This paper will demonstrate how Bennett’s “circumstantial” history of his age, as it streams by the reader, is controlled, analyzed, and interpreted. The framework of characters and events stand firm, their foundations solid in the systematic working-out, through symbolism and irony, of Bennett’s conviction that there is a “cause and effect” relationship between the physical environment and the character and sociological evolution and the character. Bennett writes that “the spirit of literature… enforces a moral wisdom by tracing everywhere of cause and effect.” The structures of characters and events are raised, reinforced, illuminated, inspected, and photographed through the use of symbolism, irony, and multiple points of view. Organized detail bricks in the framework.

Lulu, the second opera by Alban Berg, is not a unique creation, It is a synthesis of several theories of composition and a number of traditional compositional practices found in the history of Western music. This paper will attempt to trace the relationship between the drama Lulu and Verg’s musical interpretation of the drama in the selection of the opera designated as the sonata-allegro movement (in Act I, Sc. ii and iii).

The purpose of this study is to investigate a contemporary model of argument analysis and pass judgment on the value of employing the Toulmin model in the analysis of complex arguments. This study investigates the nature of the model in its working relationship to variou arguments chosen for analysis, and form this process conclusions are drawn as to the model’s value and workability

What I shall do in this paper is apply Frye’s concept of romance to Hard Times, i.e., Frye's defining romance as a device for using archetypes. The novel, as Frye sees it, is a vehicle whereby “realism” or life-like representation is applied. Hard Times contains “stylized figures” which thematically and formalistically support the dehumanization concept Dickens is portraying. Thus Dickens turned, as it were, toward a potentially revolutionary form within which to accomodate what is in many ways his most original piece of writing.

Somewhere is most general histories and outlines of English literature, the greatness of the King James Bible and its influence on all of English literature since 1611 have been pointed out. Unquestionably, all men of letters in the English language since that time have known of the King James Bible; and many of them may have been decidedly influenced by its tradition of cadenced prose and its prose figures. The great deal of research would have to be done in order to establish conclusively the influence of the Prayer Book upon all writers from 1549 to the present time. If this thesis stimulates any other worker to make a study in the general problem, it will have far exceeded its present purposes. For this approaches only one small aspect of the problem. Samuel Johnson is an obvious subject for such a study, because he attended the Church of England;1 he knew the Prayer Book well;2 in fact, he was such a good Church of England man that Boswell records in the Life at least two occasions when Johnson was offered a position in the Church.33 Furthermore, Johnson was preeminently a prose writer and used an ornate style. This combination of devoutness and literary ability makes of him ripe material for an investigation of the influence of the Prayer Book on an English writer. There is another reason why Johnson should make a good subject for study. He lived in an age that was a part of the same Renaissance tradition that produced the Bible and the Prayer Book. In fact, it has been pointed out that Johnson was the last of the great Renaissance humanists.4. The problem that this study attempts to solve, then, is "Did the Book of Common Prayer have any influence on Samuel Johnson's prose style?" Although many other problems have arisen in the course of this work, no attempt will be made to solve any of them; showing that the Prayer Book did influence at least part of Johnson's writing will be the single purpose of this paper

The story of "El Libertador", Simon Bolivar, greatest figure of South American history, may be pursued through seemingly endless sources of extant written material. The Bibliography of Simon Bolivar compiled by the library of the Pan-American Union is, in itself, an extensive volume; hundreds of his letters and documents have been preserved, and his biographers are numbered by scores. Throughout the nineteenth century he remained one of the most popularized of new world figures, and although he has lost considerable identity in the United States during the twentieth century, he continues to be written about. Man Of Glory by D. J. Clinton (Marrow Co., New York, 1939) is the most recent comprehensive biography. Yet, in so far as can be ascertained at this writing, the work herein contained is the first full length treatment in the dramatic form, in any language, of this amazing personality. Liberator of five countries, and father of the Pan-American idea, Bolivar's influence is an active tradition still shaping destiny for Latin America. With increasing contact between North and South America, and the popularlizing of the Pan-American program, Simon Bolivar will be revived in the interest of the people of the United States to the extent that he should be a "success" in a popular an art medium as the theatre, like Queen Victoria, Jaurez, Zola, Disraeli, Lincoln, Edison any many others who have won glory behind the foodlights as well as in the theatre of world events.

