Irony and its types | MA ENGLISH LITERATURE ONLINE ACADEMY| ASMA SHEIKH

Irony in Oedipus rex |MA ENGLISH LITERATURE | BY ASMA SHEIKH

ARMS AND THE MAN JUSTIFICATION OF title

Oedipus rex scene 1 till line 30

Arms and the man introduction lecture #1

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Novel short questions past papers uos solved

Novel Notes
                                       
​                    Joseph    Andrews
​Who is Lady Booby? UOS 2015-18
Lady Booby, the villainess of the story, is a middle-aged lectures and wife of Sir Thomas Booby. After the death of her husband she holds the control of Booby estate. She has lusty eye on the attractive, intelligent villager Joseph Andrews and makes him her footman.
​Who is Fanny? UOS 2015
Fanny Goodwill is a humble but beautiful dairy maid who is engaged to Joseph Andrews and loves him fiercely. She is an orphan who has been brought up on the Booby estate. In the recent past she was fired by Mrs. Slipslop.
​Who is Parson Adams and what is his role?  OR Who is Mr. Abraham Adams? UOS 2018
Parson Adams is a learned clergyman of Lady Booby’s parish estate. He has studied Latin and Greek. He has upright character and Christian charity. He serves himself as a picaresque companion for Joseph. He is a poor man and he is the firm pivot of the novel’s moral influence.
​Who is Parson Barnabas and what is his role? UOS 2014-16
Parson Barnabas is a high-Church Anglican clergyman. He takes pleasure is drinking punch. He disagrees with Parson Adams and believes Clergy people should not live in luxury
​Who is Betty? UOS 2016-17
She is a Chamber-maid in Tow-Wouse inn. She recommends of Joseph’s treatment and takes herself as Joseph’s nurse. She is also lustful and her association with him ends badly.
​Who is Squire Booby?
Squire Booby is the nephew of Sir Thomas and Lady Booby. He marries the servant Pamela Andrews. Squire Booby is a good man who frees Joseph from jail and accepts him as an equal. Because of class pride, however, he objects to Joseph's marriage to Fanny.
​Who is Mr. Wilson?
Mr. Wilson is a former rake and now a country squire whom Joseph Andrews meets on his journeys. Mr. Wilson offers Joseph Andrews, Parson Adams, and Fanny Goodwill hospitality.
Who is beau didapper? UOS 2016
Didapper is a rough, provoked by by Lady Booby to rape Fanny Goodwill so that Joseph’s marriage might be affected. Beau Didapper only has one role in Joseph Andrews: to cause mischief for Fanny and Joseph that will benefit Lady Booby
​Who were the real parents of Joseph?
Mr. and Mrs. Wilson were the real parents of Joseph
Who is Mrs. Slipslop?  UOS 2016-17-19
Slipslop is a foil and also a coarse echo of Lady Booby; she is vain and proud. She acts as she was one of the gentry, and she is sexually attracted to Joseph Andrews.
Who is Peter Pounce? 2019
Lady Booby's steward, a stingy, uncharitable man who on one occasion saves Fanny from rape but plans to enjoy her himself. He also loans oat money to the servants at exorbitant interest rates.
Who is Pamela Andrews?
Pamela Andrews is Joseph’s virtuous and beautiful sister, from whom he derives inspiration for his resistance to Lady Booby’s sexual advances. She is also a servant in the household of a predatory Booby.
What are the major themes of Joseph Andrews?
The helplessness and power of goodness, affection, vanity, charity and religion, hypocrisy and charity, town and country, class and birth, reality verses appearances etc are the major themes of Joseph Andrews.
Who is Surgeon in Joseph Andrews?
The Surgeon is a comic character in the novel. He tells Joseph that he will die soon due to his injuries.
Who is Parson Trulliber?
Parson Trulliber is a hypocritical country parson and he is a hog dealer. He is completely lacking the virtue of charity. He parsons only on Sunday
What different services were performed by Joseph for Sir Thomas Booby?
Joseph performed the different services for Sir Thomas as stable boy and then footman to Sir Thomas’ wife Lady Bobby.
Who is Mrs.Gammar Andrews? (parents of Fanny and Joseph Andrews)
Mrs. Gammar Andrews is the mother of Pamela Andrews and Fanny Goodwill. She has raised Joseph Andrews as her own son, although he is not. She lost Fanny when she was 18 months old and reclaims her at the end of the novel.


        
    PRIDE AND PREJUDICE 
Who is Mr.Collins? UOS 2013-16-17-19
Mr. William Collins is a distant cousin of Mr. Bennet who is a clergyman by profession and manages the estate of his patron Lady Catherine de Bourgh.
Who is Mrs.Bennet?  UOS 2017-18
Mrs. Bennet is a miraculously tiresome character. She is mother of five unmarried daughters who can go to any limit to get her daughters married to the wealthy suitors.
What do you know about Mr. Fitzwilliam Darcy in Jane Austen’s novel, Pride and Prejudice? 2018
Mr. Fitzwilliam Darcy is one of the central characters of the novel.  He is of proud and snobbish nature. At first, he rejects Elizabeth’s beauty by terming her merely “tolerable.” But his character changes and he secretly helps Bennet’s family to protect their honour by forcing Wickham to marry Lydia who has eloped with each other.
Who is Mr.Bennet?
Mr Bennet the patriarch of the Bennet family, a gentleman of modest income with five unmarried daughters. Mr. Bennet has a sarcastic, cynical sense of humor. Though he loves his daughters, he often fails to provide a secure financial future for his wife and daughters.

Who is Charlotte Lucas in Novel? Pride and Prejudice UOS 2015-2019
Charlotte Lucas is Elizabeth’s sensible and intelligent friend. He does not view love as the most vital component of a marriage.He takes marriage for security than love.
Who is Jane Bennet?
Jane Bennet is the eldest and most beautiful Bennet sister. Jane is more reserved and gentler than Elizabeth. She falls in love with Bingley.
Who is Charles Bingley? UOS 2015
Charles Bingley is Darcy’s wealthy best friend. He is genial, well-intentioned gentleman. He is married to Jane Bennet and is the brother of Louisa Hurst and Caroline Bingley. He is blissfully uncaring out class differences.
Who is Lydia Bennet? Why did she elope? UOS 2016
The youngest Bennet sister, she is gossip, immature and self-involved. Unlike Elizabeth, Lydia flings herself headlong into romance. She elopes with Wickham as a result of his black magic of persuasive power. 
Who is Miss Caroline Bingley?
Miss Bingley is Bingley’s snobbish sister who befriends Jane and later snubs her. She attempts to attract Darcy’s attentions and is jealous when Darcy is instead drawn to Elizabeth.


