Moriendi, and with the Dance of Death. I will demonstrate that a shift occurs in the consideration of death from a concern for the soul to a preoccupation with the grotesque and gruesome aspects of death. The address and dialogue forms fall into disuse as a vehicle for theological argument concerning the responsibility for sin, and the view of death reflected by the popular pictorial representations of the Dance of Death becomes prominent.
The purpose of this study is to investigate how John Milton uses music imagery in his English poetry. This is accomplished through consideration of the musical milieu of the late Renaissance, particularly of seventeenth century England, through examination of the symbolic function of music imagery in the poetry, and through study of the significance of music imagery for the structure of the poem. Milton relies on his readers' familiarity with sounds and contemporary musical forms as well as with the classical associations of some references. Images of practical music form the greater part of the imagery of music that Milton uses, partly because of the greater range of possibilities for practical images than for speculative images. The greater use of speculative images in the early poems indicates the more idealistic stance of these poems, while the greater number of practical images in the later poems demonstrates Hilton's greater awareness of the realities, of the human situation arising from the years spent as apologist for the Puritan cause and as Latin Secretary of State. Music imagery is important as a structural device for Milton. He uses music images to provide unity for, to "frame," and to maintain decorum in the poems. A number of the earlier, shorter poems rely heavily on music as structural device. "At a Solemn Music" depends solely on the use of extended music imagery. "L'Allegro" and "II Penseroso" are linked by parallel music images. Music imagery maintains the decorum in "Lycidas" and to a lesser degree in "A Mask". In the epics music images, used in a variety of ways, serve to unify the poems. Most notable in Paradise Lost and Paradise Regained is the echoic effect Milton achieves through the use of repeated music images.
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