This paper explores the appearance of three of Moliere's character types in Stendhal's novels The Red and the Black and The Charterhouse of Parma. Moliere had dealt in many types to which the titles of his plays provide a reasonably inclusive index--the Don Juan, the miser, the misanthrope, the hypochondriac. Those which have been singled out for comparison with Stendhal's characters in this work are the physician, the hypocrite, and the social climber, each of which is treated extensively by Stendhal, with the qualification that Moliere's physicians become Stendhal's priests. Chapter One identifies Julien Sorel of The Red and the Black and Fabrizio del Dongo of The Charterhouse of Parma with the physicians of Le Medecin Malgre Lui and Le Malade Imaginaire. Chapter Two identifies Julien with T artuffe. Chapter Three identifies him with Jourdain of Le Bourgeois Gentilhomme.

This study is concerned with the dramaturgic use of the fools of five of Shakespeare's plays. After the Introduction, Chapter II investigates the fool as a historical figure and establishes his credibility. Chapter III examines the comic methods and techniques of the fools. Chapter IV is an investigation of the use of the fool in his capacity as choric voice to present a particular viewpoint on the play. Chapter V is a study of how the fool fits into the action as a character, and Chapter VI investigates the ways in which he may be used in structural duties. The study concludes that the Shakespearean fool is an effective device due to his historical credibility and his recognized position as an entertainer.

This study presents an alternative approach to the novels of Franz Kafka through demonstrating that the Kafkan protagonist may be conceptualized in terms of mythic archetypes: the knight errant and the pharmakos. These complementary yet contending personalities animate the Kafkan victim-hero and account for his paradoxical nature. The widely varying fates of Karl Rossmann, Joseph K., and K. are foreshadowed and partially explained by their simultaneous kinship and uniqueness. The Kafka protagonist, like the hero of quest-romance, is engaged in a quest which symbolizes man's yearning to transcend sterile human existence.