The aim of this paper it to focus on some of the shameful deeds that Richard, the Earl of Gloucester, committed as he aspired to become the king of England, and to consider his deeds from a psycho-analytical standpoint, through a close reading of his monologues and conversations with other characters. Thus, several dialogues are reviewed, but two in particular have been selected for linguistic analysis: one involving Lady Ann, and the other the Duke of Buckingham. There dialogues point out some aspects of Richard' s discourse which demonstrate Shakespeare ' s unique psychological acuity. Three more aspects are discussed: (1) the important role that the Duchess of York, Richard' s mother, played in the early stages of her son' s life, (2) Richard' s first meeting with Lady Ann, which seems to have considerably enlarged his superego and, as a result, probably speeded his downfall and (3) the quality of Lady Ann' s love toward Richard.

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It is generally said that Oscar Wilde is influenced by Shakespeare. In this article I will examine William Shakespeare's Macbeth and Oscar Wilde's The Picture of Dorian Gray, and discuss similarities in their structure, plot, and motif, and their use of ruined historical background in their tragedies from the viewpoint of the double images reflected in their works. From the beginning to the end, above-mentioned two tragedies seem to deal with the mutual theme of inward conversation, or double images, which develop their stories. There are also similarities in their structure and plot, and effective use of the historical background. First, the alteregos of the heroes are expressed as tempters as if they are stimulating the main character from outside. Temptations arise in the heroes' minds Lady Macbeth's words of malicious desire in Macbeth, and pleasure seeking in Dorian Gray. They develop into the double images in the heroes' mind, cause conflicts in the their personalities, lead them into the chaos, and finally drive them into self-destruction. These phenomena are described as if they are conversations with his lady in Macbeth's case, and with the influential friends and the portrait in Dorian' s case. However, these phenomena can be interpreted as inner dialogues interacting with the heroes' alter-egos in their unconscious. Thus, we 117can say that the similarity in their structure consists of the following steps: temptation >> action >> conflict >> destruction. Second, the morbid idea in the historical backgrounds is effectively used in both tragedies. In Macbeth, under the influence of James I, Satanism and the superstitious belief of witches such as witch-hunts and witch-trials are effectively used to make its uncanny atmosphere impressive. In Dorian Gray, humanism restricted under the excessive Puritanism in the Victorian Age is effectively contrasted with Greek philosophy and new hedonism, and make the author' s art theory convincing. In addition, each work clarifies the most significant similarity, that is, the author's morality, by plotting the hero's sufferings from double images and a sense of guilt, and his dreadful conclusion. Hence, both Shakespeare and Wilde greatly succeed in making the characters vivid by inward conversation in the character's mind. As outlined above, we can conclude that the dualism, or double images reflected in Oscar Wilde's The Picture of Dorian Gray is under the strong influence of the dualismreviewed in Shakespeare's Macbeth in the structure, motif, plot and in the effective use of the historical background. Each author tries to introspect the inner self through literature and regards life as the greatest art.

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Armgart, who is a heroine of this work, is a primadonna with amazing voice. She has a pride and confidence of being talented primadonna and also seems like a winner of life in Scene 1. However, she lost her most important thing, voice. Her life was changed for suffering from her illness of throat. Finally she chose to be a music teacher in a hometown of her cousin who has been a great supporter of her for five years. She had to leave the stage with gorgeous spotlight, and tried to look for the way to cooperate with a small community in a countryside. The relationship between Armgart, and her cousin Walpurga reminds us of that between Dorothea and Celia in Middlemarch published in 1871. But in this work Walpurga plays more important role than Celia in Middlemarch. George Eliot had already published her dramatic poem The Spanish Gypsy in 1868. Being compared with her long narrative poem The Spanish Gypsy, Armgart doesn't have many characters and the stage is the salon of Armgart. However, this work has many clues to investigate her novels. The 119purpose of this essay is to consider the message of George Eliot by investigating the impact of two operas (Orfeo ed Euridice by Gluck and Fidelio by Beethoven) on Armgart's life.

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“Clay” is the tenth story of Dubliners by James Joyce and the heroine is an old spinster, Maria. She is a Catholic and works among inmates of a home, the Dublin by Lamplight laundry established for the reformation and rehabilitation of prostitutes under Protestant direction. The story takes place on Halloween. On the evening of that day, Maria plans to visit the Donnelly family to attend the party. Maria had worked for the Donnelly family and had brought up Joe and his brother Alphy as their nurse. It seems that nothing signals a change in the merry mood of the party, but the melancholy hidden in the mood sometimes appears in the story. Maria plays a game of divination of the future and tou ches “clay” which symbolizes death. Everyone except Maria with the bandage over her eyes realizes that death is coming to her soon. For “clay” which Maria touches with her finger, Joyce uses the expression, “ a soft wet substance. ” He uses neither the word, “soil” as in Genesis nor “Clay” which is the title of the story. “Cl ay” symbolizes death. However, “a soft wet substance” as Joyce expresses it seems to symbolize not only death but also rebirth. Maria seems to reflect Joyce's image of Ireland. Also, her image overlaps with the image of a woman which the Irish have held in the depth of their consciousness as the ideal of their motherland. By her touching “ a soft wet substance, ” it comes to symbolize the spiritual death and rebirth of the Irish. These symbolic meanings, especially Maria symbolizing Ireland, I try to show in this paper.

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This paper is a study in Depth Psychology, using the ideas of C. G. Jung. It deals with the mental state of Bigger Thomas, the hero of Native Son (1940) by Richard Wright. To some extent, the crimes committed by Bigger in this novel are related to his status and place in American life. However, Wright describes not only the usual shortcomings dealt with in proletarian fiction but also Bigger' s psychological progress. Bigger establishes his own ideas about his life and world, and achieves selfrealization. He searches for freedom. He realizes the need to fight against the circumstances that limit men like him. In the earlier parts of Native Son, Bigger cannot find any way to break free of the cultural chains that oppress him, and he murders two women. Obviously, this is wrong, but it gives him a sense of absolute freedom, because it enables him to exercise his own will and to create a new and original world. Bigger has the character of an outsider, and an urge to seek for "the meaning of life". He has to fight against himself until he awakens to his own consciousness through a contact with his attorney Max and find a means of expression for himself. After meeting Max, Bigger for the first time comes to feel the reality of a direct connection with others. Once he has acquired this new way of thinking, he wants to express his ideas to the rest of society. It is a 123practical message of hope and truth for other people and a source of power for the reforming of culture. He has discovered a treasure of selfrealization in his inner mental world. Ironically, just as he has become convinced of a state of union in the world, he has to go to the electric chair.

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