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.

Charles Tomlinson Griffes becomes a remarkable figure in American music when one considers the musical influences which surrounded him. The first of these influences, and the one of longest tenure, was that of his piano teacher, a Miss Mary Selena Broughton. An eccentric woman and, considering the times, an extremely unorthodox teacher, she instructed Griffes in piano for twelve years. In addition to giving him thorough technical training and sound musicianship, she allowed his imagination free rein. This freedom of expression was to be the biggest factor in the next and last phase of his musical training - the four years of study in Germany. In the last decade of two of the 19th century and on into the first two of the 20th, Germany held the position as the foremost center for music education. That Griffes should choose to study there was only natural; that he should be able to throw off the powerful influences of Wagner and Strauss was, however, remarkable. For most of the pilgrims to Germany the effect was disastrous, as they were never able to free themselves from the german influences. Griffes was one of the fortunate few who, having been exposed to a rigorous and disciplined training in the groundwork of music, had the resilience to outgrow it. During his stay in Germany, under the tutelage of such an eminent man as Humperdinck (one of Griffes’ several teachers), he wrote music which was typical academic but which showed the progress of his craftsmanship. It seems almost as if he were biding his time until he could get back to Americana and away from the German influence, but appreciating all the while the excellent instruction that he was receiving. All his compositions were derivative in this period. He even used foreign language texts for his songs. Some of the German songs are worth some attention as they have been looked upon as being as good as those of “the masters of song”, Brahms and Strauss. Griffes assimilated their technique to a remarkable degree. One of the last of this German group, “Auf geheimem Waldespfade”, shows a definite trend toward Impressionism, which was then at its zenith. Strangely enough, Griffes’ work in the Impressionistic medium was a fairly independent parallel to that of Debussy and Ravel and the others in France, as he had had no instruction in it, nor had heard much of it in Germany. His study and use of Oriental scales and melodies contributed to the similarity which his music had with that of the Impressionists.

The purpose of this thesis is to show two major influences in the thought of Emily Dickinson which contributed greatly to two antithetic doctrines which commanded her loyalty. One of these two was a reverence which she felt for the Puritan concepts of life; the other was a revolutionary trait that would not adhere to Puritan doctrine. The first doctrine was a natural one to be adopted by the poet. The Puritan way of life was the only "style of life" which she know and so, quite naturally, this kind of milieu satisfied her in many ways. But as she matured there occurred along the path of her life certain obstacles which were manifested by her genius, and those obstructions, at various times in her daily life, caused much unrest and uncertainty within the poet's mind.

The purpose of this study is to investigate the history and development of the curriculum of the Conservatory of Music of the University of the Pacific from 1924 to 1954, and to indicate change as they occurred. The beginning point of this study was chosen because it coincides with the move of the institution from San Jose, California, to its present location in Stockton, California. Specific problems to be investigated are: (1) The history of the Conservatory of Music.; (2) Curriculum changes from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific.; (3) The Aims and Objectives of the Conservatory from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific. An understanding of the development of the past curriculum may aid in the future evaluation and development of the curriculum of the Controversy.

Although the purpose of this study is to concentrate on an analysis of Paz’s book of essays, El laberinto de la soledad, published in 1950 and revised and expanded in 1959, this writer feels that it would be in order to give a summary-listing of his poetry and other works. The reader will thus not only be able to follow the events of the author’s life, but he will also be able to grasp the details of his development as a writer and to understand his purpose in writing El laberinto de la soledad.

Several guiding principles should be established to discuss the function of original sin in Doctor Faustus. It will be considered synonymous with the Fall, the Adamic myth. It is not to say that original sin must necessarily refer to strict Christian doctrine. It explains the moral implication of man's position in the divine hierarchy, as well as symbolizes the presence of the demonic throughout his cultural consciousness of sin. For the purpose of this essay, original sin concentrates upon several primary factors: the quest for knowledge, the succumbing to sensual temptation, the transgression through pride, and the psychology of the creative process.

The purpose of this study was to determine the relationship between aggression, as measured by various personality questionnaires, and competitive anxiety, as measured by the Illinois State Competitive Anxiety Questionnaire, among the intercollegiate football players at the University of the Pacific. A sub-purpose of the study was to determine the relationship of aggression scores among intercollegiate football players as measured by the selected personality questionnaires.

The interest in football injuries has increased with the increased enthusiasm for the sport. The coach is finding it more and more important to have all of his players in the best possible condition to withstand the terrific strain under which they must compete. The public wants to see a well played, exciting game, but the days of brutality seem to be vanishing. The average fan would rather see the best players play in the game than to have them sit on the bench in plaster casts. This has led to a series of quite wide-spread investigations dealing with the problem during the past few seasons. The results, while not final, seem to show that a large percentage of the injuries are preventable. If this is true, further research will certainly be worthwhile. The inspiration for this present investigation came as a result of thirteen years' experience as trainer for athletic teams. During this period most of the games were played by a small squad, frequently further reduced by injuries. It is natural, then, to endeavor to discover hew to strengthen the squads by a study of the causes and treatment of these injuries.