'''''''''Concept of #Monolingualism

''''''''''''Concept of #Monolingualism '''''''''
Monoglottism (Greek monos, “alone, solitary”, + glotta, “tongue, language”) or, more commonly, monolingualism or unilingualism is the condition of being able to speak only a single language. In a different context “unilingualism” may refer to language policy which enforces an official or national language over others. Native-born persons living in many of the Anglosphere nations such as the United States, Australia, United Kingdom, and New Zealand are frequently typecast as monoglots, owing to a worldwide perception that English speakers see little relevance in learning a second language due to the widespread distribution of English and its competent use even in many non-English speaking countries in Europe, Africa, and South Asia. Many Spanish language countries in Latin America are also considered to have substantial proportions of the population who are monoglots.
Monolingual or unilingual is also said of a text, dictionary, or conversation written or conducted in only one language, and of an entity in or at which a single language is either used or officially recognised (in particular when being compared with bilingual or multilingual entities or in the presence of individuals speaking different languages). Note that monoglottism can only refer to not having the ability to speak several languages. A recent Canadian study has shown that Monoglots are at a disadvantage with the onset of senility compared to bilingual people

Phoneme

------------------
Topic: "#Phoneme"
------------
Definition:
---------------
A phoneme is the smallest
contrastive unit in the sound system
of a language.
(1)  #Discussion:
Phonologists have differing views of
the phoneme. Following are the two
major views considered here:
In the American structuralist
tradition, a phoneme is defined
according to
its allophones and environments
In the generative tradition,
a phoneme is defined as a set of
distinctive features.
Examples:
(English): Minimal pair
Here are examples of the
phonemes /r/ and /l/ occurring in
a minimal pair:
rip
lip
The phones [r] and [l] contrast in
identical environments and are
considered to be separate phonemes.
The phonemes /r/ and /l/ serve to
distinguish the word rip from the
word lip.
__________________

(2) (English): #Distinctive features
______________________
Here are examples of the English
phonemes /p/ and /i/ specified as
sets of distinctive features:
/p/ /i/
-syllabic +consonantal -sonorant
+anterior -coronal -voice -
continuant -nasal+syllabic -
consonantal +sonorant +high -low -
back -round +ATR -nasal
___________________

(3) #Comparison Between Phone &
Phoneme
____________________

"Phone"
A phone is … A phoneme is …
One of many
possible sounds
in the languages
of the world.
" Phoneme"
A contrastive unit
in the sound
system of a
particular
language.
" Phone"
Pronounced in a
defined way.
"Phoneme"
Pronounced in one
or more ways,
depending on the
number of
allophones.
"Phone"
Represented
between brackets
by convention.
Example: [b], [j],
[o]
"Phoneme"
Represented
between slashes
by convention.
Example: /b/, /j/, /
o/
" Phone"
The smallest
identifiable unit
found in a stream
of speech.
" Phoneme"
A minimal unit
that serves to
distinguish
between meanings
of words
_______________________

____________________________
Topic: "Morphemes and Phonemes"
________________________
(A) #Morpheme
Morphemes are the smallest units of
meaning in a language.
addition, morphemes are
related to the meaning and structure of
the language while phoneme is related
to the sound and pronunciation of the
language.
Morphemes can be classified
into two categories as
(1) #Free Morphemes
and
(2) #Bound Morphemes.
(1) Free morphemes are the morphemes
that can stand alone, with a specific
meaning. Therefore, free morphemes
act as words.
Some examples for free
morphemes include dog, cow, dish, yes,
ship, event, run, eat etc. However keep
in mind that, not all free morphemes
can be considered as words.
(2) Bound morphemes are the morphemes
that cannot stand alone. They appear
only as parts of words, and when used
alone, they do not have a meaning.
Most bound morphemes in the English
are affixes. They can be used before or
after the base word.(Base or a root is a
morpheme in a word that gives the
word its principle meaning.) The affixes
that come before a base are called
prefixes. The affixes that come after a
base are called suffixes.
Examples:
Prefix: un happy, postpone,
dis believe
Suffix: happily, kind ness,
believable
(B) #Phonemes are the
smallest units of sound in a language. In
Chinese, each phoneme corresponds to a
morpheme and each morpheme corresponds
to a morpheme.
For example, in English we have the word
"cat." "Cat" is a complete idea, and it
cannot be broken down into smaller ideas
based upon the word. "Cat" is also a
complete sound. While each letter in "cat"
corresponds to a specific sound, separately
they are not complete. Every character in
Chinese represents a single morpheme and
has a corresponding phoneme very similar to
the word "cat".
On the other hand, English has many cases
where more than one phoneme is
corresponds to a single morpheme. For
instance, in telephone there are two
morphemes: tele and phone. In the same
word there are seven phonemes:
t, e, l, e, f,
o, and n.
Here Given below are some terms that are useful in
studying phonemes.
(1) #Allophones: One of a set of multiple
possible spoken sounds or signs used
to pronounce a single phoneme in a
particular language. This implies that a
phoneme can have more than one
sound.
(2) #Minimal pair: Pair of words or phrases
in a particular language that differ in
only one phonological element such as
phoneme. For example, pin and bin,
Phonemes can be further classified as
vowel phonemes and consonant
phonemes. Some examples of vowel
phonemes include
/e/ – peg, bread
/ear/ – fear, here
/ ue/ -moon, tone
Some examples for consonant
phonemes include
/ch/ – chip, watch
/p/ – pit, pin
"Note"
that phonemes are always written
inside slashes.
"Difference Between Morpheme
and Phoneme"
Definition
Morpheme is the smallest grammatical
and meaningful unit in a language.
Phoneme is the smallest contrastive
unit in the sound system of a language.
Study
Morpheme is studied in morphology
Phoneme is studied in phonology.
Words
Morpheme can be a word.
Phonemes make words, but one
phoneme cannot make a word.
Relation
Morpheme is related to the meaning
and structure of the language.
Phoneme is related to the sound and
pronunciation of the language.

Criticism

Criticism

Catharsis.
A Catharsis is an emotional discharge through which one can achieve a state of moral or spiritual renewal or achieve a state of liberation from anxiety and stress. Catharsis is a Greek word and it means cleansing.  In literature it is used for the cleansing of emotions of the characters.

Turgidity:
In Literature it means , use the language in such a way that is complicated and difficult to understand.

Pantheism
Pantheism is the belief that all reality is identical with divinity, or that everything composes an all-encompassing, immanent god.Pantheists do not believe in a distinct personal or anthropomorphic god and hold a broad range of doctrines differing with regards to the forms of and relationships between divinity and reality.
OR
the doctrine that God is the transcendent reality of which the material universe and human beings are only manifestations: it involves a denial of God's personality and expresses a tendency to identify God and nature.

Pastoral Poem
Pastoral Poem is that which  portrays or evokes rural life, usually in an idealized way.

Ethos
Ethos is an appeal to ethics, and it is a means of convincing someone of the character or credibility of the persuader.

Pathos
Pathos is an appeal to emotion, and is a way of convincing an audience of an argument by creating an emotional response.

Logos
Logos is an appeal to logic, and is a way of persuading an audience by reason.

Melos
A Greek island in the Aegean Sea, in the south-west of the Cyclades group. It was the centre of a flourishing civilization in the Bronze Age and is the site of the discovery in 1820 of a Hellenistic marble statue of Aphrodite, the Venus de Milo.
Greek name Mílos.

OR

an ancient Greek term meaning a tune, a melody, or a lyric poem intended for singing. In ancient Greek music theory “melos”meant the melodic basis of music. The teaching of harmonics and melopoeia was associated with melos.

Peripeteia
Peripeteia is a sudden change in a story which results in a negative reversal of circumstances. Peripeteia is also known as the turning point, the place in which the tragic protagonist’s fortune changes from good to bad. This literary device is meant to surprise the audience, but is also meant to follow as a result of a character’s previous actions or mistakes.

Eligiac Poem

Elegy is a form of literature which can be defined as a poem or song in the form of elegiac couplets, written in honor of someone deceased. It typically laments or mourns the death of the individual.

Medium of Imitation
In general, poetry imitates life through rhythm, language, and harmony. This is more pronounced in music or dance, but even verse poetry can accomplish imitation through language alone.

Object of Imitation

Art seeks to imitate men in action - hence the term 'drama' (dramitas, in Greek). In order to imitate men, art must either present man as 'better' than they are in life (i.e. of higher morals), as true to life, or as 'worse' than they are in life (i.e. of lower morals).

Mode of Imitation

A poet can imitate either through:

a. narration, in which he takes another personality (an omniscient 'I' watching the events 'like an observer')

b. speak in his own person, unchanged (the first-person 'I')

c. presents all his characters as living and moving before us (third-person narrator)

Hubris
Hubris is extreme pride and arrogance shown by a character that ultimately brings about his downfall.
Hubris is a typical flaw in the personality of a character who enjoys a powerful position; as a result of which, he overestimates his capabilities to such an extent that he loses contact with reality.

Savage Torpor
A state of mental or physical inactivity or insensibility is known as Savage Torpor.

Dignity of Composition
The fifth source of the sublime is the dignity of composition, that is, a dignified composition or the arrangement of words. It should be one that blends thought, emotion, figures, and words themselves—the preceding four elements of sublimity—into a harmonious whole. Such an arrangement has not only 'a natural power of persuasion and of giving pleasure but also the marvellous power of exalting the soul and swaying the heart of men."

unity of action:
a play should have one action that it follows, with minimal subplots.

unity of time:
the action in a play should occur over a period of no more than 24 hours.

unity of place:
a play should exist in a single physical space and should not attempt to compress geography, nor should the stage represent more than one place.

Tragi-comedy
Tragicomedy is a literary device used in fictional works. It contains both tragedy and comedy. Mostly, the characters in tragicomedy are exaggerated, and sometimes there might be a happy ending after a series of unfortunate events.

Lexis (Aristotle)
In philosophical discourse, lexis  is a complete group of words in a language, vocabulary, the total set of all words in a language, and all words that have meaning or a function in grammar.

