A major problem with current discussions on the moral theory of St. Thomas Aquinas is the fact that many interpreters present Thomas's thought as a natural-law morality. While natural law is an element of Thomas's moral theory, it plays a subordinate role to the virtue of prudence. The natural law interpreters of St. Thomas's moral theory hold that (1) natural law is the dominant element, (2) natural law can be treated in isolation from Thomas's account of virtue, and (3) the principles of natural law make Thomas's moral theory abstract and deontological. These interpretations rarely consider the virtue of prudence. Natural law, in Thomas's moral theory, makes general statements about human nature and also sets the parameters for morally good human activity. However, it fails to function adequately on the level of an agent's particular moral problems. The general precepts of natural law do not function as proximate principles of human action. But the special function of moral virtue is to provide the agent with the necessary proximate principles of human action. Virtue is an acquired disposition of the soul that functions as a proximate principle of action. Holding a special place in Thomas's moral theory, prudence is primary among the moral virtues. It is defined as "right reason concerning things to be done." Prudence holds a middle place between he intellectual virtues and the moral virtues. It requires right thinking about moral matters, but it also requires the possession of a right appetite. This essay includes some discussion of human nature, as ethics is subordinated to psychology. Furthermore, we must show how the human agent engages in moral activity, and this requires discussing the psychological processes involved in human action. It is my purpose to explore the functions of natural law and virtue and to take account of the relationship between them in Thomas's moral theory. After establishing a proper understanding of Thomas's view, it will be clear that the natural-law interpreters have missed a crucial element in his ethical theory.

Since the death of Carson McCullers in 1967, there has been no revival of interest in her work, and there has been little critical study done in regard to it. All of McCullers' stories have Southern settings, and most are set in her native Georgia. She uses folk materials (as do Faulkner, Welty and Warren), but the limitations which these impose are transcended, and the fiction becomes an "examination of universal moral circumstances."1 McCullers does not exploit local color, which, as Robert Penn Warren has noted, is often "incomplete and unphilosophical."2 Rather than treating locale for its own sake, she uses it, as do many other Southern writers, as a means of dramatizing themes which are universal. Previous studies have included those done in regard to the Southern settings of McCullers' novels, her use of musical structure, and the Gothic elements in her fiction. There has been, however, no study of paradox as that skeleton around which the novels are structured. This thesis will focus on some paradoxical elements of the fiction of Carson McCullers; these will be limited to two motifs: the eye and the quest, and two themes: love-hate and community-isolation. 1. Frederick J. Hoffman, The Art of Southern Fiction: A Study of Some Modern Novelists (Carbondale: Southern Illinois University Press, 1967), p. 11. 2. Robert Penn Warren, "Not Local Color," The Virginia Quarterly Review, VIII (January 1932), 154.

I wrote this work with the nation's Bicentennial Celebration in mind. I was completed on Dec. 1, 1975. I hope the musicians who perform it will do so with the same attitude of pride in being an American that I feel and that I experienced as I wrote it. The underlying motive, in the beginning, was to write a "Bicentennial piece" that would be totally different from other works that would be most surely coming out in the '75-'76 Bicentennial year. I chose the vocal medium first because the ability to sing is God's gift to man. It is 'natural' music. I chose the brass accompaniment because of the power of the instruments themselves, hinting at the power of the nation. I chose percussion to add flare, variety, and vitality, the very pulse and drive of the nation. To my knowledge, the Mayflower Compact, the Declaration of Independence, the Preamble to the Constitution, and the Pledge to the Flag had never before been set to music as I did in America Sings. These are relatively obscure documents in the music world and yet so vital to America's history. I combined the two: 4 significant documents in the history of the nation, and musical treatise. Finally, the original status of these documents was that they were to be read or recited; so the Narrator provides the continuing story of why America Sings. There are two basic musical ideas that seem to recur throughout the piece. One is the use if V-I-V scale degree pattern in both vocal and brass parts. This recurring pattern gives the feeling of "looking upward." The other is a recurring I-V melody bass pattern in the tuba and timpani parts, implying an old American march. The piece is in oratorio form.

