A collection of poetry

The purpose of this study is to become acquainted with the first movement of Mahler’s Fifth Symphony in the same manner as a conductor would when preparing the work for performance. Dr. William Dehning stated in his doctoral thesis: “The correct execution of any music imposes a great responsibility on the conductor of that music to determine what the composer might have intended.” The areas of concern to be discussed in this thesis, then, include analysis, thoughts on aesthetic and stylistic qualities, and some historical accounts relating directly to the Fifth Symphony.

Our American forefathers, with the exception of Thomas Jefferson, had no ideal of a system of universal education. His plans were throttled by slavery, but the doctrine of universal education lived. Then at a time when the whole system of common schools was in danger of failure Horace Mann gave his life to the promotion of the interests of the Common school. In 1837, the very year Horace Mann gave up his prospect of a famous political career to become Secretary of the State Board of Education in Massachusetts, Francis Wayland Parker was born in New Hampshire, and was destined to play an important part in this movement for the welfare of the common school. He began his teaching career at the age of sixteen. In his work he made a practical application of the truism of Comenius, 'We Learn To Do By Doing,' by supplying conditions which were favorable to efficient and rational doing. Spurred on by his deep conviction that there must be a science of education with which he was not familiar, he spent several years studying in Germany. With his conviction strengthened, he returned to America to continue his work or reform in the elementary schools of, America. He pictured the school as a community and the teacher as an organizer of community life and creator of public opinion. Like Horace Mann, he instigated and promoted a great movement to free teachers as well as children. Prior to this time teachers had received appointments mainly through political influence, regardless of their lack of qualifications. Through Colonel Parker's efforts, it became necessary to appoint teachers who were equipped the guide the pupils along the path of freedom which develops self-control.1 Colonel Parker refused to accept a creed handed down from the past and so refused to impose a creed upon his followers. Thus he left no published works which do justice to his educational theory and practice. It is my purpose to show the relationship of his work to the Progressive School Movement, and the background provided by his reforms for Dr. John Dewey's contribution to the elementary school.

Statement of the problem. This paper is an examination of William Sydney Porter's Latin American stories in light of their inter-American significance. The basic point of view from which the study is made is that Porter is a North American writing about Latin American at the beginning of the twentieth century. The paper examines the Latin American and North American characters which appear in the stories and catalogs them into groups of stereotypes. The aim of this study is to discover Porter's ideas, views, and concepts of Latin America, Latin Americans, and North Americas in Latin America, as they are expressed in his stories. This study cannot establish what Porter's personal thoughts on Latin America and Latin Americans actually were, for Porter never published a first-person report of these thoughts. Much of the study depends entirely on the views, opinions, and feelings of the speakers and characters in the stories. Many of Porter's North American characters demonstrate a negative attitude toward Latin America and its people, an attitude which is in keeping with their characters. This is particularly true of Porter's North American soldier of fortune type, speculator type, adventurer type, and fugitive type. However, in order to point out the general attitude toward Latin America which is developed and expressed by Porter in his stories, it will be necessary to lump together the views and opinions of all his speakers and characters.

Thomas Stearns Eliot wrote only seven dramatic works, which include the unfinished fragments Sweeny Agonistes and the pageant play, The Rock. These works show the ways Eliot put into practice his own theories about the relationship of drama and verse. Although their relative merits are the subject of considerable critical controversy, each play affords a rich theatrical experience. This study attempts to assess the real value of Eliot’s work and seeks to explore the relationship between his avowed intentions to communicate in the theatre, and the finished product of his labors. Necessarily, we must examine his views on art, religion, drama, and verse because all of these are part of the creative process.

While eschewing a strict definition on the didacticism of Blake's imaginative vision, the following four analyses could be said to revolve around three general themes. These are: (1) that Songs of Innocence engage in a dialectic, much of their appeal deriving from the tension created between the co-existence of so-called qualities of "innocence" and "experience"; (2) that each one is an individual attempt to reconcile these, as well as other, oppositions; and (3) that such a reconciliation is hierarchical, usually concluding on a transcendent or visionary plane. The first three center on the text and metrical phenomena. In "The Ecchoing Green" they are explicated synonymously, whereas in "The Shepherd," "The Little Black Boy," and "Laughing Song," the textual approach precedes an appropriate metrical amplification. The final discussion of "The Blossom" marks a technical shift into sound color, though the structure of the approach continues the same alternating pattern demonstrated on the three analyses before it.

