It is often said that Shakespeare's works contain many contradictions and I cite as an example Witches' words in Macbeth; Fair is foul and foul is fair. Many scholars has discussed what this phrase means for a long time, and this question doesn't reach one answer but it allows us to interpret in some ways, which usually happens in Shakespeare's works. Sonnets has also many contradictions. In this paper I pick up Sonnets 127 and 130 to see the contradictions.
Sonnets 127 and 130 belong to a series of sonnets the poet composes for a lady and she is known as Dark Lady. Her complexion being dark and her hair being black, Dark Lady stands far from the beauty of those days, whose hair is blonde and complexion is fair. Despite of her being opposite from general beauty or because of her being so, the poet praises the lady in his sonnets. The lady is regarded as foul not fair but she is transferred to fair by means of the poet's skills. I try to explain how the poet succeeds the transference of the lady, taking up three points; logic, ambiguity, and psychoanalysis.
The poet enumerates the lady's faulty points by making contrast to the conventional poetic skill, that is hyperbole. The more he writes the lady' s lack of the conventional attributes, the more the lady seems beautiful. This is the poet's logic. As for ambiguity, I pay attention to the word “damasked roses” in Sonnet 130. Damasked rose is often used as a hyperbole which expresses females' cheeks, but ‘damasked roses’ can make readers imagine females' cheeks with cosmetics. Then when the poet says the lady' s cheeks are nothing like ‘damasked roses, ’ he gives evidence of the lady's being natural without cosmetics while the other ladies insult Nature using cosmetics, and again the lady comes from foul to fair. To examine the sonnets psychoanalytically, I refer to and quote from Freud's ‘Repression’ and ‘Negation.’ Sonnet 130 is a kind of negation of the lady' s beauty though the couplet says the lady is beautiful. Behind the negation there must be the poet's real love. I think sonnet 130 contains the poet' s double negation. One is his performance as a poetic skill and the other is the poet's real negation, from which we can inspect the mechanism of his unconsciousness. He loves the lady but this love is accompanied with discomfort, because nobody can sympathize with his love to her. In order to avoid discomfort, the poet pushes his love from consciousness to unconsciousness. In this process the negation appears in front of us as a kind of the repression. I examining sonnets 127 and 130 psychoanalytically, some hints show up which lead us to understand the existence of the two lovers, the lady and the youth at the same time in the latter part of Sonnets.

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We often believe that a stream-of-consciousness-novel shows us the continuity of impressions and thoughts in the human mind as they really are. With its unique style, interior monologue and free indirect speech, our mind seems to be examined perfectly not being intervened. But Colin MacCabe says that Ulysess by James Joyce, known as the most famous stream-of-consciousness-novel, never shows such any stable descriptions as the perfect continuity of impressions and thoughts. He compares Joyce's texts to Lacanian psycoanalysis in terms of their ideas that no signifiers connect with specific signifieds. To examine his comments about Joyce's texts, we should examine unique styles in a stream-of-consciousness-novel; interior monologue and free indirect speech.
Thanks to some critics or grammarians, for example, Robert Humphrey, we can look into these styles.: they show us the human mind as it really is, or not. At last, we are to conclude that they describe not only our thoughts but also something being other for themselves. Interior monologue and free indirect speech always make readers to feel beings of ‘others’.
In the end, something running away from Joyce's texts are to be compared to Lacanian unconscious, as MacCabe says. Interior monologue and free indirect speech are nothing but Lacanian psychoanalytical styles.

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Tennessee Williams (1911-83) made his debut as a dramatist with The Glass Menagerie (1944). His next drama, A Streetcar Named Desire (1947), won several prizes including Pulitzer Prize, the New York Drama Critics' Award. His third drama, Summer and Smoke (1948), made its debut on Broadway, but was not so well received, and Williams had to rewrite it. In 1952, however, Summer and Smoke was warmly received by audiences and critics off-Broadway.
Most of the protagonists who appear in his dramas and short stories are women. This is presumably related to the facts that he is a homosexual and that he plays the role of a female. Reading his autobiography, Memoirs, helps us to understand why he came to describe women' s mentality. Memoirs was written by using the method of “free-association”. When Williams confessed in Memoirs that when he made love with a man as a homosexual, “I would always go into my shaking leaf bit..” In Conversations with Tennessee Williams, Williams says that “women have always been my deepest emotional root”. This remark suggests that Williams discovered women's mentality in him. Williams admits that his writings are forms of psychotherapy, and as such they bring to light much of his tormented personality. Most of his themes grew emotionally, as well as organically, from his own experiences.
The aim of this paper is to study the psychological development of William's protagonists by using psychoanalytical methods on several of his works: The Glass Menagerie, A Streetcar Named Desire, and Summer and Smoke. Signi Lenea Falk treated these plays as a series, and Laura Wingfield, Blanche Dubois, and Alma Winemiller were defined as “portraits of southern gentlewomen.” Falk pointed out community among these characters, but didn't study in detail the mentalities of the protagonists. This paper investigates the process of the shifting of three female protagonists' libidos that are fixed either to “a spiritual bond, ” or “a material bond, ” or to both. They all want to attain the ideal love. Laura Wingfield in The Glass Menagerie was developed into Blanche DuBois in A Streetcar Named Desire, and Blanche DuBois in turn into Alma Winemiller in Summer and Smoke. This paper also tries to clarify a pattern of causal relation between protagonists' libidos and their morals about love.

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Other Voices, Other Rooms was published by Random House, Inc., New York, in 1948, and made Capote famous as enfant terrible. The theme of it is Joel's establishment of identity, and in the process of it, he takes five trips as follows: the trip to Skully's Landing to see his father; the trip to the creek with Idabel; the trip to the Cloud Hotel with Idabel; the trip to the “Outside” with Idabel; the trip to the Cloud Hotel with Randolph. These trips are the rites of passage that help him to establish his identity. In this paper, I discuss how Joel establishes his identity.
Joel goes to see his father to alleviate his loneliness and establish his own identity, but he fails because his father can neither speak nor move. Then, Joel desires Zoo to give him motherly love and Idabel to give heterosexual love, but he fails. As a result, he awakens a limited consciousness, and consequently he begins to discover motherhood in Randolph. Joel takes his last trip, setting out for the Cloud Hotel with Randolph. Through this trip, he establishes his identity, and comes to understand Randolph. Randolph's room where Joel arrived at finally is a safe and protected place like the womb, and for Joel it is a symbol of womb-phantasy: it is the place where Joel belongs.

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