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In the history of Austrian Jewry, the year 1848 marked a crucial turning point. Although there had been a rapid succession of changes in the lives of Jews in Central Europe, 1848 was a definitive beginning on the road to "modernity" from which there could be no turning back. Ludwig August Frankl was a distinguished representative of this generation of Jews living in the Habsburg realm. He believed in the revolutionary ideals of 1848, and yet was paradoxically not a radical. He was, rather, a representative of that now often forgotten group of Jews who believed in an evolutionary path to modernity that seemed to offer the logical and triumphant culmination of a hundred years of cultural assimilation. Modernity became their identification and their aspiration, and also led to a new perception of their own Judaism. Ludwig August Frankl brought the elements of this new identity to his mission to found the first secular Jewish school in Jerusalem in 1856, the Laemel School.

In the pessimistic world of Hans Henny Jahnn it is refreshing to find one subject which the author illuminates with hope. Youth is a theme which Jahnn portrays again and again, sensitively depicting its joys and turmoil even in his later works, when his own youth lay far behind him. The youth Jahnn glorifies is not childhood in general, but rather that time in a child's life when he stands on the threshold to manhood. [...]

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E. E. Cummings' avant-garde drama, Him (1927) is the subject of this study. As poet and painter, Cummings drew a picture of the play for the cover of the "sacrosanct" [his word) first edition. This picture is a unique psychological rebus-mandala. The rebus concept of the ancient Chinese picture puzzle was used by Freud as an indicator of mental illness and progressive cure. The related mandala was adopted by Carl Jung as a universal logo or archetypal symbol of the transcending psyche. Cummings' remarkable rebus-mandala cryptically depicts the themes of Him which involve the archetypes of birth and death and the poet's quest for love and transcendance. The play revolves like a prism in the mirror and its artist's symbol is the mystical mirror mandala showing E. E. Cummings' signature written in a mirror.Voluminous "Notes for the Plays" in the unsurpassed Harvard Houghton Library illuminate mysteries about the misunderstood Him. Cummings' own suggested references for understanding the play are introduced by his comment: "I feel that anyone who is seriously interested in Him will get a good idea of the way it's made if he or she will run through the following references."Chapter One: Cummings' Rubik-cube writing style.Chapter Two: 1. Cummings' "Notes for Him," includes a metaphor study; 2. An examination of his authorized shortened version of the play which enables a director to prepare a script from this chapter; 3. Structure: The word or logos as the "microcosm in the macrocosm."Chapter Three: 1. The unique mirror mandala is a crystal or visual equivalent of the play. 1 t is a logo of Him as a universal monomyth. 2. Extensive references that key the acts and scenes of Him to twelve noted psychological sources.Chapter Four: 1. Explication of the twenty-one scenes in order (100 pp.) on four planes or levels: Freudian, Jungian archetypal theory, literary and poetic considerations and transcendental theory 2. Play is concluded by a ten-column matrix showing inter-relationships of structure, theme, staging, and characters for a skeletal summary (coda) for the intricate play.Bibliography and 103 topics for research papers. The play is well suited to dramatic theory and seminar study.

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