Horacio Quiroga was born in the city of Salto, Uruguay, December 31, 1879. His birth was registered with the Argentinian consulate as his parents were citizens of that country. Quiroga attended school, first at the Instituto Universal de Montevideo, then at the Politécnico de Salto and finally at the University. His natural independence caused him to leave home at an early age.

The tragedy, La casa de Bernarda Alba, by Federico Garcia Lorca is generally recognized as one of the finest poetic tragedies of the Twentieth Century, yet it has not drawn the critical attention afforded the plays of Lorca's contemporaries, such as 'Tennessee Williams, for example. Ironically, Williams' early plays evince a definite. Lorquian influence. Close attention has been paid to the poetic texture of.Williams plays, providing an important contribution to understanding the art of his poetic tragedy. The same has not been true of Lorca. This may he due partly to the fact that Lorca's ·tragedies have not played very well in the United States and partly due to political considerations in his native Spain. It is the purpose of this essay to make a detailed analysis of the poetic structure of La casa de Bernarda Alba to show Lorca's brilliant welding of the basic elements 10f' the drama into one underlying statement of theme, This will be accomplished through a close reading of the play as originally written in the Spanish language with especial attention paid to its setting, dominant image patterns, characters, and action. These, then, will be examined and elucidated in relationship to thematics, thus demonstrating Lorca's dramatic technique of fusing these fundamental parts through use of language and symbol into one unified whole.

It will be the purpose of this thesis to survey and to evaluate twentieth-century criticisms of Chaucer's Canterbury Tales. Because the topic is so broad, it is necessary to find methods of limiting the subject so that it· may be adequately covered herein. This paper will be limited primarily to books published on the topic under consideration. To cover all the work in periodical literature would go beyond the scope of this study. Perhaps that task can be covered by someone else.

This essay demonstrates how three popular writers of the twentieth century have created novels that contain echoes of Eliot's poem. They are F. Scott Fitzgerald's The Great Gatsby (1925), Ernest Hemingway's The Sun Also Rises (1926), and John Steinbeck's To a God Unknown (1933). I chose these particular novels because they exemplify widely different and distinctive echoes of the poem. Fitzgerald's use of waste land imagery is readily perceptible the most effective in defining and summing up the temper of the Jazz Age in America. Hemingway's borrowing lies principally in parallel characterization (Jake Barnes as he Fisher King is the outstanding example) and in depicting a morally and spiritually bankrupt world by showing that a satisfactory sexual relationship between man and woman is impossible. Steinbeck's borrowing is unique. HIs novel not only contains the Fisher King figure, desert land imagery, water motif, and the quest theme, but his protagonist, Joseph Wayne, like Eliot's Fisher King-Tiresias protagonist, is able to metamorphose from one "personage" into another. Steinbeck's borrowings are not used by him for the purpose of depicting the world of the Twenties, or any era. He may have done no more than build upon a piece of literature from the immediate past as Eliot had done from the more remote past when he created The Waste Land. There is also a possibility that Steinbeck disagrees with some of Eliot's philosophical ideas and playfully chides the poet for harboring them. In showing the nfluence of the poem on three important American novelists, perhaps this essay will disprove Karl Shapiro's statement that "at no point in the career of Eliot has there been the slightest indication of literary following,"5 and will furnish proof that Robert E. Knoll's statement regarding the influence of The Waste Land is a valid one: What The Rape of the Lock was to the Augustans and Tintern Abbey to the Romantics, The Waste Land has become to the Moderns, It is inescapable.6

The purpose of this chapter is to acquaint the reader with the general scope and trend of Maxwell Anderson's work in order to give a more complete conspectus for the discussion of his plays. By so doing a foundation will be laid for a more intelligible discussion of the specific aspects of the seven plays concerned in the thesis proper, the title of which is, "An Essay on Character Portrayal, Style, and Technique of' Writing in Maxwell Anderson's Biographical Plays in Verse."

It has been the purpose of this study to make a comparative analysis of the most significant characters in two selections of dramatic literature: Gordon Bottomley’s King Lear’s Wife and William Shakespeare’s King Lear. The significant characters are Goneril and Regan, the “evil influence” in both plays; the two Lears, the “neutral influence” in both plays; and Hygd and Cordelia in King Lear’s Wife and King Lear, respectively. Hygd and Cordelia are the “honorable influence” in the stories. It has been the further purpose of this thesis to delete from both plays all subplots which do not directly pertain to the Lear story and to include both plays in this volume for the use of presentation before an audience. The edited version of both plays uses Bottomley’s King Lear’s Wife as a prologue to Shakespeare’s King Lear. It is hoped that the total effect will give a new significance to the motives of Lear’s daughters and to the character of King Lear Goneril and Regan are given justification, through Bottomley’s play, for their evil actions in Shakespeare’s play.