European Renaissance in its widest meaning, beginning in early 14th century in Italy, spreading throughout Europe and dissipating before the end of 17th century, may be regarded as a spiritual process leading from Renaissance through Mannerism to Baroque. Each of these periods created an artificial style of its own in interdependence with its intellectual and emotional climate. We can find this development in England where Renaissance began much later than on the Continent, although it is complicated and sometimes seems to be reversed. Probably nothing represents more clearly the fluctuations and changes in English thought and artificial style in those days than Shakespeare's plays. This paper is an attempt to find the movement from Renaissance to Mannerism in Shakespeare's historical plays with special reference to Richard Iii and Richard II, in comparison with Italian manneristic paintings in 16th century. This attempt demonstrates that Mannerism is a counter-Renaissance movement, becoming much stronger in Shakespeare's later play, Richard II, as may be discovered by a psychoananalytic evaluation of both plays.

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This paper tries to trace the development of D. H. Lawrence's tale of "Odour of Chrysanthemums" in his The White Peacock through two published and two unpublished versions of the tale and The Widowing of Mrs Holroyd to The Rainbow as it presumably helps to gain a deeper understanding of the artistic growth of this 20th century novelist of major importance. Some intellectual growth of remarkable significance emerges, the paper points out, in this artist's view of his own father and mother, finally to arrive at an artistic detachment where all this novelist's personal questions in parent-child relationships are transcended. As Keith Cushman has shown in his D. H. Lawrence at Work (1978), an analytical survey of the concluding scenes in all the versions available of "Odour of Chrysanthemus" reveals a dramatic evolution in D. H. Lawrence's deepened insight into the human condition of alienation and isolation. This paper makes an attempt also at a classification and commentary concerning the symbolic uses of repetitions like `shadow', `fire', `fear', `stranger', `murmur', `bitter', `sulky', `sullen', 'awkward', 'chrysanthemum', etc., which in this paper are elucidated in numerous passages from the text, It is found that these repetitions help a great deal to establish the colour and tone ofory, reinforcing its implications and the author's viewpoint. The paper goes along in its study of the structure and growth of the tale in three sections: Introductory Remarks... Structure. Development.

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T. S. Eliot is one of the greatest poets that 20th century has produced, for which, of course, I have no objection. Many books about T. S. Eliot adore him and in a sense, he has become Almighty God rather than a man with deep insight, fragile heart and sensitive feeling. The above may be one of the standpoints in reading and appreciating his poems but I want to analyze his works from metapsychological standpoint. He has the same weakness and the same suffering as we have. He suffered from nervous collapse all through his life, the reason of which may mainly have been in his family, especially in his mother. In spite of his nervous depression, he wrote many splendid works. I have interpreted his poems in the light of his life story referring chiefly to "The Love Song of J. Alfred Prufrock" and "Lune de Miel. " By metapsychological approach to T. S. Eliot, I intended to give a new (not traditional) and different interpretation of his poems and to find his attitude towards life, religion, and salvation of human soul. Through this brief survey, I could find that he had been a lonely traveller with a longing for human love which he could not have in his early childhood.

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