This paper is a collection of three short stories. A short preface discussing the origin of the tales precedes the stories. Fractions and Equations is the story of a love triangle. In this tale, the development of love between two people is told. There is no resolution in the tale. The second story, The Sailing of the Fantasy Cafe, tells of the operation of a book shop at Christmas time. The main characters in the story are described and several important incidents are also related. The tale ends with a Christmas party. The final story, And Penance More Must Do, deals with the life of a young teacher. The story begins in Africa and ends in America. During the course of the story the mind and heart of the main character are probed in detail.

The play Eguus presents a series of dialectics, opposing forces in dramatic tension. The multi-leveled subjects with which Shaffer works confront each other as thesis and antithesis working towards a tentative synthesis. The contrasts include the conflict of art and science, the Apollonian and Dionysian polarity, and the confrontation of Christianity and paganism. Modern man faces these conflicts and attempts to come to terms with them. These opposites are really paradoxes. They seem to contradict each other, but, in fact, they are not mutually exclusive. Rather than contradicting each other, each aspect of a dialectic influences its counterpoint; both are necessary to make a whole person.

In William Faulkner's Yoknapatawpha novels, a group of characters exists who possess three common characteristics--a closeness to mankind, a realization of the tragedy in life, and a positive response to this tragedy. The term beneficent is used to describe the twenty individuals who possess these traits. The characters are divided into two broad categories. The first includes the white and black primitives who innately possess beneficent qualities. The term primitive describes the individual who exhibits three additional traits--simplicity, nonintellectualism, and closeness to nature. The second group includes characters who must learn the attributes of beneficence in the course of the novel. All the beneficent characters serve as embodiments of the optimism found in Faulkner's fiction.

Most Richardson scholarship mentions that Clarissa shares affinities with drama; however, with the exception of three books and a few articles, there is no comprehensive study of the drama's effect upon the composition of the work. No one work deals with all areas in which drama affected the novel, and no one work deals exclusively with Clarissa. The drama influenced the composition of the novel in three ways: First, tragedy and theories of neoclassic tragedy exerted an influence upon the work. Richardson himself defended his novel in terms of eighteenth-century views of tragedy. Secondly, Restoration and early eighteenth-century plays affected the plot, character portrayals, and language of Clarissa. Lastly, Richardson adapted techniques of the stage to the novel so that Clarissa, though an epistolary novel, achieves the manner, if not the effect, of the theater.

Shelby Hearon's four novels--Armadillo in the Grass, The Second Dune, Hannah's House, and Now and Another Time--are unified by the common elements of the vital female character and her quest for selfawareness, self-integration, and fulfillment. This study examines the four novels chronologically in order to understand the development of this character and the themes which are common to all four. The concluding chapter offers an assessment of Hearon as a novelist whose work is both universally lasting and relevant.

In The Rainbow D. H. Lawrence departs from traditional literary techniques, going below the level of ego consciousness within his characters to focus on the elemental dynamic forces of their unconscious minds. Using three generations of the Brangwen family, Lawrence traces the rise of consciousness from the primal unity of the uroboros through the matriarchal epoch and finally to full consciousness, the realization of the self, in Ursula Brangwen. By correlating the archetypal symbols characteristic of three stages of consciousness outlined in Erich Neumann's Origins and History of Consciousness and The Great Mother with the three sections of the novel, it is possible to show that Lawrence utilizes the symbols most appropriate to each stage.