Collins, Robert A.

Hysteria was stigmatized by the ancient Egyptians as an exclusively feminine malady and remained so until Sigmund Freud's self-analysis uncovered his own male hysteria. Freud realized that dreams, hysterical symptoms, and even laughter often released sexual expressions which his Victorian society severely repressed. The Victorian author of Dracula, Bram Stoker, probably had some knowledge of these contemporary studies by Freud. Nevertheless, he seemed unaware that his dream-inspired vampire fantasy revealed the "Oedipal complex" he had repressed since childhood. Sexual anxieties inevitably drove Stoker to an embarrassing fit of "hysterics," which he unconsciously projected onto the male characters in Dracula.

The actions of Griselda, heroine of The Clerk's Tale, Chaucer's study of humanly and womanly forbearance, are mirrored throughout the classical wisdom of Boethius's Consolation of Philosophy. The medieval tale's story is one of rational resistance to domination, even to that of a powerful and jealous husband. Griselda's ensuing struggle for self-liberation and "free will," by "looking within," echoes the neoplatonic and Boethian universal scheme: mutability transcends all Fortune. Griselda finally arrives at knowing her own true nature, and the workings of Divine Providence.

AElfric's idea of "origin" reflects his theological world view in early medieval English society. In the midst of culturally perilous times, and threats to the established Christian orthodoxy, AElfric remains committed to preserving Christian "origin" through his writings. In his seemingly innocuous letter to friend and fellow clergyman AEthelweard, AElfric posits a firm sense of Christian "origin" in prefacing his translation of the Book of Genesis; he is concerned not only that he translate accurately, but that the readers of his translations not be misled in their quest for salvation, which is dependent upon a firm sense of their Christian identity. Throughout AElfric's Preface to Genesis, we are introduced to the elements of generation, degeneration, and regeneration, to be comprehended through the pervasive unity of Christian history and eschatology. AElfric's idea of "origin" unfolds as he strives not for doctrinal formulation, but for doctrinal preservation, for the medieval exegete viewed man in light of Christ's advent.

Musical allusions and references abound in The Canterbury Tales. Chaucer uses music, the most cultivated art form of Christianity in the fourteenth century, to characterize the moral nature of his settings, themes, and characters. In addition, he employs music as a great film director would to heighten the intensity of certain scenes and enrich the structure of the plot. Chaucer took many ideas from medieval philosophic tradition for granted and expected his readers to share them. His conscious application of these ideas makes The Canterbury Tales more profound and clearly more exciting and enjoyable for those who are able to "hear" the music.

The main plot in Ursula K. Le Guin's Earthsea series revolves around the archetypal theme of coming of age. In The Wizard of Earthsea, The Tombs of Atuan, The Farthest Shore, and Tehanu: The Last Book of Earthsea, Le Guin portrays the maturation of the protagonists, Ged, Tenar and Arren. This study examines the maturation process that leads to a coming of age of the protagonists in the conclusion of the novels.

Although J. M. Barrie's work is firmly rooted in the soil of his Scottish heritage and that of Thomas Burnett Swann flowers in the landscapes of pre-history and classical myth, the fantastic elements of their respective works can be legitimately compared. The writers differ in style and focus, but each creates secondary worlds which transcend normal perceptions and capture the reader in an implausible, yet credible experience. Both Swann's fantastic forests and Barrie's imaginary islands meet the criterion for a secondary world established by J. R. R. Tolkien: "One which your mind can enter. Inside it, what (the author) relates is 'true': It accords with the laws of that world. You therefore believe it, while you are, as it were, inside."

Shakespeare's Merchant of Venice is examined on an allegorical level, with Shylock the Jew portrayed as representing the Mosaic Law, and Antonio the Merchant of Venice portrayed as a Christ figure who represents the New Law. The religious convictions of the era are presented by examining the works of Richard Hooker as representative of his milieu. Traditional religious theology, both Jewish and Christian, is examined to establish a basis for the battle that ensues. Evidence is presented to establish a Jewish presence in England prior to their admission by Oliver Cromwell. This presence is argued to have influenced Shakespeare in his writing and precipitates a battle in which the two opposing philosophies do battle. The sides are carefully drawn and a celestial battle takes place. The allegories are described and then used to define the antagonists in terms that fit their allegorical nature.

The three great classes of symbols identified by Evelyn Underhill
in mystical literature are present in Swann's novels. They are the
symbols of the journey, human love and marriage, and purity and
perfection. An analysis of the symbols shows that their use is not
random, but consistent with a pattern of spiritual development composed
of several stages and called the Mystic Way. As a result, Swann's
novels can be read and enjoyed as works of fantasy or of mysticism.

In George MacDonald's fantasy, the female archetype reflects MacDonald's
theological framework. The archetype is an image created by the
imaginative process. That process finds its basis in the creative
nature of God. The archetype not only draws back to God, the source of
all imaginative forms, but also becomes a generating figure itself. In
Phantastes the woman-form generates the quest for Anodos. Here she
assumes her major role, reflecting God's gracious dealings with man in
the outworking of His redemptive purpose. A maternal figure, she is the
source, sustainer, and goal of the quester who is in the process of
redemption. Finally, through the reversal of the maternal figure, Lilith,
MacDonald reveals the wonder and grace of God in redeeming even that part
of creation which has defied His creative and redemptive nature embodied
in the female archetype.

The purpose of this thesis is to show, through examples
of his work, that William Dunbar was not only an official
court poet at the court of James IV of Scotland, but in
that capacity served as court fool. The thesis will be
supported through comparison of Dunbar's works, showing
the contrasts between his solemn, moral allegories, addresses, and religious poetry and the facetious, satirical style used in his role as a fool. This comparison
will include discussions of the Scottish aureate convention-- the profuse poetical use of ornate , especially
French or Latinate, words --and the aoir (poetical diatribe) as well as their relationship to Dunbar's poetical
achievements.