A considerable number of studies of Amharic literaturernhave been written by Ethiopian as well as foreign scholars.rnStudies by Ethiopians are v.ry fragmentary and those by foreignersrnreveal distortions. This thesis attempts to overcome ~rnthese problems of fragmentation and distortion in the study ofrnAmharic literature. The topic is very vast and the thesis isrnnecessarily a very condensed survey of the development of Amharicrnliterature along with a critical analysis of epoch-making Amharicrnnovels, plays and poetical works.rnCompared to other African and even European countries,rnEthiopia has a very old literary tradition. Although the massesrn~f the people still remain illiterate, literacy and hence the artrnof writing has its roots in Ethiopian antiquity. Ethiopia'srnearlie$~ li~ra~ures were written in Geez, a classical languagernthat persisted until the middle of the twentieth century andrnstill lingers around churches and monastries. Written Amharicrnliterature made its first appearance around 1300 but actuallyrnstarted to flourish only at the beginning of the present century.rnThe first Amharic novel, Afawar~ Gabrayasus's L~bb Walla~rn:rarik was published around 1900. Since then a remarkable numberrnof novels have been written among which F~~ir ~ska Ma4abir, Adafris,rnYa~ay Kokab Tirri and Ma'~bal are critically analyzed. Fi*ir fskarnMafabir is, a novel of shining excellence both in form and content.rnIta harmony of setting and characters and artistic manipulation ofrnliterary techniques al~ng with its social significance will alwaysrnsecure a special place for it. Adafr~s stands out most conspicuouslyrnparticularly for its originality of style and unparalleled excellencernin the use of modern literary techniques. It is truly thernwork of a master artist and craftsman. Ya~ay Kokab Tirri andrnMalibal manifest the highest level of political preoccupationrnin the Amharic novel thus marking a new trend of development.rnModern Amharic drama is still.in its infancy. It is nornmore than seventy years old. The first Amharic play Fabula byrnrnBajrond Takla Hawariat was staged at the beginning of this century.rnThe earliest Amharic plays, which understandably were crude in form,rndealt with the Italian occupation (1928-33). Amharic drama startedrnto be perfected only after the 1950's and 60's with the return ofrndramatists trained abroad. Kabadil Mikael, Girmachaw Takla Hawat-iat,rnMangistu Lamma and ~ngaye Gabramadhin are among the most prominentrnplaywrights who have contributed to the development of this genrernin Amharic. Amharic drama has evolved through more or less similarrnstages as the Amharic novel, and today manifests greater realismrnand enhanc,ed political preoccupation.rn,rnPoetry is a genre deeply rooted in the Ethiopian oralrntradition. It is the oldest form of literary art in the country.rnThroughout the ages Ethiopia has produced prominent poets. Amongrnthe earliest poets Aga~ahu lngida, Yoftahe Nigussie and WaldarnGiorgis Welda Yohannis have imprinted their names with the patrioticrnpoems they composed on the eve of the Italian occupation (1928-rn33). Among the moderns Kabada Mikael, Mangistu Lamma, ~ngaye Gabramadhinrnare the most popular and highly skilled.rnThrough the decades, Amharic literature in general hasrnmanifested a significant change and development both in its formrnand contento Whereas earlier Amharic literature was largely religioun,rnmoralistic and didactic, modern Amharic literature hasrnshown a marked shift in intent and content achieving greater socialrnsignificance and realism.rnAmharic literature has faced a considerable number ofrnobstacles among which censorship, the mass illiteracy in the country,rnthe high cost of printing, the absolute lack of publishingrnhouses, and most of all, the lack of professional training amongrnits authors have been the most retarding. However, the eruptionrnof the popular Ethiopian Revolution of 1966 has opened a brighterrnfurture for its development, and these problems will eventually bernovercome.