This thesis examines the composition of 2 Thessalonians 2 and focuses specifically on the relationship of the participles Τό Kαtεxov and Ό Kαtεxwv to the chapter's main theme, the Parousia of Jesus Christ. The study begins with a discussion of the various interpretations given to solve the referential meanings of the participles (chapter one). This exploration of the various attempts of scholars to account for the participles concludes with the challenge to seek answers elsewhere. To help situate and evaluate what the writer says in regard to the participles, it was necessary to reassess the role of 2 Thessalonians 2 in the epistle as a whole (chapter two). This broader compass of the letter contributed to an understanding of the author as engaged in practical admonitions of several different concerns. It exposed the myth of centrality surrounding 2 Thessalonians 2 and thereby warned of determining the meanings of the participles except from the immediate thought of the context wherein they are found. A detailed exegesis of 1 Thes 2:1-15 was presented in order to confirm and clarify the specific nature of verses 2:6-7 (chapter three). This made familiar the context in which the participles are located. Particularly, it established the limit of the passage as extending to v. 15 rather than v. 12. In addition, the flow of thought contained in the text was demonstrated to center on the appearing of Christ, a significant point of perspective for interpreting the two participles and other elements in the passage. With the literary and exegetical foundation lai., it was left to deal witn the participles themselves. k guiding principle in their interpretations was the that thr should be understood from a strict relationship to their context. It was shown that the technique of an inverted parallelism at the climax of the first pericope (2:1-6) helped explain the meaning of the neuter participle as signifying the two preliminary events of the apostasy and the revelation of the Man of Lawlessness. This interpretation was based on a correlation in the parallelism between tαϋtα (v. 5 and Τό Kαtεxov (v. 6). An important ramification was that the personal pronoun αύtόv in v. 6 must then refer to Christ and not the Man of Lawlessness. It was the Day of the Lord that was being restrained because the two pre-signs of the apostasy and the revelation of the "Antichrist" had not yet occurred. Accordingly, the masculine participle Ό Kαtεxwv was a particularization of the content of the neuter participle; thus, it was shown that Ό Kαtεxwv represented the Man of Lawlessness. The thesis concludes with a brief review of each of the chapter studies and underscores the present need for scholars to give more attention to the proposed meanings of the participles, especially in light of there having been other advocates of interpretations for the participles that are similar to the one this thesis develops--most notably, N. F. Freese, P. Andriessen, Joseph Coppens.

During the period of reaction in England after the Napoleonic wars, a new generation of reformers developed, who abjured the belief in natural rights already discredited by the Jacobin excesses.1 These individuals sought a personality around whom they could center their program. Jeremy Bentham, a seemingly apolitical man, gradually became the personification of the new methodology. Crane Brinton has written, "scarcely has an English thinker left a more definite trice upon English legislation than Jeremy Bentham."2 So involved are the implications of the system and the man who introduced the new science" that interest is produced by the study itself. Largely under his name and doctrine, the English middle class moved forward to capture new political power without a revolution. 1. J. Bronowski & Bruce Mazlish, The Western Intellectual Tradition (New York, 1960), 430. 2. Crane Brinton, English Political Thought in the Nineteenth Century (London, 1933), 14.

This study attempts to present Molly Bloom, the major fem.ale character in Joyce's prose-satire, Ulysses, as an intentional fourfold corrective for the traditional interpretation of the female principle. Her speeches and actions are examined to reveal her positive significance as part of the Stephen-Molly-Bloom triad, and through her various manifestations of the female principle she comes to represent a major force in the world of Ulysses. Specifically, Molly's role as the new poetic muse and her ability to reinterpret both Christian and Eastern female religious figures are probed. Although Molly may be seen as a corrective on all four levels, she is considered here primarily concerning literal and anagogical significance.