What kind of Woman is Lady Catherine De Bourgh?
She is Darcy’s arrogant aunt, who dominates Mr. Collins and entertains hopes that her daughter will marry to Darcy.
Who is George Wickham?
George Wickham is a handsome and personable fortune hunter to whom Elizabeth is initially attracted. He eventually runs off with and is forced to marry Lydia.
Who is Colonel Fitzwiliam?
He is Darcy’s well-mannered and pleasant cousin, who is interested in Elizabeth, but who needs to marry someone with money.
Who is Mrs. Hurst?
Mrs. Hurst is Bingley’s snobbish sister. She spends most of her time gossiping with Caroline.


        A Tale of Two Cities 
Who is Miss Prose? UOS 2016- 2019
Miss Prose is the servant who raised Lucie. She is loyal to her mistress. Miss Prose is a comic character. She at the end of novel quarrel with Madam Defarge and Madam Defarge was killed by her own pistol shot.
Who is Jerry Cruncher? UOS  2015-17
Jerry Cruncher is an old employer in Tillson’s Bank. He called himself a “Resurrection-Man,” because he digs up dead bodies and sells them to scientists. He gains his income through digging up the graves and selling the dead bodies to medical scientists.
Who is Jarvis Lorry?
Jarvis Lorry is a banker who works out of Tellson's bank, which has a branch in Paris. When Lucie Manette becomes an orphan after her father is mysteriously imprisoned in the Bastille and her mother dies, Lorry brings her back to England to be raised there.
Where was Mr.Javrish Lorry traveling ? UOS 2018
Mr.Javrish Lorry was traveling towards Parish during the callous French Revolution to protect the branch and important documents of Tillson’s Bank in Paris 1792.


Where was Alexander Manette imprisoned and how long? UOS 2018
He is Lucie's father and a brilliant physician, during French Revolution he was imprisoned in Bastille for 18 years.
Why  Alexander Manette was imprisoned?Dr. Alxander Manette was imprisoned because he knew about the crimes committed by the Evermonde brothers and had attempted to expose them to the authorities.
Who is Madame Therese Defarge?
Madame Defarge is a fictional character in the novel. She is  Earnest Defarge’s wife. Unlike her husband, she proves unrelentingly blood-thirsty, and her lust for vengeance knows no bounds. She is a cruel and vindictive lady who exacts revenge against the Evermonde family.
What is the role of Sydney Carton in “A Tale of Two Cities”?  UOS2015
Sydney Carton is a central character in Charles Dickens' novel A Tale of Two Cities. Sydney Carton is a lawyer who looks like Charles Darnay and who lives in a fog of apathy and alcohol. He wasted his great potential and mysteriously lost a woman he loved. Now he's a drunk and a lawyer who takes no credit for his work. Carton has no hope for his life.
Who is Charles Darnay?
Charles Darnay is a French aristocrat. Darnay renounces his family name of St. Evrémonde and moves to England, where he works as a tutor and eventually marries Lucie Manette.  Charles believes in the revolutionary ideal of liberty, but is not a radical revolutionary. He is put on trial during the Revolution for the crimes of his family.
What is the significance of knitting in A Tale of Two Cities? UOS 2017-19
Madam Defarge’s Knitting through a needle and a thread on a piece of cloths determine the fate of the victims of the so called newly established republic. Her knitting is a symbol of cold-bloodedness and cruelty.
Who is Lucie Manette?A young French woman who grew up in England, Lucie was raised as a ward of Tellson’s Bank because her parents were assumed dead.
Who is Ernest Defarge
Ernest Defarge was owner of a wine-shop in a Paris. She was leader of the Jacquerie (a roving band of peasants) during the French Revolution. She formerly worked as a servant for Doctor Manette.


​      The Mill on the Floss
Write the names of four novels of George Eliot.
Ans. Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1863), Felix Holt, the Radical (1866), Middlemarch (1871-72) and Daniel Deronda (1876) are the novels of George Eliot.
Who is Philip Wakem?
Philip Wakem is Son of the lawyer. He has been deformed in a childhood accident and is highly sensitive about it. An artist of moderate talent, he falls in love with Maggie when they meet at the school Philip and Tom attend together.
Who is Sir Stephan Wakem? UOS 2018
Mr. Waken is a lawyer who represents Mr. Pivart against Mr. Tulliver in court in their dispute over water rights. He eventually ends up buying Tulliver's mill and hiring him back as a tenant to manage it. He is Philip Wakem's father.
What are the major themes of 'The Mill on the Floss'?          
Loss of innocence, the difficulty of choice, the claim of the past upon present identity, the importance of sympathy, the effect of society upon the individual, communal verses individual interests, progress verses tradition, practical knowledge verses bookish knowledge, gender disparity and love are the major themes of "The Mill on the Floss".
Who is Maggie Tulliver?
Maggie Tulliver is the protagonist of the novel "The Mill on the Floss". She is a hugely complex character. She is the intelligent, clever and emotionally sensitive daughter of a country mill-owner. Her closest tie is to her brother Tom. She has dark skin, dark hair, and dark eyes. Her life is the central story of the novel.
Who is Bob Jakin? Describe his personality UOS 15-2017
Bob Jakin is the childhood friend of Tom Tulliver and a comic character in the novel. He is a packman. He is a cool and nice person. He helps Tom and his family.
Who is Lucy Deane? UOS 2017-18-19                                   Lucy Deane is Tom and Maggie's cousin and a year younger than Maggie. She is the daughter of Susan Deane. She is amiable, kind and compassionate.
Who is Mrs. Jane Glegg discuss her character?                                                                          
Mrs. Glegg is the sister of Mrs. Tulliver and aunt of Tom and Maggie. She is oldest of Dodson sisters and she preserved the family traditions. She is careful in use of money. Mrs. Glegg is a character that creates amusement in the novel. She shows superiority and strict to family traditions
Describe the personality of  Tom Tulliver? 2015            
Tom Tulliver is the Tullivers' older son. He has his own clear sense of duty, justice, and fairness. He has affection for his sister Maggie, but he dislikes her impetus way of doing what she wants. When Mr. Tulliver goes bankrupt, Tom goes to work at a young age and brings the family out of debt.
Who is Stephen Guest UOS 2015                                     
  Stephen Guest is courting Lucy Deane when we meet him but has not yet proposed marriage. He is the son of the senior partner of Guest & Co., where both Tom and Mr. Deane work. Stephen is handsome and self-assured. He falls unexpectedly in love with Maggie, drawn to her strikingly different qualities.
How flood is symbolic in the novel ‘The Mill on the Floss’?
Generally flood symbolizes destruction and in this novel it symbolizes the destruction of Tulliver family.
What does the river Floss symbolizes in the novel?
River generally symbolizes life but river Floss in this novel is the source of income and destruction for Tulliver’s family. River Floss also symbolizes Maggie’s character, the depth of Floss presents deep emotions of Maggie and unpredictable paths of Floss represent the Maggie’s thoughts.
Who is Dr. Kenn?
Dr. Kenn is a highly respected and kindly clergyman who attempts to help Maggie when she returns to St. Ogg's in disgrace
Who is  Mr. James Torry
James Torry Is one of the middle-class set in St. Ogg's who dances with Maggie at the Guests' and is attracted to her. After she comes back from her elopement he treats her disrespectfully.
Who is Mrs. Sophy Pullet?
Mrs. Sophy Pullet is one of the Dodson clan and Tom and Maggie's aunt on their mother's side. She likes to dress well and tends to be dramatic, especially about illness and death. She is a hypochondriac.