#Sociolinguistics_Factors

_____________________
#Sociolinguistics_Factors
______________________

Socio-linguistics is a developing branch of linguistics and sociology which investigates the individual and social variation of language. Just as regional variation of language can give a lot of information about the place the speaker is from, social variation tells about the roles performed by a given speaker within one community, or country. Socio-linguistics is also a branch of sociology in that it reveals the relationship between language use and the social basis for such use. Socio-linguistics differs from sociology of language in that the focus of socio-linguistics is the effect of the society on the language, while the latter's focus is on the language's effect on the society. Socio-linguistics is a practical, scientific discipline which researches into the language that is actually used, either by native speakers or foreigners, in order to formulate theories about language change. There are numerous factors influencing the way people speak which are investigated by socio-linguistics:
____________________
1. #Social class:
______________________
the position of the speaker in the society, measured by the level of education, parental background, profession and their effect on syntax and lexis used by the speaker. An important factor influencing the way of formulating sentences is, according to socio-linguists, the social class of the speakers. Thus, there has been a division of social classes proposed in order to make the description accurate. Two main groups of language users, mainly those performing non-manual work and those with more years of education are the ‘middle class’, while those who perform some kind of manual work are ‘working class’. The additional terms ‘lower’ and ‘upper’ are frequently used in order to subdivide the social classes. Therefore, differences between upper middle class can be compared with lower working class.
______________
______________
2. Social #context:
the register of the language used depending on changing situations: formal language in formal meetings and informal usage during meetings with friends, for example. It is notable that people are acutely aware of the differences in speech patterns that mark their social class and are often able to adjust their style to the interlocutor. It is especially true for the members of the middle class who seem eager to use forms associated with upper class; however, in such efforts, the forms characteristic of upper class are often overused by the middle class members. The above mentioned process of adapting own speech to reduce social distance is called convergence. Sometimes, however, when people want to emphasis the social distance, they make use of the process called divergence, purposefully using idiosyncratic forms.
_____________
3. #Geographical Origins:
_____________
slight differences in pronunciation between speakers that point at the geographical region which the speaker comes from. Socio-linguistics investigates the way in which language changes, depending on the region of the country it is used in. To describe a variety of language that differs in grammar, lexis and pronunciation from others, the term dialect is used. Moreover, each member of community has a unique way of speaking due to the life experience, education, age and aspiration. An individual personal variation of language use is called an dialect.
______________
4. Ethnicity:
_____________
differences between the use of a given language by its native speakers and other ethnic groups. There are numerous factors influencing dialect, some of which have been presented above; yet two more need to be elucidated, namely jargon and slang. Jargon is specific technical vocabulary associated with a particular field of interest, or topic. For example words such as convergence, dialect and social class are socio-linguistic jargon. Whereas slang is a type of language used most frequently by people from outside of high-status groups, characterized by the use of unusual words and phrases instead of conventional forms. For example, a socio-linguist might determine, through study of social attitudes, that a particular vernacular would not be considered appropriate language use in a business or professional setting; she or he might also study the grammar, phonetics, vocabulary, and other aspects of this sociologist much as a dialectologist would study the same for a regional dialect.
______________
5. #Nationality:
_________________
clearly visible in the case of the English language: British English differs from American English, or Canadian English; Nigerian English differs from Ghanaian English; The study of language variation is concerned with social constraints determining language in its contextual environment. Code-switching is the term given to the use of different varieties of
language in different social situations. William Labov is often
regarded as the founder of the study of socio-linguistics. He is
especially noted for introducing the quantitative study of language variation and change, making the sociology of language into a scientific discipline.
______________
6. #Gender:
__________
differences in patterns of language use between men and women, such as quantity of speech, intonation patterns.
______
7. #Age:
_________
the influence of age of the speaker on the use of vocabulary and grammar complexity
___________________

" Difference Between #Syllable & #Morpheme

" Difference Between #Syllable & #Morpheme"
__________________________________
What is a #syllable?
_________________________
A syllable is one or more letters
representing a unit of spoken language
consisting of a single uninterrupted
sound.
Adjective: syllabic .
A syllable is made up of either a single
vowel sound (as in the pronunciation of
oh ) or a combination of vowel and
consonant(s) (as in no and not).
A syllable that stands alone is called a
monosyllable. A word containing two or
more syllables is called a polysyllable.
A syllable is the sound of a vowel
(A, E, I, O, U) that is created when
pronouncing the letters A, E, I, O, U, or Y.
The letter "Y" is a vowel only if it creates an A, E, I, O, or U sound.
examples: fry, try, cry, & dry
The number of times that you hear the sound of a vowel is the number of syllables in a word.
When two (or more) vowels are next to
each other, the number of syllables
depends on the number of vowel sounds.
Examples: free (1 syllable), eat
(1 syllable), & bio (2 syllables)
If a vowel is silent, it is not counted as a
syllable.
example : fire (1 syllable)
Does the word end with "le" or "les?"
This is a syllable if the letter before the
"le" is a consonant .
___________________
#Types of Syllables
_____________________
There are six types of syllables:
1. A closed syllable ends in a
consonant. The vowel has a short
vowel sound, as in the word bat.
2. An open syllable ends in a
vowel. The vowel has a long vowel
sound, as in the first syllable of
apron.
3. A vowel-consonant-e syllable is
typically found at the end of a
word. The final e is silent and
makes the next vowel before it
long, as in the word name .
4. A vowel team syllable has two
vowels next to each other that
together say a new sound, as in the
word south .
5. A consonant+l -e syllable is
found in words like handle, puzzle,
and middle .
6. An r-controlled syllable contains
a vowel followed by the letter r .
The r controls the vowel and
changes the way it is pronounced,
as in the word car .
________________"
#Morpheme
____________________
Morpheme Has a distinctive meaning.
Cannot occur by itself unless it is in a monomorphemic word.
As nouns the difference between
morpheme and syllable
is that
"morpheme is (linguistic
morphology) the smallest linguistic unit
within a word that can carry a meaning,
such as "un-", "break", and "-able" in the
word "unbreakable" while
(Syllable) "Pronunciation"
Syllable Has no inherent distinctive meaning.
Cannot occur by itself unless it is in a
monosyllabic word.
"syllable is
(linguistics) a unit of human speech that is
interpreted by the listener as a single
sound, although syllables usually consist of
one or more vowel sounds, either alone or
combined with the sound of one or more
consonants; a word consists of one or
more syllables.
_________________________

THE SUN RISING by John Donne

THE SUN RISING by John Donne

CRITICAL APPRECIATION
“The Sun Rising” is a typical poem by Donne, characterised by his usual vigour, sprightliness and freshness. It is a “saucy, muscular poem”. It expresses a lover’s vexation against sun-rising. The dawn is regarded as an impertinence which comes to disturb the lovers. The poet is delightfully out-spoken and defiant. He ridicules the sun as a “saucy pedantic wretch” and calls in question his right to peep through windows and curtains of a lover’s bed-room. There is defiance, contempt, perfect love and the deftly moving shuttle of metaphysical conceit. The supremacy of love which transcends both time and space, for it knows ‘no season and no climes’ is established with a daring jugglery of words.

DEVELOPMENT OF THOUGHT
This poem, like most of Donne’s love-poems is inspired by the poet’s love for his wife, Anne Moore. Donne’s love amounts to a passion. It is a perfect synthesis of the spiritual and physical love. There are brilliant metaphysical conceits in the second and third stanzas of the poem. For example, the beloved is supposed to be combining in herself all the fragrance and the gold of East and West Indies:
Look and to-morrow late tell me,
Whether both th’ Indias of spice and mine,
Be where though left’st them, or lie here with me.
The lover and the beloved are compared to all the states and all the princes of the world, rolled into one:
She’s all slates, and all princes I;
Nothing else is;
The lover’s bed room is considered to be the epitome of the whole world.
Shine here on us and thou art everywhere.
The poem is singularly free from the conventional and sentimental clap trap of love that was such a marked feature of Elizabethan love poetry. Donne’s beloved rises superior to all the Elizabethan sweet-hearts in-as-much as she is an exalted being—she is all the states of the world rolied into one, she combines in herself all the fragrance of spices and all the gold of rich mine.
CRITICAL COMMENTS
A successful love poem
The Sun Rising is one of the most successful love—poems of Donne. As a poet of love he can be an extreme realist and deals with the physical side of it as also its spiritual side. Here he treats of a situation very significant for wedded lovers, but unusual in the poetry of love—two lovers in bed who refuse to get up when the sun shines on them in the morning.
Language—bold and extravagant
The poet chides the sun in language which for its boldness is unmatched in lyric poetry. The sun is a busy, and old fool; it is a saucy, and pedantic wretch. It can go and chide late school boys and apprentices, but has no jurisdiction over the poet and his wife. Lover’s seasons do not run to the motions of the sun:
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.
Full or metaphysical conceits
In expressing his contempt for the sun, the poet displays all his learning and metaphysical wit, and extravagant conceit and employed in glorifying his beloved. Recent geographical discoveries supply him with the image of “both the Indias of spice and mine” (India and the West Indies and America). His wife is to him these two Indias in one.
Extravagant fancy
The poet’s extravagant fancy discovers that he and his beloved in their secure possession of each other, are like all states and princes to each other. Princes only imitate them. She is all the world contracted into one feminine form and hence, by shining on her, the sun performs his duty towards the whole earth. Following up this conceit, the poet says that if the sun shines on him and his wife, it is, in a sense, shining everywhere—the bed becomes its centre and the walls of the bed room its sphere.
Conclusion
The poem is remarkable for its boldness of thought and originality of execution. The way in which the sun is made to appear as an unwelcome guest and the way in which he is finally allowed to stay in the bedroom of the lovers, are the most striking examples of Donne’s poetic inventiveness and ingenuity. The poet after establishing the supremacy of love, permits the sun, (in a very patronising manner, of course) to stay in his bed-room.
In this poem, the lover chides (rebukes) sun-rising because it disturbs the lovers. Love is above the sense of time. It knows no hours, days or months. The sun should not call on lovers; it should call on school apprentices, courtiers and country ants. Love knows no season nor clime. The whole world has contracted into the lover’s bed-room. Thus the sun need not go round the earth, it should only pay a visit to the lover’s bedroom and it would meet the whole world there.