The purpose of this study is to bring to the attention of the public the educational life and contributions of Jesse Stuart

The growth of an individual into mature selfhood is the primary basis of the Lawrentian relationship. Lawrence describes a mystical kind of rebirth of the self into a deeper level of the unconscious. He says that one should explore the impulses and desires of the unconscious in order to find a deeper, more fulfilled self. Ursula of The Rainbow and Paul of Sons and Lovers are the characters who most successfully begin this growth into separate selfhood. According to Lawrence the journey into the unconscious is to be accomplished through sensual experiences. He mistrusts the intellect because he feels that the mind distorts reality. The bodily sensations are more concrete, and therefore more real. Lawrence demonstrates in Walter Morel of Sons and Lovers, Birkin and Ursula of Women in Love, and Connie and Mellors of Lady Chatterley's Lover that spontaneous, sensual experiences are necessary to live a fully sensual life. For Lawrence, the failure to discover the deepest, sensual self results in the need to control others. Characters who embrace abstract intellectualism and modern industrialism are the ones who attempt to force every living thing into submission to their egos. The compulsion to dominate others gives the characters a temporary feeling of fulfillment but is ultimately destructive. Gertrude, Miriam, Gerald, and Hermione are destructive characters who strive to control others. They are weak and dependent, needing another person's strength of self to feel complete. The acknowledgement of a separate self is crucial to Lawrence's philosophy of relationships. According to his philosophy a person discovers the separate, fundamental self at the unconscious level through sensual experiences. Abstract intellectualism and industrialism are responsible for causing man's alienation from himself; his failure to discover and acknowledge a deeper self generates destructiveness which is manifested in his domination of other living beings.

Although Updike has been recognized as one of the few contemporary writers worthy of serious consideration, critics and reviewers are not in accord about the acclaim that he has received. They cannot agree that Updike has anything worthwhile to say about the fundamental questions basic to contemporary fiction. Updike has been accused of dealing in sentimentalities and trivialities, while touching only slightly problems important to the human condition. Most critics agree that his style is excellent, but some feel that Updike is using this particular skill to cover up the shallowness of his thought. However, throughout Updike's novels major themes are apparent. This thesis treats two of them: the themes of the decay of love relations and of the decay of religious life, which are conspicuous in his fiction. In handling both themes, Updike is especially conscious of the past and its relation to the present. The past for Updike signifies the time when man believed in the Vorican Dream and lived by the inspiration and guidance of the ideals embodied in it. Updike's major statement of this concept appears in The Poorhouse Fair, but is evident in all his novels. A primary concern in Rabbit, Run, The Centaur, Of the Farm, and Couples is the disintegration of love and religion. In general, Updike believes that the positive and necessary values realized in love and religion were strong and efficacious in the past, while modern life has witnessed their decay and corruption. Apparently Updike envisions modern love as an antidote to the boredom of the modern society. It is entirely selfish, a for-the-moment-only encounter, not meant to lead to a lasting relationship. Modern love contains none of the qualities of honor, respect, or fidelity that once were so binding in a union of man and woman. Lost also is familial love and the sense of responsibility involved in it. In treating the decay of religion Updike seems especially interested in the loss of significance of traditional religious thought. The ideas and rituals of the past have no place in modern society. Religious symbols are meaningless; they offer no comfort or basis of redemption to modern man. Morality does not exist; God has become a nobody, and death is a finality. Updike has written many outstanding short stories in which the germs of his thought can be found. However, since Updike is a recognized novelist, only his five novels will be considered in tracing the general context of the relation of present to past, and within that context, two particular thematic centers of interest: the decay of love and the decay of religion. Implicit in Updike's concern for the decline of older idealisms is a very urgent and very serious appeal to a world that is in danger of forgetting what ought to be cherished.

Biography of Thomas Elliott Bramlette orator and statesman of Cumberland County, Kentucky.