Drama short questions past paper solved uos

Drama
Othello  

Who is Othello?
Othello is a brave, confident and physically strong man. He is a general in Venetian defense forces. He loves Desdemona the daughter of Brabantio.
Why is Othello sent to Cyprus? UOS 2018
Othello is sent to Cyprus to protect Island from the Turks. Othello is a general of the Venetian forces.
Who is Desdemona? 
Desdemona is a young, beautiful, white, Venetian debutante. She is daughter of Brabantio. She falls in love with Othello.  
What is Othello's opinion about unexposed Iago?
Othello’s opinion about Iago is that he is a kind and honest man but it is ironical because in reality he is opposite What is Brabantio’s warning to Othello about Desdemona? Uos 2019
Brabantio warns Othello, “She has deceived her father, and may thee,” but Othello is certain of Desdemona’s faithfulness. 
What is importance of the Handkerchief in Othello? Uos 2018
The handkerchief is the first gift Desdemona receives from Othello, so it is symbol of his love. Othello claims that his mother used it to keep his father faithful to her, so to him the handkerchief represents fidelity and his giving it to Desdemona represents a promise that he will be true to her.
Why does Iago turn against Othello OR Why Iago does not like Othello? UOS 2016
Iago turns against Othello because Othello has made Cassio his lieutenant who has no military experience instead of Iago who has military experience.
What qualities of Othello win the heart of Desdemona? 
The qualities of Othello that win the heart of Desdemona are the tales of wars, his adventurous and endurance before coming to Veince that told to Desdemona. She says that my heart is subdued for Othello's visage and honour.
What kind of woman is Emilia?
Emilia is the wife of Iago and attendant of Desdemona. She is a young, virtuous and intelligent woman. She is a faithful wife and loyal servant.
Who is Cassio? 
Cassio is a young and inexperienced soldier. He is described as Othello’s “honorable lieutenant”, and he is given this rank over Iago.
Why does Iago stab his mistress? (Uos 2013)
Iago does not tell anything that why he stab his mistress but it is very clear from the story that Emilia tells the truth and condemn the lies of his husband. So, in revenge he stabs her. 
Who is Brabantio?
Brabantio is father of Desdemona and a rich Venetian Politician. He likes Othello and invites him to visit his house but he never expected that Othello to steal his daughter.   
Why is Brabantio dismayed about Desdemona? UOS 2015
Brabantio is father of Desdemona. He is dismayed about Desdemona when he comes to know that she has married to a Moor Othello. The main reason is that Othello is a black and Moorish Why does Desdemona marry to Othello? UOS 2017-18
She marries to Othello because she is intrigued by his adventurous past as a soldier. She says that my heart is subdued for Othello’s visage and honor.
Who is the first Character to refer to Othello by name? UOS 2017
The Duke is the first character to refer the Othello by his name.
How did Veince treat Othello before he was dispatched to Cyprus? UOS 2019
Before Othello’s drastic fall from grace, the leaders of Veice treat Othello with respect and honor.
How does Brabantio die?
Brabantio dies of grief after his daughter runs off with Othello.
Why does Othello dismiss Cassio?
Cassio foolishly allows himself to be encouraged to go for a drink. When he becomes drunk, he is drawn into a brawl and attacks Montano, a former Cypriot officer, badly wounding him. Othello comes out, furious at the disorder and dismisses Cassio.
What does Roderigo think of Othello?
Roderigo is Iago’s dupe. He loves Desdemona and prepared to do anything to get her. Roderigo does not feel any loyalty towards Othello, who he believes has stolen his love from him.
How does Iago exploit Roderigo? OR 
How does Roderigo befooled by Iago? UoS 2018
Riderigo is an emotional person. He does not think on reason. So, Iago exploits Roderigo through his emotions. He tells Roderigo that money can get anything even Desdemona’s love thus he get money from Roderigo.
What was Iago’s complaint in Scene 1?
He was passed over for a promotion and Cassio got the job as lieutenant who was an inexperienced soldier
What happened when Cassio and Roderigo fought?
Roderigo was wounded by Cassio and Cassio was wounded from behind by Iago.
Why was Bianca angry with Cassio?
She was angry with Cassio because she loved him and thought that some other woman had given him the handkerchief as a gift.
What lie did Iago tell montano about Cassio?
He told Montano that Cassio is an alcoholic.
What was Brabantio’s reaction to Othello’s marry to Desdemona?
Brabantio thinks Desdemona was basically forced to marry Othello, and was very angry.
How does Othello kill Desdemona?
In the last act Othello tells Desdemona that she is disloyal and he is going to stab her. She requests for mercy and claims her innocence but he refuses and stab her.
What happens to the Turkish fleet?
The Turkish fleet is broken apart by a terrible storm while sailing to Cyprus.


