Abstract
This paper explores the class tensions in seventeenth century England through the ballad "A Warning to Married Women". The paper looks at how this piece, through its construction as a broadside and the genre of folk song, highlights differing audience perception between the noblity and the commoners. The paper also includes a brief discussion of classic pagan and Christian iconography as well as its application to women of the time.

From the Paper
"Music in seventeenth century England carried a very important role in molding society: while acquisition of musical knowledge and instrumentation was essential in forming the identity of nobility, the communal folk songs and sing-alongs were left to the peasants. As such, folk songs were a way to unite commoners while reinforcing societal values; music was becoming both a communal experience and a symbol of status. The song, "A warning for married women," written anonymously in 1685 and printed as a broadside is a good example of the tensions created..."

Tags:broadside, english, ballad

Abstract
The paper portrays how the song, "A Warning for Married Women" represents the growing divide in the English class system that was developing in England in the seventeenth century.. The paper describes how the song is purposely morally ambiguous, lauding women and giving them choice and power, but also reinforcing the Christian ideals of the nobility. The paper explains that the song highlights the class tensions that were developing in England in that era.

From the Paper
"Music in seventeenth century England carried a very important role in molding society: while acquisition of musical knowledge and instrumentation was essential in forming the identity of nobility, the communal folk songs and sing-alongs were left to the peasants . As such, folk songs were a way to unite commoners while reinforcing societal values; music was becoming both a communal experience and a symbol of status. The song, "A warning for married women," written anonymously in 1685 and printed as a broadside is a good example of the tensions created by the expansion of folk music. Yet, the song is purposely morally ambiguous, at once lauding women and giving them choice and power, but on the other reinforcing the Christian ideals of the nobility, depending upon the perception of audience. The piece represents the growing tensions of the English burgeoning class system."

Tags:broadside, folk, commoners, nobility, status, class

Abstract
By analyzing and comparing traditional and modern ballads, some characteristics of traditional ballads imitated by modern ballad writers can be found. The examples of the former are "Sir Patrick Spens" and "Lord Rendal," and those of the latter are "The Murder of Maria Marten" and "Ballad of Birmingham" by Dudley Randall. The discussion of the similarities between these four ballads in this paper focuses on the structure of a ballad stanza, the use of repetition and the manner of story-telling.

From the Paper
"Another interesting similarity between the ages of ballads is in the objectivity in which the stories are told. The composer has little emotional reactions and the focus is on the events of the story rather than the effects on the storyteller. In a ballad, therefore, the personality of the narrator is not important. The dialogue in "Ballad of Birmingham," which takes place between a mother and her young daughter, gives an example of a rhyme using a question and answer pattern (Laws 59-60). The little girl asks if she may "go downtown" to join "a Freedom March today?" and the mother answers, "No, baby, no, you may not go" ("Ballad of Birmingham" 1, 4-5)."

Tags:literary, broadside, reiteration

Abstract
This paper offers a book report on Philip Davidson's "Propaganda and the American Revolution: 1763-1783," a work which describes how the revolutionaries were able to effectively use propaganda to promote their aims among the people.

From the Paper
"In Philip Davidson's "Propaganda and the American Revolution", the author provides an account of how the Whigs, Tories and Patriots successfully used propaganda during the Revolutionary War. Long before the term was coined, Davidson shows how Thomas Paine and Samuel Adams served as propagandists. Davidson's definition of propaganda stems from psychologist Leonard W. Doob's definition of the term as an attempt to control the actions of people indirectly by controlling their attitudes. The author's thesis is clear and simple. In the American Revolution, propaganda..."

Tags:Tories, Whigs, Loyalists, Patriots, Samuel Adams, New England, fear, newspapers, pamphlets, oration, broadsides