Qualities Of #Keats’s Poetry

~~~~~~~~~~~~~
  #Qualities Of
#Keats’s Poetry
~~~~~~~~~~~~
A great #Romantic
~~~~~~~~~~~~
Keats was not only the last but also the
most perfect of the romanticists. While Scott
was merely telling stories, and Wordsworth
reforming poetry or upholding the moral law,
and Shelley advocating impossible reforms,
and Byron voicing his own egoism and the
political discontent of the times, Keats lived
apart from men and from all political
measures, worshipping beauty like a devotee,
perfectly content to write what was in his
own heart or to reflect on some splendour of
the natural world as he saw or dreamed it to
be. He had, moreover, the novel idea that
poetry exists for its own sake and suffers a
loss by being devoted to philosophy or
politics, or, indeed, to any cause, great or
small…. Keats’s last little volume of poetry is
unequalled by the work of any of his
contemporaries.
~~~~~~~~
A #lover of #beauty:
~~~~~~~~~
His sensuousness
Keats was considerably influenced by
Spenser and was, like the latter, a
passionate lover of beauty in all its forms
and manifestations. Beauty, indeed, was his
pole star, beauty in nature, in woman, and in
art. “A thing of beauty is a joy for ever”, he
writes and again “Beauty is truth, truth
beauty”. And he does not merely love beauty
in the abstract but in its concrete shapes.
He is a poet of the senses and their delights.
None has catered to the five human senses
(sight, taste, touch, smell and hearing) as he
does. Ode to a Nightingale is a feast for the
senses with its tempting references. La Belle
Dame sans Merci has also highly sensuous
touches. In The Eve of St. Agnes , we have a
most refreshing description of the dainties
laid by Porphyro on the table.
~~~~~~~~~
A #poet of #escape
~~~~~~~~
Unlike Wordsworth, Coleridge, Byron and
Shelley, Keats remained absolutely
untouched by revolutionary theories for the
regeneration of mankind. He had no political
or social interests. He endeavoured to
escape from reality in order to take refuge in
the life of imagination. His later poems like
the Ode to a Nightingale and Hyperion, no
doubt, show an increasing interest in man
and if he had lived, he would definitely have
established a closer contact with reality.
“With him, poetry existed not as an
instrument of social revolt nor of
philosophical doctrine, but for the
expressions of beauty.”
~~~~~~~~~
His #attitude to nature
~~~~~~~
His attitude to nature is also governed by the
passion for beauty which rules him. He reads
no moral or ethical meaning in nature and
attaches no spiritual significance to her. He
loves her purely for her physical charm, her
external beauty. The flowers, the dew, the
moonlight, the green grass are just beautiful
to him. Sometimes, too, he personifies the
objects of nature and calls them by their
mythological names. The moon is Cynthia to
him, the sun is Apollo, there are Dryads in
the woods and Naiads in streams and
springs, the dawn becomes Aurora and so
on. His observation of nature is very keen
and he gives us detailed pictures of nature.
~~~~~~~~
His #pictorial #quality
~~~~~~~~~~
Keats is one of the greatest word-painters in
English poetry. Each picture that he gives is
remarkable for its vividness and minuteness
of details. His images are concrete and are
impressed upon our minds. In the Ode to
Autumn , for instance, Autumn has been
pictured in the concrete figures of the
reaper, the winnower, the gleaner etc. Keats
also has the gift of giving life to inanimate
objects while picturing them. In The Eve of
St. Agnes he represents the statues of kings
and queens as feeling cold, and refers to the
carved angels as eager-eyed” and as staring.
The statues and carvings have been given
life. Again, many of his pictures are
colourful. For sheer colour, the image of the
diamonded window-panes dyed with splendid
colours in The Eve of St. Agnes is
unsurpassed.
~~~~~~~~~
His #medievalism
~~~~~~~~~
More than any other poet, Keats responded
to the spell of the Middle Ages. The Eve of
St. Agnes contains several medieval touches.
There are references to medieval chivalry,
medieval superstitions, and medieval art. A
special feature of Keats’s medievalism is his
stress upon passion rather than action and
adventure. In The Eve of St. Agnes he does
not make Porphyro fight but describes the
passionate desire with which he gazes at the
bodily charms of Madeline and the
voluptuous manner in which Madeline
speaks to him. La Belle Dame sans Merci is
also a medieval story.
~~~~~~~~~~~
His #Hellenism or love for Greek art,
$literature, culture and #Mythology
~~~~~~~~~~~~
Keats’s beauty-worshipping nature turned
instinctively to the beauties of Greek
mythology. He loved Greek legends purely
for their romantic interest. In addition to this,
his attitude to nature, as indicated above has
something of the Greek in it. He is, too, a
lover of Greek art and has written an Ode on
a Grecian Urn . In the Ode to Autumn , again, he
achieves the perfect objectivity of Greek
writers (i.e. he does not bring personal
feeling into the poem).
~~~~~~
His #odes
~~~~~~
Keats wrote the
following remarkable
odes: Ode to a
Nightingale , Ode on a
Grecian Urn , Ode on
Melancholy , Ode to
Autumn and Ode to
Psyche. These are all
exquisite, and taken
together, they sum up
Keats’s philosophy. In
fact, these odes
represent the ripeness and maturity of
Keats’s poetic-genius and are a foretaste of
the kind of poetry Keats would have written
if he had lived longer. In these odes he
establishes a closer contact with real life.
~~~~~~~~
His #narrative gift
~~~~~~~~
Keats’s genius is primarily narrative rather
than lyrical. The Eve of St. Agnes is an
unsurpassed example of romantic and
colourful narrative. There is, of course, little
action in the poem but its merit lies chiefly
in its note of passion, its romantic
atmosphere and scenery, medieval
background, and pictorial quality. He has
written various other narrative poems also—
Endymion , Lamia , La Belle Dame sans Merci .
Keats’s sonnets
He follows both Shakespearean and Miltonic
types of sonnets. On First Looking into
Chapman’s Homer , When I have Fears and
Bright Star are remarkable sonnets. He is an
adept in the art of writing sonnets, too.
~~~~~~~~
His #craftsmanship
~~~~~~~~
Keats was a very careful artist. He revised
and remodelled his poems and took the
utmost pains in polishing them. He uses the
choicest and most appropriate diction (words
and phrases). There are many jewelled
phrases in his poems. A beautiful phrase
delighted him with a sense of intoxication. In
the Ode to a Nightingale we have such
phrases as “blushful hippocrene”, purple-
stained mouth” and embalmed darkness’. In
The Eve of St. Agnes , Medeline puts away her
“warmed jewels,” and sleeps “an azure
lidded sleep”. A sweet thought makes a
“purpole riot” in Porphyro’s heart. These are
only a few specimens of his ability to coin
beautiful phrases. There are no traces of
carelessness or slovenly work in his poetry.
He is a very conscientious artist. For the
compactness of his language he is almost
Shakespearean.

Character Analysis of Belinda in The Rape of the Lock

Character Analysis of Belinda in The Rape of the Lock

Belinda represents the fashionable and aristocratic ladies of the time. She is a woman of superb beauty and charm. Early in the poem, she is compared to the sun (also at the beginning of the Canto II). The brightness of her eyes surpasses the brightness of the sun. The poet invests her almost with divine beauty. Beside this admiration, she has many denunciating qualities in her character.

Except being a beauty the faults of Belinda are many. The poet fully reveals to us her petty pleasure-seeking nature. She suffers from all the vanities, laziness, follies and moral scruple of the aristocratic ladies of her time. She is treated as an object of mockery, ridicule, and even condemnation because of her shallowness, superficiality, and lack of any intellectual interest or moral elevation in her life. The lady sleeps till the hour of twelve in the day. Her dog licks her and she gets up every day from her all prophesied purity. Belinda is proud to be secretly in love with the Baron just after opening her eyes; first thought is about love letter which has been addressed to her. Next, she gets ready for her toilet and her day begins at noon. The toilet-table is like a church to her. She takes help of “cosmetic power” and her maid-servant Betty assists her in her sacred ceremony of the toilet. These show her superficial nature and lack moral awareness.

Her rendezvous is the Hampton Court where the fashionable girls and men of upper-class society gather. But Belinda is in the limelight, attracts attention and love. Gossip, cards, coffee-drinking occupy much of Belinda’s time in the day. She does not seem to have any intellectual interest. Spiritual shallowness and incapacity for moral awareness are great in her. She has transformed all spiritual exercise and emblems into a coquette. Self-display and self-adoration the used as her ornaments.

After cutting off her lock, the lamentation of Belinda again brings out the shallowness and superficiality of her mind because she says that she would not have been so hurt if some after hair except her golden-curl would have been stolen.

Pope attributes divinity to Belinda’s character. She is an incarnation of the goddesses of beauty. She is brighter than the sun. She eclipses the sun by bringing joy and gaiety into the world of fashion. As the poet says-

“Belinda smiled, and all the world was gay

Hurt to cause pain to, to wound (mentally), to damage.”

Pope has a mixed and complicated attitude towards Belinda. He admires her but does not spare to criticise her. The paradoxical nature of Pope’s attitude is intimately related to the paradox of Belinda’s situation. Although pope has ridiculed many of Belinda’s manners, he did not have her to be judged as a bad woman.

There is no doubt that Belinda has a number of “fall.” This fall consists in her manner, of life. Yet pope presents her in an agreeable form and we are led to forget her frivolities or morality. But the actual aspiration is laid on the very society of which she is the product. She is the maiden through whom Pope expresses his dislike of the society which was given to mirth and merriment at any cost.

Urdu translation Of "Ode to Autumn

Urdu translation Of "Ode to Autumn

"
~~~~~~~~~
Stanza 1:
aey bekaraan sukoot ki naakatkhuda
dulhan!
khamoshi aur waqt k paalay hue
farzand!
taareekh daan he tu gulistan dayaar ka!
behtar meri nazam se he tere bayan ka
raaz
kanda tere wujood pe jo daastan he
kis ki he? devta hen koi? ya koi bashar?
ye kon se maqaam hen? kesi hen
vaadian?
ye sharm aur haya k jo paikar hen, kon
hen?
deevangi ko chhootay hue fard kon hen?
kesi nijaat ki he ye koshish jo he ayaan?
naghmaat chhairtay hue aalaat hen
yahan
ye be-panah junoon ki kesi hen
shokhian?
Stanza 2:
sur jo sama'aton k lye hen, wo
naghmageen,
per un sunay suron ki halaavat, kamal
he;
ae baansuri! tu geet koi chhair tou sahi
jo rooh k udass chaman ko nikhaar de...
ae khoobru javan! darakhton ki oat se
gaata rahay visaal k naghmay khushi
khushi
chakkhaen darakht saray bahaaron k
za'aiqay,
ae Aashiq e dilair! tu jurrat k baawajood
manzil k aas pass ponhochnay k
bawajood
mumkin nhi k manzil e maqsood paa hi
lay
lekin na ho malool k uska hilaal e husn
maddham na par sakay ga tere ishq ki
tarha
tu chhahta rahe ga, rahe gi wo yun
haseen!
Stanza 3:
kitni ho shokh o shang, ae sarmast
tehnyo
pattay hi jhar saken ge na jaey gi ye
bahaar
khushyon k raag chhair zara matrab e
chaman!
rukta nhi jo wajd me gaatay hue kabhi
thakta nhi he nit naey naghmay suna k
tu;
khush he boht hi khush, ye mohabbat he
khushkhisal
lekin abhi wisaal ki manzil se dur he
taaza he aur khuloos k jazbon se chhoor
he
jazbay jo zindagi ki hararat se hen
bharay
in k ataa kiye hue hen zakhm bhi haray
wo jhonkte hen dil ko ghamon k alaao
me
aakhir k qalb khud se dharakna bhi
chhor de
sookhi hui zubaan ho tapta hua badan
Stanza 4:
ye kon sa juloos he? ye kon log hen?
ye kon se nagar ki taraf in ka he safar?
ae padri bata jo chalata he bhair ko
jo daalti he dur talak aasman per
qurban gah ko jaatay hue dukh bhari
nigah
resham libaas, phoolon ki mala galay
me he
mazloomiat tou phir bhi tapakti he haal
se...
wo kon sa sheher he jo darya k pass
he?
aur wo pahaar jis pe he girjaa bana
hua?
khaali he shehr, log kahan per hen? kia
khabar?
aur ae sheher! kabhi na tere log aen ge
galyan teri udas rahen gi sada magar
koi bhi aik fard na ae ga lot ker..
Stanza 5:
ae dil nasheen zarf e yunani! k jis pe
hen
mardon aur aurton k banay marmareen
wajood
poday hen aur kuchh hen tarasheeda
daalyan
ae paikar e sukoot! pareshan na ker
hamey
roz e azal k jesa he mubham tera
wajood!
ae sang e sard! tuh mein haraarat nhi
koi
tu aanay waalay daur k logon mein ho
ga jab
insaan k dukhon ko tu dekha kare ga jab
phir khud karay ga pand o nasaeh
misaal e dost:
'bus husn hi to such he yahan, such hi
husn he',
gar jaantay nhi ho to phir jaan jao ge
iss raaz hi ka to tumhe idraak
chhahye...

