There is necrophilious taste in the scenes where Romeo meets Juliet, who is thought to be dead for him, in her familiy's semetry, and Othello talkes to himself, looking at Desdemona sleeping in her deathbed. In Othello's words: " I will kill thee / And love thee after ", we clearly see the protagonist's necrophilious desire. This necrophilious desire is caused by Othello's misunderstanding of his wife's disloyalty which causes him strong mysogyny at the same time. Othello's necrophilious desire is, as it were, the inversion of mysogyny caused by Desdemona's misundrstood disloyalty. Among the plays of around 1600, turning point of the playwright's dramatic vision from comic to tragic, the dramatic setting of heroine's disloyalty in Troilus and Cressida proves true unlike that of Othello. Troilus is shocked to see and hear Cressida's unbelievable disloyalty, while Hamlet severely criticises his mother's early remarriage with his uncle, which means the disloyalty against her ex-husband, his father. And Lear's unquenchable agony and anger caused by his two daughter's ingratitude lead him to the extreme of cursing feminity as a whole. In the Romance Plays, the last group of tragi-comedies, which are characterized with the happy-endings of forgiveness, reunion and reconciiation, the theme of protagonists' jealousy caused by heroine's supposed disloyalty is persistently repeated. Their jealousy is always 51accompanied with strong sense of mysogyny when they misunderstand they are betrayed by their wives or lovers. It is so strong that it never is healed till it leads them to decide to kill their wives or lovers. True reconciliation and reunion only comes after this bitter process of killing heroines once. Leontes in The Winter's Tale meets the happy case of reunion and reconciliation between husband and wife where the protagonist's necrophilious desire enjoys a happy ending under the theme of jealousy, while the playwright shows us a twisted, grotesque scene of necrophilious desire in Cymbeline.

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There are many scenes of horror in Titus Andronicus. Alan Hughes comments, " Most criticism has centered upon the notorious horrors... " and Eugene M. Waith remarks, "The scenes of horror... inevitably affect every review. "It seems that the horror which many scenes of horror arouse is " the uncanny " discussed in " The'Uncanny' " by Freud. This paper deals with the scenes of the pit in the wood in act 2, scene 2, the entrance of raped Lavinia in the opening of act 2, scene 3, and the mutilation in act 3, scene 1, referring to Freud's " The'Uncanny'. " The horror aroused by these scenes is " the uncanny " which comes from castration complex.

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The Long Valley, the collection of John Steinbeck's short stories, contains " The Chrysanthemums " and " The White Quail " as its opening stories, both of which have aroused many critics' abiding interest since its publication in 1938. The two female protagonists, Elisa (" The Chrysanthemums ") and Mary (" The White Quail "), have been the subjects of discussions for nearly sixty years. Still some important phases of these works call for further clarification. In the present study I have taken up two recurrent questions: (1)why was Elisa " crying weakly like an old woman " in the final scene and (2) what made Mary's husband, Harry Teller, shoot the white quail instead of the cat?My solution of these questions made use of insights culled from some basic Freudian theories particularly on dream symbols and the unconscious in order to analyze the protagonists' personalities and behaviors as well as dramatic situations. The results were found revealing. For I have eventually reached " a dark speck " symbolism as a key imagery of the betrayed female victims uniting the seperate stories into an organic whole. In " The White Quail " (1935) " the dark speck " significantly shows itself as the dead body of the murdered bird " thrown " into the depth of the hillside shrub, thus left to decay in the dark; in " The

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