OEDIPES REX by Sophocles
​Who was king Laius ?
He was the former king of Thebes He married to Creaon’s sister, Jocasta.  In his reign Apollo warned Laius that one day his son would kill Laius and would marry to his mother.
Why does Oedius run away from cornith? UOS 2015
When he was a young man living in Corinth, another soothsayer claimed that he would kill his father and marry his mother. Oedipus runs away from Corinth to save his parents and himself from murder and incest.
What are the traits of Apollo? UOS 2015
Apollo is an ancient Greek god, son of  Zeus and Leto. He is god of oracles, fertility, diseases and cure.
How does Oedipus become the king of Thebes? 2016
Oedipus becomes the king of Thebes by solving the mind- wrenching riddle of Sphinx.  He achieves the monarchy as a reward of solving the puzzle.
What are the charges of Oedipus against Creaon? UoS 2016
Oedipus charges the Creaon for plotting the murder of King Laius with the companionship of “Child of Endless of Night.”
What is the other name of Apollo used in Oedipus Rex? UoS 2017
The other name of Apollo used in Oedipus Rex is Phoebus, a dazzling ray of light.
How  does Creaon treat blind Oedipus in the end ? UoS 2017
Creaon treats the Oedipus as a true brother-in-law and uses every possible mean to make Oedipus stay in his Thebans palace.   
What gods are mentioned in Oedipus?
Some of the most important gods mentioned in Oedipus are, Zeus, Hera, Apollo, Hades, Poseidon, Aphrodite and Athena. How many odes are present in Oedipus Rex? UoS 2019
There are 4 odes present after every scene of Oedipus Rex
Why is Oedipus reluctant go to Corinth after the death of king polybus? UoS 2009
Oedipus fears to go back to Corinth as he might fulfil the second part of the oracle of committing the crime of insect.
Who is Apollo in Oedipus Rex?
The sun god and Healer god. The people of Thebes ask Apollo for advice when they want to save Thebes.
How does Oedipus blind himself? 
He blinds himself by poking out his eyes with the long gold pins from his dead wife brooches.    
What does Oedipus blinding himself symbolize?
Oedipus blinding himself symbolizes his increase of knowledge, his sensitivity, and gives him the ability to finally “see”. He is now able to see the flaws of his hubris attitude, and the consequences of which his pride brought to him. 
How was Laius murdered ? UoS 2018
King Laius was murdered by his own son, Oedipus the king in the place where three roads met. Oedipus killed the old man with his youthful might, taking the old man merely a stranger.
Who was called the son of Labdakos? UoS 2018
Oedipus was called the son of Labdakos by the Chorus in ode 1.
What does Oedipus accuses Teiresias of ?
Oedipus accuses Teiresias of being liar, being a conspirator, taking part in the murder of the king with Creon.
What was the Prophecy about Oedipus? UoS 2010
The prophecy about Oedipus was that one day he would grow up to kill his father and he would marry to his mother.
Who is Jocasta in Oedipus Rex?
Jocasta is Oedipus’ wife and mother. She is also Creon’s sister. She appears only in the final scenes of Oedipus the King. 
Why does Jocasta commit sucide?
She commits suicide because she realizes that the prophecies have been fulfilled, and that she has married her own son. For breaking divine and human laws Jocasta commits suicide.
Who does Oedipus blame for Laius death?
Teiresias accuses Oedipus of killing Laius. However, the other rumors say that robbers killed Laius. Oedipus blames Creon for framing Oedipus for murder.
How does Oedipus see himself?
He views himself as a great leader. He has pity towards people and wants to help them.
​Why does Tiresias get furious with Oedipus?
Tiresias get furious with Oedipus because Oedipus accused him for uniting with Creon to grab the crown.
What god does Oedipus blame for his fate?
After finding the truth about his fate of killing his father and sleeping with his mother Oedipus blames Apollo and other gods.   
Who caused the downfall of Oedipus?
The cause of Oedipus’ downfall is his mistake, which was caused by his pride. This downfall is due to his rashness, over-curiosity and his disrespect for the god’s predictions.


The Importance of Being Ernest
Who is Dandy?
Dandy is a character who gives importance to physical appearance, sophisticated language and leisurely interests. For example Algernon is a dandy character in “The Importance of Being  Ernest.
What is comedy of manners?
The witty, cerebral form of dramatic comedy that depicts and often satirizes the manners and affections of a contemporary society.
What is the name of Algernon’s imaginary friend?
Bunbury is a imaginary friend of Algernon. His other name is Bunburyism. Who is Miss Prism?
Miss Prism is Cecily’s governess. She is an endless source of pedantic bromides and Cliches. She respects every repressed Victorian who lives by an impossible canon. 
Who is Bunbury in the play Importance of Being Ernest? UoS 2018
Algernon is bunbury in the play.
Why does Miss Prism fear from Lady Bracknell? UoS 2018
Miss Prism fears from Lady Bracknell as she might be questioned for stealing a baby from Bracknell’s house.
How is Algernon a dandy in the importance of being ernest? UoS 2017
Algernon serves as a dandy in The Importance of Being Ernest because he remains conscious about good clothes and spends lavishly on throwing parties.
When is Cecily bad and good for Lady Bracknell? UoS 2017
Initially Cecily is bad for Lady Bracknell because she is niece of Lady’s poor sister’s son, Jack.But to that moment when she discovered Cecily is rich now she is good for Lady Bracknell
What is ungentlemanly thing to read according to Jack? UoS 2013
Jack says that a private Cigarette case is ungentlemanly to read.  
Who is Lady Brackness?
Lady Bracknell is first and foremost a symbol of Victorian earnestness. She is powerful, arrogant and ruthless. She values ignorance which she sees as a “a delicate exotic fruit.”  On what grounds do you dislike Lady Bracknell? UoS 2016
I dislike Lady Bracknell for her interfering, authoritative and hypocrite behavior. She wants everyone to press under a thumb. She is ruthless, powerful and arrogant
Define Artificial Comedy? UoS 2016-19
It is just another term for comedy of manners, where a playwright decides to satires the behavior of a particular social group, which is normally upper class in some ways.
Who is Lane? UoS 2015
Lane is Algernon Moncrieff’s butler. He is important in the establishment of the tone of the play. His relationship with Algy is apparently one of deference and politeness.
Who is Cecily’s teacher?
Miss Prism is Cecily’s teacher. What is Jack’s father first name?
His first name is Ernest.
What does Algernon call Lady Bracknell?
He calls her Aunt Augusta. 
What is Dandy with reference to Importance of Being Ernest? UoS 2019
A dandy is a person who gives excessive attention to his dress, looks and lifestyles, while pinpointing his society’s dual identities through his wit.  
What picture of Lord Bracknell is created by the things Lady Bracknell and Gwendolen say about him? UoS 2015
The picture of Lord Bracknell is created through his wife and daughter as another aristocrat who remains absent in the functions of the family.
​