Symbolisim in diving into the wreck

Symbolisim in  diving into the wreck
Book of myths
Traditional theories about the character of women in society
Camera: modernity
Edge of knife blade:
Awakening of women about their rights
Body armor,flippers black rubber: precautionary measures
Sun flooded schooner: it is also a wreck but its well above the surface ,easy to ponder ,visible for everyone
Ladder: natural help,always there to help the people who r courageous enough to dive into the wreck , way in and way out easily accessible for every one
Maritime floss: a decoration piece
If v do not use things properly these r mere things perhaps for decorations
Flipper cripples me: all my precaution restrict my movements and have made to crawl like a worm
Blue,then bluer ,then black: wgen she is pinderibg she finds the society rulled by men she  stirred deeper it was more patriarchal she further approachd and found black means nothing ,could not find any thing about ancient culture 
Mask is powerfull, her desire to learn about history or culture is afirmed

A_Portrait_of_the_Artist_as_a_Young_Man_by #JAMES #JOYCE

#A_Portrait_of_the_Artist_as_a_Young_Man_by #JAMES #JOYCE **#Introduction Published in 1916, A Portrait of the Artist as a Young Man established its then thirty-two-year-old author, James Joyce, as a leading figure in the international movement known as literary modernism. The title describes the book's subject quite accurately. On one level, A Portrait of the Artist as a Young Man can be read as what the Germans call a Bildungsroman, or coming-of-age novel. ***#Key #Facts about A #Portrait of the #Artist as a #Young Man **Full Title: A Portrait of the Artist as a Young Man **When Written: 1905 and 1914 **Where Written: Dublin and Trieste **When Published: 1916 **Literary Period: Modernism **Genre: Kunstlerroman, a narrative of an artist’s youth and maturation. **Setting: Dublin, Ireland, in the late 19th century. **Climax: Stephen looks ecstatically at a bird-like girl wading in the river, and feels clearly that he is destined to become a writer. **Antagonist: As Stephen moves from school to school, his antagonists vary. It can also be argued that the antagonists that remain constant are the humiliations of poverty and the aesthetic/philosophical restrictions of nationality and religion. **Point of View: Third-person limited omniscient ***#Historical #Context of A Portrait of the Artist as a Young Man Portrait takes place during one of the most turbulent and eventful periods of Irish history. A significant issue during this period was Irish nationalism and separatism. Since the Norman invasion in the 12th century, large parts of Ireland had been held under British rule, and in 1801 Ireland became part of the United Kingdom. Throughout the 19th century, and especially after the great potato famines of the 1840s, many Irish people felt growing dissatisfaction with British rule and dreamed of becoming a sovereign nation. Irish separatists splintered into two major groups: Fenians, who favored the use of brute force, and constitutional reformists, who chose to follow a more moderate path within the confines of international law. Michael Davitt and Charles Parnell were famous separatist leaders of the 1870s and 80s. Under Parnell’s leadership, and with the support of the British prime minister, the Irish people hoped to finally establish home rule; but when it came out in 1891 that Parnell had been engaging in an extramarital affair with Kitty O’Shea, the wife of a member of the Irish Parliament, the Catholic Church denounced Parnell and he fell from power. He died only a year later, and the Irish separatist movement lost direction – until erupting in the 1919 War of Independence. ***#About the #NOVEL A Portrait of the Artist as a Young Man was first published in serial form in the Egoist in the years 1914-15. Chronicling the life of Stephen Dedalus from early childhood to young adulthood and his life-changing decision to leave Ireland, the novel is profoundly autobiographical. Like Stephen, Joyce had early experiences with prostitutes during his teenage years and struggled with questions of faith. Like Stephen, Joyce was the son of a religious mother and a financially inept father. Like Stephen, Joyce was the eldest of ten children and received his education at Jesuit schools. Like Stephen, Joyce left Ireland to pursue the life of a poet and writer. Joyce began working on the stories that formed the foundation of the novel as early as 1903, after the death of is mother. Previous to the publication of Portrait, Joyce had published several stories under the pseudonym "Stephen Dedalus." A Portrait of the Artist as a Young Man is one of the earlier examples in English literature of a novel that makes extensive use of stream of consciousness. Stream of conscious is a narrative technique through which the author attempts to represent the fluid and eruptive nature of human thought. The narrative is anchored in the interior life of a character rather than from the perspective of an objective third-person narrator. While in Paris in 1902, Joyce discovered the French novel Les Lauriers sont Coup?s; Joyce credits this novel with the inspiration for creating his own style of stream of consciousness narrative. While Portrait lacks the ambition and scope of Joyce's later stream of conscious masterpiece, Ulysses, in many ways it was a revolutionary novel. The opening section is in stream of consciousness with a child protagonist, and the novel is marked by an increasing sophistication of narrative voice as the protagonist matures. Although many sections of the novel are narrated in a relatively direct style, Joyce writes long passages that sustain a complex and difficult language attempting to approximate the workings of human thought. Even when the work is narrated in a straightforward manner, the narrative voice never strays from the interior life of Stephen Dedalus. We see events only as they are filtered through Stephen. The book shows a wide range of narrative styles. There are lush and intricate passages, sections narrated in a direct style, and highly experimental sections. The close is very simply done, all in the form of Stephen's journal entries before leaving Ireland. The variety of styles is part of what makes Portrait of the Artist as a Young Man such an enjoyable read. Joyce is one of the central authors of the modernist canon, and he is best known for a core of four works: Dubliners (1914), A Portrait of the Artist as a Young Man (1914-5), Ulysses (1922), and Finnegan's Wake (1939). These last three works in particular had a huge impact on the development of modernist English literature. Writers as illustrious as Virginia Woolf and William Faulkner were strongly influenced by Joyce's innovative narrative experiments.

Summary and Analysis "Ode on a Grecian Urn"

Summary and Analysis "Ode on a Grecian Urn"

   By John Keats

Summary

Keats' imagined urn is addressed as if he were contemplating a real urn. It has survived intact from antiquity. It is a "sylvan historian" telling us a story, which the poet suggests by a series of questions. Who are these gods or men carved or painted on the urn? Who are these reluctant maidens? What is this mad pursuit? Why the struggle to escape? What is the explanation for the presence of musical instruments? Why this mad ecstasy?

Imagined melodies are lovelier than those heard by human ears. Therefore the poet urges the musician pictured on the urn to play on. His song can never end nor the trees ever shed their leaves. The lover on the urn can never win a kiss from his beloved, but his beloved can never lose her beauty. Happy are the trees on the urn, for they can never lose their leaves. Happy is the musician forever playing songs forever new. The lovers on the urn enjoy a love forever warm, forever panting, and forever young, far better than actual love, which eventually brings frustration and dissatisfaction.

Who are the people coming to perform a sacrifice? To what altar does the priest lead a garlanded heifer? What town do they come from? That town will forever remain silent and deserted.

Fair urn, Keats says, adorned with figures of men and maidens, trees and grass, you bring our speculations to a point at which thought leads nowhere, like meditation on eternity. After our generation is gone, you will still be here, a friend to man, telling him that beauty is truth and truth is beauty — that is all he knows on earth and all he needs to know.

Analysis

Keats has created a Greek urn in his mind and has decorated it with three scenes. The first is full of frenzied action and the actors are men, or gods, and maidens. Other figures, or possibly the male figures, are playing musical instruments. The maidens are probably the nymphs of classical mythology. The men or gods are smitten with love and are pursuing them. Keats, who loved classical mythology, had probably read stories of such love games. In Book II of his Endymion, he recounts Alpheus' pursuit of Arethusa, and in Book III he tells of Glaucus' pursuit of Scylla.

The second scene is developed in stanzas II and III. Under the trees a lover is serenading his beloved. In stanza I, Keats confined himself to suggesting a scene by questions. The second scene is not presented by means of questions but by means of description. We see a youth in a grove playing a musical instrument and hoping, it seems, for a kiss from his beloved. The scene elicits some thoughts on the function of art from Keats. Art gives a kind of permanence to reality. The youth, the maiden, and the musical instrument are, as it were, caught and held permanently by being pictured on the urn. And so Keats can take pleasure in the thought that the music will play on forever, and although the lover can never receive the desired kiss, the maiden can never grow older nor lose any of her beauty. The love that they enjoy is superior to human love which leaves behind "a heart highsorrowful and cloy'd, / A burning forehead, and a parching tongue." The aftermath of human love is satiety and dissatisfaction. In these two stanzas Keats imagines a state of perfect existence which is represented by the lovers pictured on the urn. Art arrests desirable experience at a point before it can become undesirable. This, Keats seems to be telling us, is one of the pleasurable contributions of art to man.

The third scene on Keats' urn is a group of people on their way to perform a sacrifice to some god. The sacrificial victim, a lowing heifer, is held by a priest. Instead of limiting himself to the sacrificial procession as another scene on his urn, Keats goes on to mention the town emptied of its inhabitants by the procession. The town is desolate and will forever be silent.