Henrik Ibsen's critics have long acknowledged his mastery of the stage, that is, his use of the physical and off-stage settings, architectural details, props, and space as symbol. However, study of Ibsen's symbolic settings has been limited to one play or to aspects of his stagecraft in general terms. Peter Tenant's Ibsen's Dramatic Technique discusses the settings and stage directions of his major plays as they relate to plot and theme. In Patterns of Ibsen's Middle Plays, Richard Hornby studies the settings and scenic background only for An Enemy of the People. Edward Beyer in Ibsen's The Man And His Work focuses on the plays' symbols as they relate to theme. Finally, David Thomas presents an excellent study of stage space in The Lady From the Sea. These authors and others have touched upon the genius of Ibsen's stagecraft. More can and should be said because understanding Ibsen's symbolic settings will lead to a deeper reading and appreciation of his plays. Ibsen's use of the symbolic setting provides focus and unity to the plays that were written between 1882 and 1892. His settings become a projection of his major themes and the characters• souls or psyches. Areas on and off the stage, props, furniture, and architectural details may be a stage projection of the protagonist's mind, intention, motivation, or suppression. Since the essential nature of drama is conflict, Ibsen often uses his settings as symbols of conflict. Varied settings, architectural details, placement of the furniture, and the characters• positions and movement on the stage provide a visual symbolism for his themes in An Enemy of the People, Rosmersholm, Lady From The Sea, Hedda Gabler, and The Master Builder. Ibsen's settings often caused a great deal of trouble to stage because they were complicated. Indoor settings were his effort to create a realistic illusion, while his later abandonment of indoor settings coincided with his reversion to romantic symbolism, according to Tenant (67). With The Lady From The Sea in 1888, his plays expanded to the open air. Three plays, Rosmersholm, The Lady From the Sea, and The Master Builder, begin in an enclosed setting that gradually and symbolically takes the protagonist to the outdoors and freedom. However, in The Enemy of the People, Ibsen uses enclosed settings that are mirror images of one another, thus symbolizing the pattern of thematic contrasts. Only Hedda Gabler takes place in one enclosed set, which becomes a symbolic entrapment for Hedda. In these latter two plays and The Master Builder, Ibsen enlarged his stage with the help of an inner room or a back room that functioned not only as a way to place his characters and therefore complicate the plot, but also to project his themes and his characters' psychological states. In addition, he uses off-stage settings not only to symbolize further the conflicts within his characters, but also to enhance his themes.

It is the purpose of this study to explore several of Edwin Arlington Robinson’s poems in order to show the poet’s force of language and prosody and to reveal as much as possible his total poetic artistry. The poems are representative of his familiar, shorter Tilbury Town portraits and are taken from his early, middle, and late periods. An honest appraisal will be made to determine the true worth of the poetry, and an attempt will be made to show that Edwin Arlington Robinson deserves a respected position in modern American letters.

Since the World War, the Russian experiment has formed the basis for more comment than any other movement. Of particular interest to the people of the United States has been the Third International, or Comintern, having as its aim World Revolution. Although communism has not had a great deal of influence in the United States as yet, propaganda is being spread to such a great extent that expectations for the future seem significant. The Third International which was based upon the principles laid down by Karl Marx and Engels in the Communist Manifesto in 1848, differed from the First and Second International in that its main policy was, and is, active revolution. Although the Third International was really started in Zimmerwald and Kienthal it did not receive real authority until Germany cooperated in carrying out the idea of revolution and in sending over Lenin and Trotsky, who were ardent supporters of the communist idea. The basic principles of the Third International, according to the Encyclopedia Britannica, are to "quicken steps toward world revolution," by creating revolutionary proletariat parties which shall be the advance guard of the revolution, to bind the organization together by a common programme and principles and to receive its orders from a. central organization, the bureau of the Third International, to allow individual communist parties in different countries, the real aim is always world revolution and that this should be actively supported in all cases.

The modern scholar attempting any detailed analysis of imagery in the poetry of Shakespeare may well proceed with caution. The lack of a clear and definite statement of terms, the unwillingness to come first to grips with the problem of definition before proceeding with that of analysis may produce pitfalls for the unwary; and although modern studies - especially those of Miss Caroline Spurgeon and her followers - have cast much light upon Shakespeare’s use of imagery, they do not altogether escape the charge of carelessness. Much work remains to be donel and the need for a reconsideration of the work already accomplished, together with a careful re-analysis of the function of imagery in the text of Shakespeare itself, is unquestionable. Herein, then, we have the purpose as well as the justification of the present study. The method of the study will involve: (A) the careful counting and listing of all the images in a mature Shakespearean tragedy; and, (B) the classification of these images according to what appears to be their technical function in the drama itself.