JEW OF MALTA BY Christopher Marlowe
What are the major themes of The Jew of Malta?
Machiavellian Strategy, revenge, hypocrisy, love and avarice, wealth, lies and deceit justice, judgment, religion, prejudice and politics.
With whom is Abigail in love with? UOS 2015
She was in love with Mathias duh. He was a young and son of Catherine. Mathias also love her very much.
Who is Barabas in Jew Of Malta?
The Protagonist of the play and father of Abigail. He is a tragic hero. He does not care for anyone. He is true follower of Machiavellian.
What is Act 2 scene 1 mainly about in Jew of Malta? UoS 2019
Act 2 scene 1 is mainly about Abigail throwing the bags full of gold and money and Barabas catches his “bliss” and hugs his money bags
while standing in an alley of his counting-house which is turned into a nunnery.
What does Barabas nose symbolize? UOS 2019
Barabas’ nose symbolizes for humour and satire. It is a common symbol for a Jew to have a long pointing nose.
Who is bellamira?
Bellamira is a courtier and prostitution. She has few customers, pilia Borza is only attendant.  Name the religious groups mentioned in Jew of Malta?
Christians, Jews and Muslims are mentioned in Jew of Malta.
Who is Ithamore?
Ithamore is a Turkish slave presumably brought to Malta by Malta after capturing a Turkish ship. Barabas buy Ithamore for 100 Crowns.
What does Ithamore reveal about his past deeds to Barabas? UOS 2016
Ithamore tells Barabas all about how he has burned down Christian villages, murdered random travelers and crippled religious pilgrims.
Why does Barabas decide to kill Ithamore? UOS 2018
He deciedes to kill Ithamore because “he knows to much” about Barabas’ vengeance and he might confess to Ferneze. Thus he decides to to poison his “heir”.
Why is Barabas angry with the three Jews? UoS 2018
Barabas is angry with the three Jews as they have arrived to seek Barabas’ help on the arrival of Turkish galleys and Barabas only cares about his own gold and coffee.
Who says in Jew of Malta I count religion but as a childish toy? UOS 2016
This sentence uttered by the soul of Machiavelli who prologes to present “the tragedy of the Jew.” 
Who is Basso?
Basso is military officer or pasha of Turkey came with Callymath. What is the setting of the play ‘The Jew of Malta’? The setting of the play “The Jew of Malta” in Malta in 1565 When Turk besieged the island of Malta.
What action Barabas take against his ‘ converted daughter?
Barabas killed his ‘converted daughter’ by poisoning her.
Interpret 'For, so l live, perish may all the world!' Discuss ?
This line is from Act V spoken by Barabas in "The Jew of Malta" by Marlowe. Barabas plots to undo everything once he is Governor of Malta -- Christians, Turks, anyone in his way. He only cares for his own skin.
How does Ferneze treat Basso when Basso demands tribute? UoS 2015
Ferneze replies bluntly upon Basso’s demand of 10 years’ unpaired tribute that he shall have no tribute from Malta, thus treating him worthlessly.
How does Barabas  get Methias and Lodowick killed?
Barabas Killed the Mathias and Lodowick in a deceptive/fake duel. Barabas wrote a forged letter to Mathias that is supposedly from Lodowick, challenging him to a duel. 
What is Barabas reaction on the death of Abigail?
Barabas celebrates the successful plan of poisoning the nuns. He is only grieved that his daughter lived long enough to become a Christian.
Write the names of four plays of Marlowe?
The names of the four plays of Marlowe are Tamburlaine, Doctor Faustus, The Jew of Malta and Edward ll. 



THE TEMPEST By William Shakespear
Who is Miranda?
Miranda is young daughter of Prosper. She is native and innocent, she is also a charming and gentle girl who stands up for herself when needed.
Why does Caliban kill Prospero?
Caliban tries to kill Prospero tro take the island from him.  He believes that Prosper treats him unnecessarily cruelly and accuses him of stealing the island from him. 
What did Caliban try to do to Miranda?
Caliban is a monster who tried to rape Prospero’s daughter Miranda before the play began.  What duties does Ariel perform for Prospero?
Ariel is an airy spirit. He does every task for Prosper willingly, quickly and with enthusiasm and reports any activity he observes.
Who is Cares? UOS 2018
Cares is Prospero’s spirit like Ariel and Cares represents the goddess of the fields and the earth. Cares with Juno both bless the Miranda and Ferdinand.
Who dethrones Prospero and why?
Antonio the younger brother of Prosper with help of Alonso who is the friend of Antonio and King of Naples dethrone him because his brother is jealous, greedy and power thirsty.
How does Prospero escape the murder plan attempt hatched by Caliban? UoS 2ND ANNUAL 2018
Prospero escape the murder attempt hatched by Caliban with the help of Ariel who reported the plot to him.
How Ariel and Caliban are different ? Uos 2019
Ariel is a faithful servant spirit of Prosper while Caliban is rude in his behavior towards his master nad he was born out of wedlock through the womb of a witch.
Who is Sycorax? UOS 2019
Sycorax is the name of a witch who gave birth to a beast Caliban and overtook the throne of the lonely island where Prosper and his daughter took shelter.
Introduce Boatswain in the Tempest? UoS 2017
Boatswain is in charge of running the ship in the storm. He has no time for time-wasters and does not bother to shackle his tongue when talking to landlubbers coming on deck and getting in the way.
What is called a green eyed monster in Tempest? 2016
Jealousy is personified as “ a green-eyed monster” by the Bard of Avon.
Why is ‘The Tempest’ called a play about revenge? 2016
The tempest is called a play about revenge because this theme prevails right after the play begins and Prospero’s Ariel creates a tempest on the ocean to make the being-revenged submissive for once they used their influences to throw Prosper and his newly born daughter in the ocean.
Mention some ambitions of Caliban? Uos 2016
Caliban the “fish-like monster” wants to kill Prospero to rule over his mother’s island
What is the reaction of Prosper when he notices Ferdinand in love with Marinda ?  UoS2015
Prospero speaks himself and says “The real Duke of Milan and his far finer daughter could beat you in a heartbeat, it it were the right time. But he plans to put The Prince on test as “too light winning make the prize light.” 
How was Caliban begotten? UOS 2015
Caliban was begotten through his mother. She died on the island while giving birth to a half-beast where Prospero and his daughter lodged in. Prospero enslaves him.
Who is Claribel?
Claribel is the daughter of the King of Naples. Her marriage was the indirect cause of the disasters which have happened to Alonso and his friends.
Who in the Tempest says “He that dies pays all debts”? 2017 2nd annual
Stephano says in the tempest “He that dies pays all debts”.
Why does Pospero give up magic?
He gives up magic because magic is what caused him to end up on the island in the first place. It ultimately leads to his downfall.
Why does Caliban hate Pospero and Miranda ?
Caliban sees Prospero and Miranda as imperialistic who took control of an island that he felt belonged to him.

Existentialism

#وجودیت_کیا_ہے؟ #Existentialism

وجودیت وہ نکتہ نظر ہے جس کا اظہار فلسفہ کی نسبت شاعری میں ہوا ہے گو کہ یہ اپنی اصل میں ایک فلسفہ ہی ہے۔ اس کے مطابق اس کائنات کے وسیع تر تناظر میں تمام اجسام اور بو قلمونیوں کی نسبت وجود اور وہ بھی انسان کے وجود کو اس قدر فوقیت کا حامل سمجھا جاتا ہے کہ اس کے ماسوا سب کچھ ہیچ اور غیر اہم ہے۔

کائنات کی وسعت میں صرف فرد کا وجود ہی محور کا درجہ رکھتا ہے۔ یہ اصول تنقیدی طور پہ غیر متوازن اور مبالغہ آرائی پر ہے۔

وجودیت کا نکتہ نظر رکھنے والے وجودی کہلاتے ہیں اور ان کے نزدیک ذات کی اہمیت اس قدر ہے کہ اس کے علاوہ سماج کی بندشیں اور مذہب کی زنجیریں بے معنی اور فضول ہیں۔

وجودیت تمام سوالات کو فرد کے وجود کے گرد جانچتی ہے۔ اس اعتبار سے یہ انسان کے اس دنیا پر آنے کے مقصد , خدا کے پوشیدہ رہنے, اپنی تخلیق کے سلسلہ میں خالق کے مشورہ نہ کرنے اور اس جیسے بنیادی سوال اٹھاتی ہے۔ 

یہ فرد کے وجود کو اس قدر اہمیت دیتی ہے کہ جیسا بھی کوئی فرد ہو اچھا یا برا اس کا جواز فراہم کرتی ہے۔

