The present study was performed to investigate the effects of the colchicine concentrations on chromosome doubling for producing of tetraploid plants of Codonopsis lanceolata, and its effect on plant morphology. A total of 180 individuals germinated from 16 treatment groups, were exposed to various concentrations (0.05-1.0% w/v) of colchicine for different soaking duration (3-24 hour). The highest numbers of tetraploid plants (3) were observed from the lowest concentration of colchicine (0.05%), and one (1) tetraploid plant was obtained from the 0.5% concentration group with a 6 hour treatment. However, no tetraploid individual was observed in any other treatment groups. The plant height of the diploid (18.1 ㎝) was slightly shorter than that of the tetraploid (13.4 ㎝). The fresh weight of the main root in the diploid (0.5 g) was four-fold higher than the tetraploid (2.2 g). The colchicine-treated plant regeneration rate in C. lanceolata was decreased when the plants were subjected to high concentration of colchicine. In particular, the highest number of tetraploid plants (5 and 3) was obtained from the lower concentration (0.05% and 0.1%) of colchicine for 6-hour treatment, which were a higher rate (29.4% and 30%) of regenerated tetraploid plants than other regenerated plants. As in the seed treatment result, the plant height of the diploid was significantly higher (10.4 ㎝) than tetraploid. The higher morphological changes were observed comparatively from tetraploid plants than the diploid.

To produce high quality watermelon, three tetraploid watermelon breeding lines (‘SA03-1’, ‘SA06-1’ and ‘SB01-1’) were developed by treatment with different chromosome doubling reagents. To identify the optimal tetraploid inductive conditions, the three watermelon breeding lines were selected by counting the number of doubled chloroplasts in guard cells. Tetraploid induction rates differed depending on the genotypes and treatment with doubling reagents. However, the highest induction rate occurred with 1.0% colchicine (82.2%). These putative tetraploid lines were re-confirmed for ploidy using flow cytometric analysis and chromosome counting. The internode length of the tetraploid breeding lines was different when the leaf size was larger in all three tetraploid lines compared to their diploids. The fruit weight of the tetraploid fruits for ‘SA03-1’ and ‘SB01-1’ was lower than for their diploid, and the rind thickness and total sugar content (°Brix) of tetraploid SB01-1 were significantly different from those of its diploid. Tetraploid lines were sterile, yielded a lower number of seeds per fruit for ‘SA03-1’ (21), ‘SA06-1’ (62), and ‘SB01-1’ (34.7), and the seeds were larger and thicker than those of their diploids. These tetraploid breeding results will be useful for breeding new seedless watermelon cultivars.

“The Love Song of J. Alfred Prufrock” and “Portrait of a Lady,” two major works of T. S. Eliot’s early poems, have been regarded as a kind of ramatic monologues. Many critics indicated that Eliot’s use of dramatic monologue was different from Victorian poets’, so they called Eliot’s dramatic monologues “interior monologues” or “psychologues.” However, some critics like Won-Chung Kim insisted that Eliot’s and Robert Browning’s dramatic monologues shared some characteristics by comparing their masterpieces, “The Love Song of J. Alfred Prufrock” and “My Last Duchess.” In this paper, my premise is that Eliot’s dramatic monologues are different from Victorian poets’ like Browning’s because I think that Eliot changed the technique of dramatic monologue to reflect the spirit of his age, that is, the beginning of the 20th century. In the early 20th century, many writers including Eliot thought that the self is illogical and split, and claimed that they should focus on the human consciousness and try to find the method to express it. In his early poems, Eliot expressed the speakers’ consciousness that was divided. Some critics has also indicated that the speakers of Eliot’ early poems have self-conscious character caused by the split self. To create this character of the speakers, I think, Eliot adapted the technique of dramatic monologue. While the traditional dramatic monologues focus on showing the speakers’ values, Eliot’s show the conflict of the speakers’ doubling self that produces the effect of irony. The speakers’ doubling self consists of the superficial and the fundamental self. One represents the self that tries to conform to the life style of the bourgeois world and is very concerned about people’s judgment. The other represents the self that longs for something higher, more emotional and spiritual. When this doubling self collides with each other and causes conflict, the speaker observes himself in a dramatic way, that is, as a object. Then, the speaker returns to his daily life again.