The final stanza contains the beauty-truth equation, the most controversial line in all the criticism of Keats' poetry. No critic's interpretation of the line satisfies any other critic, however, and no doubt they will continue to wrestle with the equation as long as the poem is read. In the stanza, Keats also makes two main comments on his urn. The urn teases him out of thought, as does eternity; that is, the problem of the effect of a work of art on time and life, or simply of what art does, is a perplexing one, as is the effort to grapple with the concept of eternity. Art's (imagined) arrest of time is a form of eternity and, probably, is what brought the word eternity into the poem.

The second thought is the truth-beauty equation. Through the poet's imagination, the urn has been able to preserve a temporary and happy condition in permanence, but it cannot do the same for Keats or his generation; old age will waste them and bring them woe. Yet the pictured urn can do something for them and for succeeding generations as long as it will last. It will bring them through its pictured beauty a vision of happiness (truth) of a kind available in eternity, in the hereafter, just as it has brought Keats a vision of happiness by means of sharing its existence empathically and bringing its scenes to emotional life through his imagination. All you know on earth and all you need to know in regard to beautiful works of art, whether urns or poems about urns, is that they give an inkling of the unchanging happiness to be realized in the hereafter. When Keats says "that is all ye know on earth," he is postulating an existence beyond earth.

Although Keats was not a particularly religious man, his meditation on the problem of happiness and its brief duration in the course of writing "Ode on a Grecian Urn" brought him a glimpse of heaven, a state of existence which his letters show he did think about. In his letter of November 22, 1817, to Benjamin Bailey, he mentioned "another favorite Speculation of mine, that we shall enjoy ourselves here after by having what we called happiness on Earth repeated in a finer tone and so repeated."

John Keats was a hellenist, mean Greek antiquity lover and their culture myths etc.
He believed in "Art for art sake", that art is not for the purpose of presenting any political ideas etc like Percy Shelley did in "Ode to the west wind".
"Ode on a Grecian urn" is about an Urn that is carved with different things, like there are lovers, musician etc. Carving is also an art.
"Ode to a Nightingale" represent art for art sake movement, it is giving pleasure not giving any morality or any political idea, when the speaker in the poem wants to live in the world of nightingale, which is Utopia, where there will be no diseases and life will he eternal.

Summary Ode to Nightingale

Summary Ode to Nightingale

Keats is in a state of uncomfortable drowsiness. Envy of the imagined happiness of the nightingale is not responsible for his condition; rather, it is a reaction to the happiness he has experienced through sharing in the happiness of the nightingale. The bird's happiness is conveyed in its singing.

Keats longs for a draught of wine which would take him out of himself and allow him to join his existence with that of the bird. The wine would put him in a state in which he would no longer be himself, aware that life is full of pain, that the young die, the old suffer, and that just to think about life brings sorrow and despair. But wine is not needed to enable him to escape. His imagination will serve just as well. As soon as he realizes this, he is, in spirit, lifted up above the trees and can see the moon and the stars even though where he is physically there is only a glimmering of light. He cannot see what flowers are growing around him, but from their odor and from his knowledge of what flowers should be in bloom at the time he can guess.

In the darkness he listens to the nightingale. Now, he feels, it would be a rich experience to die, "to cease upon the midnight with no pain" while the bird would continue to sing ecstatically. Many a time, he confesses, he has been "half in love with easeful Death." The nightingale is free from the human fate of having to die. The song of the nightingale that he is listening to was heard in ancient times by emperor and peasant. Perhaps even Ruth (whose story is told in the Old Testament) heard it.

"Forlorn," the last word of the preceding stanza, brings Keats in the concluding stanza back to consciousness of what he is and where he is. He cannot escape even with the help of the imagination. The singing of the bird grows fainter and dies away. The experience he has had seems so strange and confusing that he is not sure whether it was a vision or a daydream. He is even uncertain whether he is asleep or awake.

Phonetics, phonology, morphology, syntax...

Linguistics
==========
#Phonetics:
===============
the study and classification of speech sounds.OR Phonetics is the branch of linguistics that deals with the sounds of speech and their production, combination, description, and representation by written symbols.
===================
2.#Morphology
in linguistics, morphology is the study of words, how they are formed, and their relationship to other words in the same language. It analyzes the structure of words and parts of words, such as stems, root words, prefixes, and suffixes.
=======================
3.#Syntax :
In linguistics, syntax is the set of rules, principles, and processes that govern the structure of sentences in a given language, specifically word order. The term syntax is also used to refer to the study of such principles and processes.
OR
Syntax is basically the structure of sentences. Sentences have to follow certain structural rules in order to make sense. You can't just throw any words together to make a sentence! Order words make sense need to… this doesn't make sense!
#Semantics
================
Semantics is the philosophical and scientific study of meaning—in language, programming languages, formal logics, and semiotics. It focuses on the relationship between signifiers—like words, phrases, signs, and symbols—and what they stand for, their denotation.
or
Semantics is the study of the meaning of linguistic expressions.
Example of semantics.......
Semantics is the study of meaning in language. It can be applied to entire texts or to single words. For example, "destination" and "last stop" technically mean the same thing, but students of semantics analyze their subtle shades of meaning.
=========================
#Pragmatics
Simple Definition of pragmatics
linguistics : the study of what words mean in particular situations
Pragmatics focuses on conversational implicature, which is a process in which the speaker implies and a listener infers. Simply put, pragmatics studies language that is not directly spoken. Instead, the speaker hints at or suggests a meaning, and the listener assumes the correct intention.
OR
Pragmatics is the study of the aspects of meaning and language use that are dependent on the speaker, the addressee and other features of the context of utterance, such as the following:
The effect that the following have on the speaker’s choice of expression and the addressee’s interpretation of an utterance:
Context of utterance
Generally observed principles of communication
The goals of the speaker..
=================
#Lexicology
study of the form, meaning, and behavior of words.
==========================
#Stylistic
Stylistics is the study of linguistic style, whereas (theoretical) Linguistics is the study of linguistic form. The term 'style' is used in linguistics to describe the choices which language makes available to a user, above and beyond the choices necessary for the simple expression of a meaning

SHORT QUESTIONS The Cherry Orchard

The Cherry Orchard short questions


Answer the following questions.


(i) What are the major themes in ‘The Cherry Orchard’?

Ans. Society and Class, Memory and the Past, Social Changes and Progress, Failure to Grasp Reality, The Struggle over Memory, Contrasting Regions, Class Distinctions, Self-Destruction, love, time and wealth are the major themes in "The Cherry Orchard".


(ii) What are the major symbols in ‘The Cherry Orchard?

Ans. Cherry Orchard, breaking string, dropped purse, Fiers' death, nursery, telegraph poles and Varya's keys are the major symbols in "The Cherry Orchard".


(iii) What is the role of music in ‘The Cherry Orchard’?

Ans. Music is only heard in Act III, during a party on the day of the auction of the cherry orchard. Madam Ranevsky says, "And the musicians needn't have come, and we needn't have got up this ball." She wants to hear music for the catharsis of her pent-up emotions. When Lopakhin purchases the cherry orchard, he commands the musicians to play to express his happiness.


(iv) What is naturalism?

Ans. Naturalism was a literary movement or tendency from the 1880s to 1930s that used detailed realism to suggest that social conditions, heredity, and environment had inescapable force in shaping human character. It was mainly unorganized literary movement that sought to depict believable everyday reality, as opposed to such movements as Romanticism or Surrealism.


(v) How is ‘The Cherry Orchard’ a naturalistic play?

Ans. "The Cherry Orchard" is a naturalistic play because it focuses on scientific, objective details. It this is like realism, in that it attempts to portray life "as it really is". The characters are realistic and complex as human beings are. Like other naturalistic plays, there is a use of symbolic elements as key devices to communicate wider meanings.


(vi) What does ‘The Cherry Orchard’ signify?

Ans. The Cherry Orchard means different things to different people. It represents Lyubov's heritage and her youth -- a disappearing paradise. For Gayev, it is a symbol of status. For Lopakhin it is a financial opportunity. Trofimov sees the orchard as a symbol of injustice. Anya gives up her sentimental attachment to it for a new life.


(vii) Define tragicomedy.

Ans. Tragicomedy is a literary genre that blends aspect of both tragic and comic forms. Most often seen in dramatic literature, the term can variously describe either a tragic play with contains enough comic elements to lighten the overall mood, or, often, a serious play with a happy ending. "The Merchant of Venice" by Shakespeare and "The Cherry Orchard" by Anton Chekhov are examples of tragicomedy.


(viii) Is ‘The Cherry Orchard’ a tragedy or comedy?

Ans. "The Cherry Orchard" might be said to belong to the same category as "The Winter's Tale": it contains a tragedy but does not allow it to be fulfilled. Anton Chekhov conceived of this play as a comedy. The play in fact, portrays an end of an aristocratic era with both tragic and comic elements. Thus it best characterized as a tragicomedy.


(ix) What is modernism?

Ans. Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society during the late 19th and early 20th centuries. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by the horror of World War I.


(x) What is modern about ‘The Cherry Orchard’?

Ans. One thing which is modern about "The Cherry Orchard" is the emphasis on realism. Moreover, money in the play is a modern element which dictates the transformation of landscapes from pastoral to industrial. Thus the play is 'out with the old and in with the new.'


(xi) What is the setting of ‘The Cherry Orchard?

Ans. The action takes place between May and October at a rural estate in Russian three to four decades after Czar Alexander II freed the serf in 1861.


(xii) What is the central conflict in ‘The Cherry Orchard’?

Ans. The central conflict of the play is the battle between the values of the old Russia and the values of the new Russia.


(xiii) How is ‘The Cherry Orchard’ perceived by the servant class?

Ans. Firs is the representative of the servant class. To Fiers, the cherry orchard is something to be revered and remembered, and something that is intimately connected with past times and a very different kind of life from the life that is being experienced by the Ranevsky family now.


(xiv) What is the significance of the axe falling in ‘The Cherry Orchard’?

Ans. The axe falling on the tress in Act IV represents the destruction of the orchard and the old aristocratic way of life in Russia.


(xv) What is the ultimate fate of Firs at the end of ‘The Cherry Orchard’?

Ans. Firs is an old footman, faithful to the Ranevsky family for generations. Concerned only with the well-being of his employers, he is inadvertently left to die in the abandoned house, a symbol of the dying past.