مختصر طور پر اس کی عمومی خصوصیات یہ ہیں:

۔ وجود جیسا ہے ویسا ہی ٹھیک ہے ۔ عقل کے استعمال سے اس کی اصلیت مسخ کرنا فضول کام ہے۔
۔ اگر کوئی اچھا یا برا ہے تو جیسا بھی ہے ایک حقیقت ہے اس کو مذہب اور عمومی اخلاق سے تبدیل کرنا غیر حقیقی ہے۔
۔ سائنس چونکہ عقلی تاویلیں فراہم کرتی ہے اس لیے وجود کے لوازم سے انحراف کرتی ہے لھذا یہ غیر اہم ہے۔
۔ وجودیت ہر ایک کرب کو جوں کا توں تسلیم کر کے اس پر ہنسنے کا پیغام دیتی ہے اور یاس و حزن کو اپنا جزو اور مقدر قرار دیتی ہے۔
۔ وجودیت کسی بھی قسم کی اصلاح اور انقلاب کی روش کی نفی کرتی ہے اور جوں کی توں پالیسی کی حامل ہے۔
۔ یہ جنسیت و نرگسیت کو وجود سے منسلکہ ایک حقیقت تسلیم کرتے ہوئے ان کی تسکین کی راہ میں آنے والی ہر رکاوٹ کے مخالف ہے۔
۔ یہ ہر ایک فرد کو اس کے اپنے مخصوص تناظر اور ماحول میں دیکھنے کی قائل ہے اور آفاقی سچائیوں کے بر عکس ہر ذات کی اپنی مخصوص اقدار کو ہی سچ تسلیم کرتی ہے۔

وجودیت کا نکتہ نظر ڈیسکارٹ اور سیموئیل بیکٹ کے ادب میں پایا جاتا ہے۔ اس کا آغاز جنگ عظیم کی تباہ کاریوں کے بعد ہوا۔  اردو ادب میں اقبال کے فلسفہ خودی کی کڑیاں بھی اسی سے ملتی ہیں گو کہ اقبال کا خودی کا فلسفہ اخلاقیات کے دائرے میں محدود ہے اور خالص وجودیت سے عاری ہے۔

Important Questions Past Papers of MA English Part II PU UOS Drama #CherryOrchard.

 Important Questions Past Papers of MA English Part II PU UOS Drama #CherryOrchard. No Book will Answer it.

Q.1. What is the theme of the Cherry Orchard. (2015 UOS)

How far do you think Chekhov is successful in presenting the theme of the Passing of the Old Order through the symbol of cherry orchard. (2006)

In THE CHERRY ORCHARD, we watch the dreams of childhood dying and ambitions of middle age stirring into action. Comment. (2013)

Is the Cherry Orchard a political play? (2008)

"It is not what the characters say which matters, it is what they are and what they are doing with their lives". (Realism)

How far do you agree with this assessment of the characters in The Cherry Orchard? - Follies & Absurdities + Realistic (2007)

"Again and again his characters speak of trivialities at a time when their thoughts are quite clearly engaged on something quite different" Discuss with reference to THE CHERRY ORCHARD. (2011)

Why has Chekhov's drama been called 'lyrical' and 'internal' as opposed to 'external'? Discuss with reference to his play. The Cherry Orchard. (2009

Dr. Faustus| characters analysis | part 3 .m

PAST PAPERS MA ENGLISH (LINGUISITCS)UNIVERSITY OF SARGODHA 2012 to 2019

 PAST PAPERS MA ENGLISH (LINGUISITCS)UNIVERSITY OF

SARGODHA

2012-2013-2014-2015-2016-2017-2018-2019

2012

01. What is Semantic and Pragmatic?

02. Markedness and Unmarkedness?

03. Pitch and Tone?

04. Determiner and Adverb?

05. Affixation and Clipping?

06. Form and Substance?

07. Competance and Performance?

08. Diachrony and Synchrony?

09. Signifier and Signified?

10. Assimilation and Elision?

Q:Animal and Human Language?

Q:What is Syllable ?Associate the following words with syllable

Structure,Elevate;torment;gymnast/predatory/monologue?

Q:Define the Phonetics ?Voiceless,Velar.plosive.

voiced.labio-dental,fricatives,

Voiceless, ,palate-alveolar affricative,

Voices,palate-alveolar fricatte.

Q:Define and give the example:

Lexeme,grammatical word,word-form,morpheme,morph,allomorph,portmanteau morph,suppletion.empty

morph,zero morph.

Q:Draw the Phrase Structure Rule.

Q:Draw the Tree Structure:

2013

01. Diachronic Linguistics?

02. Deep Structure?

03. Phoneme?

04. Tone Language?

05. Stress?

06. Why/w/is not considered a vowel sound?

07. Forensic Linguistic?

08. Hyponymy?

09. Homonymy?

10. Pragmatics?

Q:Language can be studied at different levels,identify different levels of linguistics analysis?

Q:Does there exist any relationship among language,culture and thougt?If so,elaborate your answer with

examples?

Q:Write note on foregrounding in literature.Substantiate your answer with examples?

Q:Write comprehensive note on English syllable structure?

Q:What is grammar?Give a brief detail of Transforamtional Generative Grammar.

Q:Wirte comprehensive note on speech act theory?

2014:

01. Auditory and Articulatory Phonetics?

02. Language Universal?

03. Creole Language?

04. Segmental and Supra-Segmental Phonology?

05. Arbitrariness of Language?

06. Feminist Stylistics?

07. Bound and Free Morphemes?

08. Semi Vowels?

09. Polysemy and Synonymy?

10. Behaviouristic theory of language learning?

Q:Origin of Language?

Q:What is Language.Note on Micro and Macro function of Language?

Q:English consonant sounds .Manner and Place of Articulations?

Q:What is Dialect.Explain how a dialect acquires the status of standard language?Also elaborate different

stages of the standardization process?

Q:What is meant by Style?How is stylistics different from the literary criticism?Write a brief note on the scope

of literary and non-literary stylistics?

Q:Write a short note on the following:

01. Implicatures

02. Historical Linguistcs.

2015

01. What is Displacement in the study of language?

02. What is form function relationship?

03. What are infixes?

04. What is the difference between connotative meaning and denotative meaning?

05. What is generative Grammar?

06. What are minimal Paris?

07. What is language lateralization?

08. What is the difference between voiced and voiceless sounds?

09. What is difference between derivational morpheme and inflectional morpheme?

10. What is the difference between code mixing and code switching?

Q:When psycholinguistics say language is biologically bases,do they mean that language has no social or

cultural basis?

Q:Write a note on the following?a:Competence and Performance.b)Syntagmatic and Pradigmatic

Relationship?

Q:What is Morphology ?What are some of the ways of word formation?

Q:What is immediate constituent analysis (IC analysis)”What are its limitations?