This study proposes to analyze the qualities of Franklin Delano Roosevelt's speeches as determined through a general survey of his speeches and a particular study of those of 1941. As President Roosevelt is considered an effective speaker of the day, a consideration of those qualities of composition, delivery and audience reaction which have contributed to the effectiveness of his speeches should have value. The year 1941 was selected because it was decisive year in the destiny of our country and as such affected his speeches.

Varios críticos han notado la influencia de Gabriele D’Annunzio en la obra de Don Ramón del Valle-Inclán y uno, Julio Casares, ha señalado un episodio de clara imitación, pero, por lo que pudimos averiguar, no se ha hecho un estudio detenido puntualizando las muchas semejanzas específicas que existen entre los dos autores. En este trabajo se examinarán varios recursos estilísticos y temas que aparecen en algunas obras en prosa de la fase modernista de Valle-Inclán, relacionándolos con los que fueron empleados anteriormente por Gabriele D’Annunzio en sus obras en prosa. Esto pondrá en evidencia las semejanzas específicas que se hallan en los varios escritos, y comprobará que Valle-Inclán verdaderamente siguió las huellas dannunzianas. En este estudio se tomarán en cuenta únicamente los rasgos más significativos para mostrar puntos comunes entre los dos autores. Nos remitimos a los escritos de D’Annunzio solamente en lo que puede tener relación con los escritos de Valle-Inclán considerados aquí.

The purpose of this study is to compare the narrative and framing techniques used by Geoffrey Chaucer and John Gower. These authors were selected for several reasons. Being contemporaries, they lived through the days of the reign of Richard II, his deposition, and the accession of Henry IV. This was a time change: the age of chivalry and true knighthood was ending; the middle class was establishing commerce, towns, guilds; openly and violently the peasants were beginning to reject their servile positions; the corruption within the organized church was being publicly exposed, and efforts, believed heretical by some, were being made to effect its purification. The discussion in this paper will be limited to the major work of each author. For Gower this is the Confessio Amantis, his only English work of any length; for Chaucer it is the Canterbury Tales, which, incomplete as it is, is generally accepted as the crown jewel of medieval English literature. The discussion wil be limited further to the framing and linking devices and to the four tales which appear in both books: "Constance" (Man of Law's tale), "Florent" (Wife of Bath's tale), "Phebus and Cornide" (Manciple's tale), and "Virginia" (Physician's tales).

The Rime of the Ancient Mariner1 is essentially a poem of survival through transformation, one which, according to William Walsh, 'has to do equally with man's capacity for failure and with that which makes available to him resources for recovery."2 It is also. as Richard Haven recognizes, "the record of the evolution of self." 3 Even more specifically, however, The Ancient Mariner is s tale which reveals key elements of Carl Jung's thought: the process of individuation, the nature of shadow and anima forces, the power of dreams and symbolism. Given the myriad and divergent interpretations of the poem--I heartily agree with C.M. Bowra that "there" is no final or single approach" 4 to Coleridge's masterpiece--my purpose must be explorative, suggestive. A Jungian perspective fairly encourages an exploratory approach, as Carl Kepper contends: The very heart of the applicability of Jung to the problem of symbolism is that he requires of us not that we explain (in the sense of explaining away, reducing to something more familiar) the symbol but that we explore it, not that we we remove. the mystery but that we seek to know it in all the mysteriousness it presents.5 In this searching, delving spirit, then, I will discuss the way the Mariner's--and to a lesser extent, the Wedding-Guest's--experiences represent fundamental aspects of the individuation process, which Jung defines as " ' coming to selfhood' or 'self-realization.' " 6 I will concentrate on the roles of the shadow and anima, respectively, vital and necessary constructs of this process. In these sections and throughout the essay, I will emphasize the essential position both Coleridge and Jung attribute to the law of opposites and closely related rebirth motif. Finally, I will explore the ways dreams, color, and bird imagery are symbolic and develop transformation or individuation to reflect the Mariner's degree of awakening. Not only will the complementary of opposites be discussed in this context, but wat Coleridge terms "the principle of unity in multeity"10 --what mythologist Joseph Campbell calls "unity in multiplicity"11 --and its relation to individuation will be considered. The focus throughout this essay will be on that transformational energy which promotes individuation and rebirth: "The study of the symbols of transformation," explains Violet S. de Laszlo, . . . centers upon the basic demand which is imposed upon every individual, that it, the urge as well as the necessity to become self-conscious of himself. . . . For Jung, the path towards this awareness is identical with the process of individuation. Insofar as the transformation results in a new and deeper awareness, it is experienced as a rebirth. . . .12