Ariel by Sylvia some points

[11/13, 9:08 PM] pu ms ayesha: Ariel is the most furious n cryptic poem of Sylvia plath n it is pertaining to agony of feelings of childbirth
It is infact subjective autobiographical poem n it is of sensitive nature embarking on physical as well as emotional aspects
[11/13, 9:09 PM] pu ms ayesha: Moving on to tge discussion about genesis of Ariel... I wouldlike to quote Ted Hughes comment about Ariel
"Ariel was the name of horse on which Plath went on riding weekly
Long ago while she Was in Cambridge England
She went on riding wid an American frnd towards Grantehester
Then hr horse galloped on too much striking speed that it bolted n stirrup fell off
She came all tge way home on very flashing speed hanging around the neck of the horse
It was some hw a suicidal ride
[11/13, 9:11 PM] pu ms ayesha: Nw the point aftr which paraphrasing will be easy to comprehend is that
This poem is peculiarly written in ambivalence approach by Plath
Keeping 2 aspects in mind simultaneously
1...antenatal or pregnancy phase of woman as she was practising it
2....a horse ride happened to be in utter darkness
[11/13, 9:14 PM] pu ms ayesha: So it's incumbent on us to discuss the above 2 aspects to cohere with the comprehensive pattren...
The very assertive behaviour of her in a suggestive manner gives fully pictorial view of advent of delivery of her
[11/13, 9:16 PM] pu ms ayesha: The poem commences in an ominous state of utter dark inactivity phrased by Sylvia... As stasis in darkness
Then the poem quickly gets momentum n delineates the apperence of Ariel to whom we assume as an airy creature n it's celestial body n can attain anyshape n can travel at very speed
But here she is dealing witg it  purely for antenatal n advent of delivery... Preamblely introducing her pregnancy state n growtg of fetus in hr womb
[11/13, 9:18 PM] Pu Naila Aun: First she named it Horse
Then changed Ariel
Coz if the horse
The horse she rode acctually was Ariel
[11/13, 9:20 PM] pu ms ayesha: Nxt splits n passes sister to brown arc of neck also supports this above context of preg n delivery phase
But as we re bound to get the other aspect to be discussed.. So that is tge poetess was having a ride in utter darkness n then in darkness she was unable to distinguish between tge deep furrows n the brwn arc defind by neck of her horse
[11/13, 9:23 PM] pu ms ayesha: Samin hw strange is it as being a mother we can get the absolute meaning of Plath 's poem here
[11/13, 9:24 PM] pu ms ayesha: Nigger eyes berries cast dark hooks means in utter darkness the berries from the hanging branches look like nigger 👀  n getting in contact wid her face as the view is ambiguous  due to night so her mouth gets watery due to sweet smell of berry.. But its all illustration of illusion n smell of berry
[11/13, 9:27 PM] Pu Naila Aun: Ariel & poppies in october both were written same day ....probably her birthday
Few things r similar in bith
Niggerseye,and black hands
Then a pregnant lady
[11/13, 9:30 PM] pu ms ayesha: Absolutely but here i thought she dealt darkness in terms of scenario
[11/13, 9:32 PM] Pu Naila Aun: Her extreme behavior about others
Reminds me something
Coz she was intelligent and brilliant in her studies too much intelligence has cost her the life of her own
Her extreme mood swings were not delibret but of furious nature
[11/13, 9:34 PM] pu ms ayesha: Then something pulls her body up into the tree n hr whole body haled up n white snwflakes droping frm her heels this is all about the painstaking moments of labour....
then she calls out to Godiva( a historical character ) it reflects Sylvia 's agressive mood as that historical lady was happened to have tge same aggressive nature against the male dominating society so as Sylvia who lashes back on hr womanhood alwys
[11/13, 9:34 PM] Pu Saleha Saira: The title carries multiple meanings refers to the ethereal meanings of
She wrote this
[11/13, 9:47 PM] Pu Saleha Saira: The title carries multiple meanings refers to the ethereal spirit of  Shakespeare tempest
[11/13, 9:48 PM] Pu Saleha Saira: Aerial was significantly a horse on which slyvia was learning to ride
[11/13, 9:48 PM] Pu Naila Aun: Its a pretty valid point when v r asked to write about the critical analysis then v must start it from its title👍🏻
[11/13, 9:48 PM] Pu Saleha Saira: Experience of riding was base of this poem
[11/13, 9:50 PM] Pu Saleha Saira: Aerial astonished the literary world with its power and become best selling volume
[11/13, 9:52 PM] Pu Saleha Saira: Aerial is Plath's most furious poem
Without naming name she lashes back at everybody
[11/13, 9:52 PM] pu ms ayesha: The nxt lines delineates specifically tge age of a Woman giving birth to hr child is progressivly succeeded by final stage of labor during delivery
[11/13, 9:52 PM] pu ms ayesha: Tge words unpeel, foam, child's cry, n melts in wall all re imageries supporting this context n we can find aftrwards a relief in tge underlying tone of poem the
Very relief which a woman experiences after childbirth
[11/13, 9:52 PM] Pu Saleha Saira: Her parents
Especially her mother
Her siblings
Her lovers especially her husband
[11/13, 9:53 PM] Pu Naila Aun: But to take her life as she did twice
She should hve loosen her grip around the neck of horse her desire could hve been fulfilled ......by nature
She might save energues to kill herself nature would hve done that in best way😜
[11/13, 9:53 PM] Pu Naila Aun: If that was delibrate then she must not cling to the horse
[11/13, 9:55 PM] Pu Saleha Saira: Different meanings are
The journey of imagination or an idea
Or Journey of sexual desire to its fulfillment
Or journey of foetus through its growth in the darkness of womb
[11/13, 9:57 PM] Pu Saleha Saira: Here expression of feminine feelings
[11/13, 9:58 PM] Pu Saleha Saira: In these lines then substance blue pour of tor and distance
[11/13, 9:58 PM] Pu Saleha Saira: In lines
Hoe one grow
Pivot of heels and knees...
About position of child in womb
[11/13, 10:00 PM] Pu Saleha Saira: In lines
..... The furrow splits and passes
Having Meaning about time of delivery
[11/13, 10:02 PM] Pu Saleha Saira: Difficulty with this poem lies in separating one element from another yet that is also its theme
[11/13, 10:03 PM] Pu Saleha Saira: Poem is not about a hourse but inwardly describe the situation of rider
[11/13, 10:04 PM] Pu Saleha Saira: Child's cry  seems significantly a relief of a woman after birth of baby
[11/13, 10:05 PM] Pu Naila Aun: This is the mist confusing point i cant understand the point literally, how she lashes back to othets? I mean any perticular word which indicated that?
[11/13, 10:05 PM] Pu Saleha Saira: Coulderon is a sence of relief
[11/13, 10:08 PM] Pu Saleha Saira: So finally after reading this poem i ll only say that plath behind the mask of horse want to describe the degree of woman in the society because she considers the body of woman drummed inti use by men and society
[11/13, 10:12 PM] Pu Saleha Saira: Literary commentator William V. Davis notes a change in tone and break of the slanted rhyme scheme in the sixth stanza which marks a shift in the theme of the poem, from being literally about a horse ride, to more of a metaphoric experience of oneness with the horse and the act of riding itself.
[11/13, 10:12 PM] Pu Saleha Saira: being written on her birthday as well as using the general theme of rebirth, "Ariel" acted as a sort of psychic rebirth for the poet
[11/13, 10:14 PM] Pu Saleha Saira: The poem, written just five months before her eventual suicide
[11/13, 10:15 PM] pu ms ayesha: Hooks
That peculiarly depicts the male chauvinism
[11/13, 10:19 PM] Pu Saleha Saira: And I
Am the arrow,
Try to understand hidden meanings of this line y she said herself an arrow
[11/13, 10:56 PM] pu ms ayesha: I seem to understand the sense of relief after getting shot as an arrow from bow
It 's the aweful n painstaking moment of labor during Childbirth

Hamartia

Hamartia

Hamartia Definition

Hamartia is a personal error in a protagonist’s personality that brings about his tragic downfall in a tragedy. This defect in a hero’s personality is also known as a “tragic flaw.

Aristotle used the word in his “Poetics” where it is taken as a mistake or error in judgment. The term envelops wrongdoings which may be accidental or deliberate. One of the classic hamartia examples is where a hero wants to achieve something but, while doing so, he commits an intentional or accidental error and he ends up achieving exactly the opposite with disastrous results. Such a downfall is often marked by a reversal of fortune.

Hamartia and Hubris

A typical example of hamartia in tragedies is “hubris” which is excessive pride and ego in a hero’s character which ultimately brings his tragic downfall in a tragedy. In Greek tragedies, the “hubristic” actions of a hero, in a powerful position, causes his shame and humiliation.

Hamartia Examples in Literature

Example #1

“Oedipus” in a famous Greek Tragedy is a perfect example of hamartia i.e. his downfall is cause by unintentional wrongdoings. His “hubris” makes him try to defy the prophecy of gods but he ends up doing what he feared the most.

“The Oracle of Delphi” told him that he would kill his father and marry his mother. To avoid this, he leaves “Corinth” and headed towards “Thebes”. On his way, he killed an old man in a feud and later married the queen of “Thebes” as he was made king of the city after he saved the city from a deadly “Sphinx”. He committed all these sins in complete ignorance but he deserved punishment because of his attempting to rebel against his fate. His reversal of fortune is caused by his actions, which are in a sense blasphemous.

Example #2

Hamlet’s tragic flaw in Shakespeare’s play “Hamlet” determines his tragic downfall. Hamlet’s hamartia is his indecisiveness. He cannot make up his mind about the dilemmas he confronts. He reveals his state of mind in the following lines from Act 3 Scene 1 of the play:

“To be, or not to be–that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles
And by opposing end them. To die, to sleep…”

He wants to kill his father’s murderer “Claudius” but ruined his life by delaying acting as he looks for proof to justify his action. In the process he spoils his relation with his mother and sends “Ophelia” into such a state of depression that she commits suicide. This indecision got almost everyone killed at the end of the play. He killed “Claudius” by assuming fake madness because of his indecisiveness in action so that he will not be asked for any justification.

Example #3

Among the hamartia examples in literature, one of the best can be found in Marlowe’s “Doctor Faustus”. The tragic flaw of Faustus was his ambitious nature. Despite being a respected scholar, he sold his soul to “Lucifer” by signing a contract with his blood for achieving ultimate power and limitless pleasure in this world. He learns the art of black magic and defies Christianity. We see a tragic conflict where Faustus thinks about repenting but it is all too late. Finally, the devils takes his soul away to Hell and he is suffers eternal damnation because of his over-ambition.

Example #4

“Victor” in Mary Shelley’s novel “Frankenstein” is another character whose down fall is caused by a tragic error. His “hubris” or extreme pride and arrogance decide his fate in the narrative. He strives to become an unparalleled scientist and creates a “monster” which ultimately becomes the cause of his disaster.