Q:What is articulatory phonetics?Explain with special reference to place and manner of articulations?

Q:What are meaning and what are some of the theories of semantics?

2016

01. Auditory and Experimental Phonetics?

02. Language Typoloy?

03. Pidgin and Creole language?

04. Segmental and Supra-Segmental Phonology?

05. Duality and Arbitrariness in language?

06. Feminist Linguistics?

07. Bound and Free Morphemes?

08. Semi-Vowels?

09. Compounding and inflections in word formation?

10. Behaviourisitc theory of language learning?

Q:Origin of Language and different theories of origin of language?

Q:What is language ?Write a note on the micro and macro function of human language?

Q:Write detailed description of English Vowel sounds with reference to their articulation,Support your answer

with example.

Q:What is dialect?Explain how a dialect acquires the status of standard language?Also elaborate differenct

stages of the standardization process?

Q:What is figurative language?Write a note on different figures of speech.Give example where necessary?

Q:Write a short note on the following:

01. Derivational Morphology.

02. Descriptive Linguistics.

2017.

01.What is Acoustic Phonetics?

02.What is Prevarication?

03.What is functional variety of language?

04.What is Allophone?

05.Define theo-linguistics?

06./w/is articulated as a vowel but it is a consonant,why?

07.What are approximant sounds?

08.What is Neologism?

09.What is Phoneme?

10.What is Allomorph?

Q:What is language ?Give at least four definition of language given by some renowned linguists and also give

your critical understanding of these definitions?

Q:Write a detailed note on the description of Vowel Sounds reference to their articulation.Support your answer

with example from the English Vowels?

Q:What is dialect?Explain how a dialect acquires the status of a standard language ?Also elaborate different

stages of the standardization process.

Q:Write a detailed note on Paul Crice’s Theory of Implicatures.

Q:Write short note on the following

01. Deviations in literary texts.

02. Phrase Structure Rules.

2018

01. What is Diachrony and Synchrony?

02. What is displacement in language?

03. What is the difference between Signifier and Signified?

04. What is the difference between Phoneme and Phone?

05. What is the difference between Aspect and Tense?

06. What is generative grammar?

07. Difference code mixing and code switching?

08. What is function relationship?

09. What is lateralization?

10. Sociolinguistics is the study of language with society.Discuss?

Q:How does the universality of language support the view that language is biologically bases?

Q:Consider the main views of language i.e generative,functionalists and socio-cultural in terms of approaches

to language teaching,identifying methods that would appropriate or compatible with each approach?

Q:What is study of morphology ?Compare and contrast the derivational mophemes with inflectional

morphemes?

Q:Summarize the Semantic Files Theory?

Q:What is dialect and how a dialect attains the status of a standard language?

Q:What is meant by style and how stylistics is different from the literary criticism?

2019

01. What are the components of a Syllable?

02. What is Vowel?

03. Define Speech Act?

04. Define Langue?

05. What is Segmental Phonology ?

06. What is Articulatory Phonetics?

07. What is acoustic Phonetics?

08. What is Micro-Linguistics?

09. Who wrote Syntactic Structure?

10. Who wrote Course in General Linguistics?

Q: What is language ?Give at least four definition of language given by some renowned linguists.

Q:Wite critical note of Design Feature of Human Language?

Q:What is Stylisitics?Write a detailed note on the scope of Stylistics?

Q:Write a comprehensive note on the Macro and Micro function of language?

Q:What are Popular Misunderstanding about Linguistics?

Q:Write a comprehensive note of popular school of thought?

What is rhymical scheme of a poem | Urdu | Hindi| Wyatt n surrey | Sonnet

Sir Thomas wyatt introduction

Milton grand style

PARADISE LOST LINE 151 TO 197

3.PLOT SUMMARY OF PARADISE LOST

The Hero of Paradise Lost part 1

The Hero of Paradise Lost part 1

SATAN CHARACTER PARADISE LOST N ITS SPEECHES

SATAN CHARACTER PARADISE LOST N ITs speeches

Allah k zikr ka asar by ASMA SHEIKH

Paradise Lost by John Milton part 2

George Bernard Shaw as a Dramatist: “For art’s sake’ alone I would not face the toil of writing a single sentence”

 George Bernard Shaw as a Dramatist: “For art’s sake’ alone I would not face the toil of writing a single sentence”

Before George Bernard Shaw started his career as a dramatist, the English drama had already entered into a new phase of development under the influence of the Norweigian playwright Henrik Ibsen. The romantic tradition of the Elizabethan drama which held the English stage for more than three centuries began to lose its influence from the middle of the nineteenth century. “Is drama to be limited to the surface characteristics of a life that is no longer lived in surface, or will drama reflect in form and substances the deepest life of the time?” This was the question which vigorously agitated the mind of the mid-Victorian dramatists. They finally realized that the new drama had a serious purpose to server and it should be brought in line discarded the romantic tradition of the Old English drama and accepted the real and serious problem of the age as the themes of the new English drama. In the absence of any British playwright to supply them with motive and model they drew inspiration from the continental playwrights particularly from Ibsen who had already made social problems of his time the subjects of his plays.

By the time young  Bernard  appeared on the scene of the English drama, Ibsen had been sufficiently known to the English playwrights and his creative influence felt by them. “Ibsen had taught men that drama, if it was to live a true life of its own, must deal with human emotions, with things near and dear to ordinary men and women. Hence the melodramatic romanticism and the chill pseudo-classic remoteness alike disappeared in favor of a treatment of actual English life, first of aristocratic existence, then of middleclass lives, and finally of laboring conditions. With the treatment of actual life the drama became more and more a drama of ideas, sometimes veiled in the man action, sometimes didactically set forth. These ideas were for the most part revolutionary, so that drama came to form an advanced battleground for a rising school of young thinkers. Revolt took the form of reaction to past literacy models, to current social conventions and to the prevailing morality of Victorian England.” They were T. W. Robertson, A. W. Pibero and Arthur Henry Jones. They wrote plays both of social interest and literary merit for the first time in England in imitation of the continental playwrights and initiated the movement for a new type of play called “The Naturalistic Play”. The plays written by these three playwrights contained “the rudiments of an Ibsenist motive” but they could not attain the excellence of an Ibsenist play. These plays are characterized by an abundant display of “artificial sentiment, verbal polish, and cynical elegance.” Whatever be their defects, it is true that they rescued the English drama from a state of chaos and set it on the right course. Along with these plays of social interest appeared also the plays of Oscar Wilde who wrote on the principle of “art for art’s sake” and attained considerable popularity at the time.

When young  Bernard  came to London this movement for the new drama had already set in. He got the movement quite ready for him. He at once plunged vigorously into the movement and made himself known first as a dramatic critic and then as a dramatist. He was a staunch champion of Ibsen and his new drama. He was a formidable opponent of the pure aesthetic principle of art. He vigorously denounced the “art for art’s sake” attitude prevailing at the time when he started writing Plays. His watch word was “art for art’s sake”. “For art’s sake’ alone I would not face the toil of writing a single sentence” said he. He was “a natural literary artist fettered by reforming zeal,” and his plays were “a continuous record of the long struggle between artist and moralist”.

