This study defines and applies a theory of tragedy which is based on the work of Friedrich Nietzsche in The Birth of Tragedy. In the first chapter the writer argues for the need of a widely accepted theory of tragedy and show that we do not presently have one. In the same chapter, the writer presents the theory that tragedy is a very specific art type which transcends genre and which is the product of a synthesis of the Dionysiac and Apollonian forces in Western culture. The writer argues that by understanding the philosophical and aesthetic nature of the forces as they are expressed in tragedy we can isolate and define the essential elements of tragedy. Tragedy must have a person of heroic stature as its main protagonist. It must have a specific kind of plot in which a reversal of the hero's experience of the universe occurs. It must have a choric element, which is a combination of two components: communality and lyricism. Finally, tragedy must contain a mythic background which allows for the expression of two themes, the Dionysiac theme and the Apollonian theme.

An understanding of the influence of Shakespeare on the structure and language of Moby-Dick is important because the plays of Shakespeare gave Melville a sudden insight into the significance of form and because his absorption of Shakespearean rhetoric enabled him to solve a serious artistic problem. In Moby-Dick Melville wished to write a work of symbolic fiction which would have both epic scope and tragic depth, but his difficulty lay in finding a structural and stylistic method which would provide the amplitude necessary to epic and at the same time could achieve the compression and verbal economy necessary to tragedy. He solved this problem by learning from Shakespeare to create a multi-layered dramatic structure and to use a dramatic language which becomes one layer of that structure. In Shakespeare's greatest plays there is a virtual fusion of form and meaning, and it is this fusion which, in its greatest moments, the language of Moby-Dick achieves.

In this dissertation I argue that in the characters in Lawrence Durrell's The Alexandria Quartet there is consistently evidenced a psychological orientation towards growth. An introductory Chapter One surveys and a concluding Chapter Six summarizes the dissertation, but the body of the text is four chapters demonstrating the growth-orientation in four characters.

The problem scrutinized in this thesis is the relationship between Robert Grosseteste, mentioned in the colophon of William of Shoreham's "Song to Mary," and the author of said poem. The influence of Grosseteste on William of Shoreham appears to be extensive. Many similarities of organization, diction, and, especially, imagery, exist in the works of both men. The images of the windowpane, the mirror, and Mary as a castle are found in more than one instance in both Grosseteste's Chasteau d'Amour and in several of Shoreham's poems. Moreover, the borrowed imagery in Shoreham's poetry is unquestionably superior to any other in his works. It is the conclusion of this thesis that Robert Grosseteste was a considerable influence on the works of William of Shoreham.

The forty-one poems comprising this thesis are written in a variety of styles and reflect my general international eclecticism. The most prominent influences on my work are ancient Chinese verse, as exemplified by the poems for N., and Zen tanka and haiku, as exemplified by "Detail from a Cubistic Autobiography." Largely imagistic rather than narrative, the poems were conceived in an effort to record my experiences and to define my reactions to those experiences.