Function of Hamartia

Hamartia imparts the sense of pity and fear in the audience of the readers. The audience or the readers identify with the tragic hero as, like them, his character is a mixture of good and bad qualities. They feel pity for the reversal of fortune that he undergoes. This arouses a feeling of pity in them. Similarly, by witnessing a tragic hero suffer due to his own flaw, the audience or the readers may fear the same fate may befall them if they indulge in similar kinds of action.

Therefore, hamartia may be employed for a moral purpose to encourage people to improve their characters by removing the flaws that can cause a tragedy in their lives.

Eliot's Theory of Impersonality

<<<<<<<<<<<
Eliot's Theory of Impersonality

>>>>>>>>>
#T.S. Eliot’s #impersonal conception
of art and the fullest expression of
his classicist attitude towards art
and poetry are essentially given
by him in his essay Tradition and
the Individual Talent.
~~~~~~~
Eliot explains his theory of
impersonality by #examining first,
the relation of the poet to the past
and secondly, the relation of the
poem to its author. According to
his view the past is never dead, it
lives in the present. “No poet or
no artist has his complete meaning
alone.
~~~~`~
His #significance, his appreciation
is the appreciation of his relation
to the dead poets and artists.”
Above all, the artist or the poet
has to work in the long established
tradition of the literature to which
he belongs. We cannot value the
poet alone; we must set him for
comparison and contrast among
the dead poets of his language.
In the next part of the theory he
examines the #relation of the poet
to the poem. #According to him, the
poem has no relation to the poet.
The difference between the mind
of a mature poet and an immature
one is that, a mature poet has
more finely perfected medium.
Eliot thinks that the poet and the
poem are two separate things. The
feeling or emotion or vision
resulting from the poem is
something different from feeling,
emotion, and vision in the mind of
the poet. The art emotion is
different from personal emotion.
In other words the poet should be
#passive and #impersonal.
~~~~~~~
To explain the theory, Eliot has
brought the #analogy of #chemical
#reaction. When oxygen and
sulphur-di-oxide are mixed in the
presence of a filament of
platinum, they form sulphurus
acid. This combination takes place
only when platinum is presence.
Platinum is the catalyst that helps
to process of chemical reaction,
but it itself is apparently
unaffected. The mind of the poet is
the shred of platinum. Its presence
may be necessary for partly or
exclusively to operate for the
combination of the experience in
order to give birth to a piece of
poetry.
~~~~~~
Eliot #says that, the #business of the
poet is not to find new emotions,
but to use the ordinary ones and
in working them up in poetry, to
express feelings which are not
actual emotions at all.
The emotion of art is impersonal.
It has its life in the poem and not
in the history of poets. So, honest
criticism and sensitive
appreciation is directed not upon
the poet but upon the poetry. The
biography of the poet is not to be
studied; the structure of the poem
and its evocation powers are
important.

Eliot’s Concept of Depersonalization or His Theory of Impersonality

<<<<<<<<<<<<
Discuss Eliot’s Concept of
Depersonalization or His
Theory of Impersonality
>>>>>>>>>>
In Tradition and #Individual Talent, he
propounded the doctrine that poetry
should be #impersonal and free itself
from Romantic practices, ‘the
progress of an author is a continual
self-sacrifice, a continual extinction
of personality’. He sees that in this
depersonalization, the art approaches
science. For Eliot, emotions in poetry
must be depersonalized. Artistic self-
effacement is essential for great
artistic work.
~~~~~~~~~
He opposed #Coleridge who says that a
worth of a poet is #judged by his
personal impressions and feelings.
Eliot says that impressionism is not a
safe guide. A poet in the present must
be judged with reference to the poets
in the past. Comparison a#nd analysis
are the important tools for a critic.
The critic must see whether there is a
fusion of thought and feeling in the
poet, depersonalized his emotions
and whether he has the sense of
tradition. So these are the objective
standards. But what emotion is Eliot
talking of? He speaks against the
poet’s emotions. Art, too has
emotions; but different from those of
the artist and this difference is to be
maintained for a great work of #art.
#Eliot #says:
《《《 “The difference between art
and the event is always absolute”
》》》》
His theory of impersonality goes even
further when he criticizes
Wordsworth’s view that poetry has
its, Origin in emotions recollected in
tranquility”. In his view poetry is an
organization of different concepts and
for such organization to take place
perfect objectivity on the part of the
poet is essential. There is no question
of the poet expressing his personal
emotions. To Eliot, The poet’s
emotions and passions must be
depersonalized; he must be as
impersonal and objective as a
scientist. The personality of the artist
is not important: important thing is
his sense of tradition; A good poem is
a living whole of all the poetry that
has ever been written. The poet must
forget his personal joys and sorrows,
and be absorbed in acquiring a sense
of tradition and expressing it in his
poetry. Thus the poet’s personality is
merely a medium, having the same
significance as a catalytic agent, or a
receptacle in which chemical reaction
takes place. That is why the poet
Poetry is not a turning loose of
emotion, but an escape from
emotion; it is not the expression of
personality, but an escape from
personality. Eliot does not deny
personality or emotion to the poet.
Only, he must depersonalise his
emotions. There should be an
extinction of his personality. This
impersonality can be achieved only
when the poet surrenders himself
completely to the work that is to be
done. Eliot asserts:
~~~~~~~~~~
“《#The emotion of art is
impersonal. And the poet cannot
reach this ‘impersonality
without surrendering himself
wholly to the work”》》

Eliot compares the poet’s mind to a
jar or receptacle in which are stored
numberless feelings, emotions etc.,
which remain there in an
unorganized and chaotic form till, “all
the particles which can unite to form
a new compound are present
together.” Thus poetry is organization
rather than inspiration. And the
greatness of a poem does not depend
upon the greatness of, or even the
intensity of, the emotions, which are
the components of the poem, but
upon the intensity of the process of
poetic composition. Just as a chemical
reaction takes place under pressure,
so also intensity is indeed for the
fusion of emotions into a single
whole. The more intense the poetic
process, the greater the poem. There
is
always a difference between the
artistic emotion and the personal
emotion of the poet. The poet has no
personality to express, he is merely a
medium in which impressions and
experiences combine in peculiar and
unexpected ways. Impressions and
experiences which are important for
the man may find no place in his
poetry, and those which become
important in the poetry may have no
significance for the man. The
emotions of poetry are different from
personal emotions of the poet. Eliot
#endorses:
《 “ It is not in his personal
emotions, the emotions provoked by
particular events in his life, that
the poet is in any way remarkable
or interesting”
》》》
In the poetic process there is only
concentration of a number of
experiences and a new things results
from this concentration. And this
process of concentration is neither
conscious nor deliberate; it is a
passive one. In the beginning, his self,
his individuality, may assert itself, but
as his powers mature there must be
greater and greater extinction of
personality. He must acquire greater
and greater objectivity. He compares
the mind of the poet to a catalyst and
the process of poetic creation to the
process of a chemical reaction. Just as
chemical reactions take place in the
presence of a catalyst alone, so also
the poet’s mind is the catalytic agent
for combining different emotions into
something new. The experiences
which enter the poetic process, says
Eliot, may be of two kinds. They are
emotions and feelings. Poetry may be
composed out of emotions only or out
of feelings only, or out of both. There
is always a difference between the
artistic emotion and the personal
emotions of the poet. Eliot speaks of
John Keats:

~~~~~~~~
《 “The #ode of Keats contains a
number of feelings which have
nothing particular to do with the
nightingale, but which the
nightingale, partly perhaps
because of its attractive name, and
partly because of its reputation,
served to bring together”》
~~~~~~
Thus, the difference between #art and
#emotion is always absolute. The poet
has no personality to express, he is
merely a medium in which
impressions and experiences combine
in peculiar and unexpected ways.
#According to Eliot, two kinds of
#constituents go into the making of a
poem: the personal elements, i.e. the
feelings and emotions of the poet,
and the impersonal elements, i.e. the
‘tradition’, the accumulated
knowledge and wisdom of the past,
which are acquired by the poet. These
two elements interact and fuse
together to form a new thing, which
we call a poem. It is the mistaken
notion that the poet must express
new emotions that results in much
eccentricity in poetry. That is why,
Eliot says:
~~~~`
“《《His particular emotions
may be simple, or crude, or flat”》》
It is not the business of the poet to
find new emotions. He may express
only ordinary emotions, but he must
impart to them a new significance
and a new meaning. And it is not
necessary that they should be his
personal emotions. Even emotions
which he has never personally
experienced can serve the purpose of
poetry. For example, emotions which
result from the reading of books can
serve his turn. This impersonality can
be achieved only when poet
surrenders himself. And the poet can
know what is to be done, only if he
acquires a sense of tradition, the
historic sense, which makes him
conscious, not only of the present,
but also of the present moment of the
past, not only of what is dead, but of
what is already living.

The bee box

In this poem she is directly speaking about a box which she probably orderd
1st she describes the shape of it and she denote s it as a chair a heavy one
Then her imagins it as a coffin of dwarf a pigmy or a square baby
Square baby seems bit absurd
Then sge finds it bit noisy while there r neither any visible windows nor any exit
Only a little enterance as usually happens to ve in a bee box
Exactly here her Electra complex in my opinion is almost certain to mention
Electre complex means the exassisive love and adherement of a girl for her father
It is a keep nd of obsession
N as she is having an obssessive n compulsive personality so this title is apt
[11/10, 9:22 PM] Pu Naila Aun: Here in line 5 to 7 can v compare these lines as if  she is trying to portray her own inner feelings
A lots of noise inside her mind but no way out??
[11/10, 9:24 PM] pu ms ayesha: I think yes V can as her work done is distinctly reflects ambivalence this is to fluctuate or confusion
[11/10, 9:24 PM] Pu Saleha Saira: Samin her all poem are description of her inner feelings
Most of critics says her poetry is directly autobiographical
[11/10, 9:25 PM] Pu Naila Aun: Although she was an intellegent student from the beginning yet a part of dissatisfaction always there in her mind
Her 1st suicidal attempt was due to her failure to obtain an admission
[11/10, 9:27 PM] pu ms ayesha: U're right
N that is y she is considered to be a patron fr depressed teenager girls
[11/10, 9:30 PM] Pu Naila Aun: Every writer wether he is a poet or a playwright he depicts from his own observations and reflects  his own being through his work
[11/10, 9:32 PM] Pu Naila Aun: Here is some keep nd of taunt or sarcastic view about how the Blacks were treated by americans espacially how the people were used to export them
[11/10, 9:33 PM] pu ms ayesha: The box remain no longer box fr hr as it becomes a visible expression of hr own self longing fr love
[11/10, 9:34 PM] Pu Naila Aun: Enthralled ,or chained in shakles though here chains or shakels r not mentioned yet the box is like a jail with no exit but grids where anyone can peep only
[11/10, 9:36 PM] Pu Naila Aun: Now further she says how can she help them out
She is so afraid of the swormy noise
Here again she reflects her in security and fear
[11/10, 9:37 PM] pu ms ayesha: It delineates n reflects her benevolent n bouyant approach towards humans
[11/10, 9:38 PM] pu ms ayesha: a poet or playwright should certainly ought to be sensitive in nature to procure the essence of life
[11/10, 9:43 PM] Pu Naila Aun: Here i want to explain the roman Mob
It means a millions of people works under an emperor
So in bee swarm its always under their queen
In roman mob emperors also had some obligations they had to keep people happy otherwise they were deprived of throne
[11/10, 9:45 PM] Pu Naila Aun: I m not a caesar
Here v feel her faminine touch
That she cant control a mob of bees coz she is not the king of Rome
[11/10, 9:47 PM] Pu Naila Aun: In this poem again she is talking about death "they can die"
[11/10, 9:50 PM] pu ms ayesha: Yes n particularly in the way of mentioning emperor Ceasar there is a feature if Ceasar 's cruelty n harshness if V read history
[11/10, 9:50 PM] Pu Naila Aun: And her longing for security and of respect as she want to set them free in a childish way she has been longing for security ro hide her self behind a tree
Here probably from the worries of her life she wished for a manly body a hiding place for her
[11/10, 9:50 PM] pu ms ayesha: So here her feminism depicts that she is the 1 who gives the poem a sleek n soft touch
[11/10, 9:53 PM] Pu Naila Aun: Line 30 is pointing towards the statement which v ve learnd in her intro
That i m not a source of honey"
She expressed about herself that i can not love any one except myself i can only be affectionate about others like me"
Is this relvent to this line Ma'm Saleha?
[11/10, 9:57 PM] Pu Naila Aun: So it was tje crotical apreciations outline and also the parapharasing
Any other point which v must keep in sight? Suggestion s from worthy ma'mz
[11/10, 10:01 PM] pu ms ayesha: Yes pls
I am not a source of honey
[11/10, 10:02 PM] pu ms ayesha: Does it depict her life journey of being neglected by her mommy n then by husband
[11/10, 10:03 PM] Pu Naila Aun: Honey belongs to sweetness
Her hatered to her mother and to her husband
To her father too coz he died so early in her childhood
She lost the ability to love anyone in the consequence s
[11/10, 10:05 PM] pu ms ayesha: They might ignore me immediately further bears out her experience of behaviour of life partner
[11/10, 10:06 PM] pu ms ayesha: Her mental wavering  diversity of feminism manifestation
[11/10, 10:08 PM] Pu Umme Rubab: She wants security from male but at same time does not want to lose her freedom.
Dual personality.
[11/10, 10:10 PM] Pu Umme Rubab: Box can be a symbol for woman life.Mentioning of African hands to slavery.
[11/10, 10:10 PM] Pu Umme Rubab: *of slavery
[11/10, 10:11 PM] Pu Umme Rubab: Mentioning of coffin her upcoming death.
[11/10, 10:12 PM] pu ms ayesha: Yes very true
But pls elaborate what does Sweet God mean
Is it going to depict tge sense she is considering her self to decree the sleve bees freedom tomorrow morning
[11/10, 10:15 PM] Pu Naila Aun: Free from everything is her god like feeling
[11/10, 10:44 PM] Pu Naila Aun: Sweet God means that she will act sweetly like God and will set them free
She was a puritan and also was religious
So as she holds tje image of God as A sweet and beneficent so after buying a bee box
After spending money she ll not gonna keep them slaves to her, and woyld set them free but not today today she is afraid of them but may be she would get that fear under cntrol by tomorrow and woud act sweetly

SHORT QUESTIONS & ANSWERS OF DOCTOR FAUSTUS

============
SHORT QUESTIONS & ANSWERS OF DOCTOR FAUSTUS
==========
1. Who speaks in the Prologue?
Answer:
The chorus.

2. Who is the main character in the play?
Answer:
Dr. John Faustus.

3. Where does Faustus grow up?
Answer:
Rhodes, Germany.

4. What is the status of Faustus's parents?
Answer:
Poor.

5. Where does Faustus go to study?
Answer:
Wittenberg.

6. What does Faustus study?
Answer:
Divinity.

7. How does Faustus do in his studies?
Answer:
Financially well.

8. What does Faustus's thoughts soon turn
away from?
Answer:
Theology.

9. What general topic does Faustus begin to
study while neglecting his former studies,
according to the Chorus in the Prologue?
Answer:
Magic.

10. What specific topic does Faustus begin
to study, according to the Chorus in the
Prologue?
Answer:
Necromancy.

11. What is necromancy?
Answer:
The magical art of raising the dead.

Poppies in October by Sylvia

The poem offers insight into Plath's emotional state.  The flowers represent splashes of vibrancy and life, addressed by the pale,exhausted and plaintive  narrator who pleas to God for the gift of death.  The petals of the poppy are arranged like the folds of the feminine n charming skirt. The poppy brings sleep and even death.  Yet, the cornflower offers healing.  hearing an inhuman call from nature

Themes Of Dr:Oedipus ( Drama)

<<<<<<<<<<<
Themes Of 
Dr:Oedipus ( Drama)
>>>>>>>>>
~~~~~~~~~~~~~
THE POWER OF #UNWRITTEN LAW
`~~~~~~~~~~~~~~~~
After defeating Polynices and taking the
throne of Thebes, Creon commands that
Polynices be left to rot unburied, his flesh
eaten by dogs and birds, creating an
“obscenity” for everyone to see ( Antigone ,
231). Creon thinks that he is justified in
his treatment of Polynices because the
latter was a traitor, an enemy of the state,
and the security of the state makes all of
human life—including family life and
religion—possible. Therefore, to Creon’s
way of thinking, the good of the state
comes before all other duties and values.
However, the subsequent events of the
play demonstrate that some duties are
more fundamental than the state and its
laws. The duty to bury the dead is part of
what it means to be human, not part of
what it means to be a citizen. That is why
Polynices’ rotting body is an “obscenity”
rather than a crime. Moral duties—such
as the duties owed to the dead—make up
the body of unwritten law and tradition,
the law to which Antigone appeals.
~~~~~~~~~~
THE WILLINGNESS TO IGNORE THE
TRUTH
~~~~~~~~~~
When Oedipus and Jocasta begin to get
close to the truth about Laius’s murder, in
Oedipus the King, Oedipus fastens onto a
detail in the hope of exonerating himself.
Jocasta says that she was told that Laius
was killed by “strangers,” whereas
Oedipus knows that he acted alone when
he killed a man in similar circumstances.
This is an extraordinary moment because
it calls into question the entire truth-
seeking process Oedipus believes himself
to be undertaking. Both Oedipus and
Jocasta act as though the servant’s story,
once spoken, is irrefutable history. Neither
can face the possibility of what it would
mean if the servant were wrong. This is
perhaps why Jocasta feels she can tell
Oedipus of the prophecy that her son
would kill his father, and Oedipus can tell
her about the similar prophecy given him
by an oracle and neither feels
compelled to remark on the coincidence;
or why Oedipus can hear the story of
Jocasta binding her child’s ankles and not think of his own swollen
feet. While the information in these
speeches is largely intended to make the
audience painfully aware of the tragic
irony, it also emphasizes just how
desperately Oedipus and Jocasta do not
want to speak the obvious truth: they look
at the circumstances and details of
everyday life and pretend not to see them.
~~~~~~~~~~
THE LIMITS OF #FREE WILL
~~~~~~~~
Prophecy is a central part of Oedipus the
King. The play begins with Creon’s return
from the oracle at Delphi, where he has
learned that the plague will be lifted if
Thebes banishes the man who killed
Laius. Tiresias prophesies the capture of
one who is both father and brother to his
own children. Oedipus tells Jocasta of a
prophecy he heard as a youth, that he
would kill his father and sleep with his
mother, and Jocasta tells Oedipus of a
similar prophecy given to Laius, that her
son would grow up to kill his father.
Oedipus and Jocasta debate the extent to
which prophecies should be trusted at all,
and when all of the prophecies come true,
it appears that one of Sophocles’ aims is
to justify the powers of the gods and
prophets, which had recently come under
attack in fifth-century B.C . Athens.
Sophocles’ audience would, of course,
have known the story of Oedipus, which
only increases the sense of complete
inevitability about how the play would
end. It is difficult to say how justly one
can accuse Oedipus of being “blind” or
foolish when he seems to have no choice
about fulfilling the prophecy: he is sent
away from Thebes as a baby and by a
remarkable coincidence saved and raised
as a prince in Corinth. Hearing that he is
fated to kill his father, he flees Corinth
and, by a still more remarkable
coincidence, ends up back in Thebes, now
king and husband in his actual father’s
place. Oedipus seems only to desire to
flee his fate, but his fate continually
catches up with him. Many people have
tried to argue that Oedipus brings about
his catastrophe because of a “tragic flaw,”
but nobody has managed to create a
consensus about what Oedipus’s flaw
actually is. Perhaps his story is meant to
show that error and disaster can happen
to anyone, that human beings are
relatively powerless before fate or the
gods, and that a cautious humility is the
best attitude toward life.
~~~~~~~~~
#SIGHT AND #BLINDNESS
~~~~~~~~
References to eyesight and vision, both
literal and metaphorical, are very frequent
in all three of the Theban plays. Quite
often, the image of clear vision is used as
a metaphor for knowledge and insight. In
fact, this metaphor is so much a part of
the Greek way of thinking that it is almost
not a metaphor at all, just as in modern
English: to say “I see the truth” or “I see
the way things are” is a perfectly ordinary
use of language. However, the references
to eyesight and insight in these plays form
a meaningful pattern in combination with
the references to literal and metaphorical
blindness. Oedipus is famed for his clear-
sightedness and quick comprehension, but
he discovers that he has been blind to the
truth for many years, and then he blinds
himself so as not to have to look on his
own children/siblings. Creon is prone to a
similar blindness to the truth in Antigone.
Though blind, the aging Oedipus finally
acquires a limited prophetic vision.
Tiresias is blind, yet he sees farther than
others. Overall, the plays seem to say that
human beings can demonstrate
remarkable powers of intellectual
penetration and insight, and that they have
a great capacity for knowledge, but that
even the smartest human being is liable to
error, that the human capability for
knowledge is ultimately quite limited and
unreliable.