 

George Bernard Shaw was an artist by nature but a propagandist by profession. He subordinated his artistic ability to his moral purpose. Thinking that “the stage was the finest platform in the world,” he “climbed on to the stage. Taught himself the dramatists job, and in addition to being a great controversialist became am almost supremely great dramatist.” His drams are vehicles of propaganda and his characters are “mechanical mouth-pieces” to express his own views on social, political, religious and moral problems of the age. He sought for and achieved a significant and harmonious union of literacy and theatrical qualities.

H. Pearson has made the following estimate of Shaw’s achievement as a dramatist:

“From 1895 to 1898 Shaw, as a dramatic critic, ceaselessly attacked fashionable drama of the age, championed Ibsen, prepared the way for his own comedies and incidentally wrote the wittiest and most provocative essays in the history of journalism. His attack was successful. The so-called ‘well made play gave place to the drama of ideas, and the Shavian Theatre was finally established in the early years of the present century.’

At first the London managers would not look at George Bernard Shaw’s plays. Instead of the denouements and state situation and commonplace sentiments to which they were accustomed, he gave them social satire, unconventional philosophy and brainy dialogue. One of his early plays was booed and brainy dialogue. One of his early plays was booed, another was censored, a third failed. Still he pegged away, and when his chance came in 1904 at the Court Theatre, he produced his own comedies, trained his own actors and created his own audiences. After that the London managers clamored for his plays. But the critics, uninfluenced by box-office considerations, were not so easily persuaded, and for more than a generation many of them went on repeating that his plays were not plays; an attitude he derisively encouraged by calling them conversations, discussions, history lessons, and so on. What made his works so novel was that he revived the classical technique of play writing, applying it to modern problems; he adopted the method of the Greek dramatists in order to deal with the topics of the hour. While the essence of his plays is as original as Shaw himself, their novelty lay in the fact that he used the theatre as another man would use a newspaper, a pulpit, or a platform; many of his comedies are half-sermon, half-debate, and every conceivable subject is discussed, from love. Marriage and family life to religion, science and politics, his laboriously acquired knowledge of social conditions, and his creed as a socialist informing most of them. Being an inspired dramatist, not a manufacturer of entertainment, he did not plan or plot his plays in advance. While engaged on them he never saw a page ahead and never knew what was going to happen. The forms they took were inevitable, though he worked as carefully at the writing of them as the most industrious craftsman.”

The Canterbury tales text line 140 to 160

THE CANTERBURY TALES, Prioress text line 118 to line 141

Marxist Theory in Jane Austen.

 Marxist Theory in Jane Austen.

Marxist’s theory stated that people lives are the product of their financial 

conditions. Material conditions and historical circumstances actually shape the 

society. He can manipulate the major institutions like government art, education and 

politics who having the ownership of the means of production. According to Marx 

one worse effect of capitalism is the commodification which means placing the value 

of articles not on the basis of utility but on the power through which it impresses 

others.

Pride and Prejudice by Jane Austen illustrates the idea that how society and 

even people’s attitude are shaped by wealth, class and marriage, the chief concerns 

of Marxism. Jane Austen continuously represented the discrimination and humiliated 

attitude of upper class towards lower class. She portrayed the class struggle by 

representation of middle class continuously struggling in order to deny the thinking 

that they are not inferior as upper class always thinks and treat them.

The beginning lines itself are the clear projection of the society in which the 

novel was being written. The readers took no time to think that society was material 

based with common materialistic social psyche and the social attitudes were driven 

by wealth. The highest element which represented the peak of Marxism is the 

marriage as a bargaining.

Austen portrayed Darcy and Elizabeth at an equal status at the end because she wanted 

to present the idea that it is not wealth but intellect which keeps one’s identity even 

in the material based world.

5.1 Is Jane a Marxist?

Jane Austen was the member of a society which had very strict rules about 

code of conduct and which held great emphasis on class and social status. The period 

of late 18th and early 19th century society of British history was strongly patriarchal. 

Women’s educational and professional life was not necessary. The only choice for 

them was marriage and marriage was the only source to secure their future. Marriage 

concerns not about love but it was just the way to secure social and financial survival.

Marriage is the one difficulty which Austen’s protagonist had to face. Her heroine’s 

main difficult situation was whom they would marry. Women had no rights to own 

property or wealth. They were entirely depended on the males either in the character 

of father, brother or husband. They were not free for their survival in the society. And to attain a secure social and financial career they marry to the persons belong to 

landed gentry. That’s why critics is of the opinion she reflects of her own ambition to 

have a lot of money through her protagonist.

 Austen’s did not represent working class in her novels. One can estimate from 

it the society of that time that’s how much importance was given to lower classes at 

that time. There were no dialogues related to servants. There was no difficulty for a 

Marxist critic in applying the Reflectionism here. According to Reflectionist theory 

the text reflects the society whose product it is. The application seen here is no 

speaking characters from lower classes. It seems that the socioeconomic conditions 

were guarded by upper classes. It was a strong fact that the upper class was not 

ignorant of the conditions of lower classes because they require a number of servants 

to run and maintain their houses. It means to say that they are associated with them 

all the time then how can the upper class be quite ignored of their social plight. It was 

quietly right to say that they ignore them intentionally. The holders of grand states 

like Mr. Bingley and Mr. Darcy certainly had a lot of servants who work day and 

night to maintain their glory and splendor.

Here the important question is that Austen intentionally ignore the working 

class. But through reliable knowledge came to know that Austen’s letter to her family 

showed that she was interested in issues related to her servant’s lives. She was in class 

companionship of Ann Sharpe. Actually Austen presented to her readers what they 

wanted. Almost they were from upper classes and already know the realities of the 

society. In actual life they had no interest in the circumstance of their servants. They 

seldom wanted to study about their servants. Jane Austen painted the realities of 

society that’s why she had given no importance to lower classes. Here one can see a strong application of Marxist theory where the upper class had the complete the 

dominance over literature.

According to Jane Austen the readers have keen interest in her writings and 

commonly they belonged to upper class and the one strong reason that the education 

was not accessible for people of working class. That’s why there is no depiction of 

matters related to this class.

 In short the focus of the novel is the class. Although the communist manifesto 

was published later in (1848) while pride and prejudice published earlier in (1813) 

but the novel had all the elements of capitalism which Marx and Engels formulated. 

It is not definite that Austen was Marxist but she wrote her novel projecting all the 

elements of Marxism prevailing in her society. In the opinion of some critics her 

novels are only the illustration of domestic issues. Other’s is of the view that she 

represented conflicts and people’s attitude towards money and materialistic manners. 

It is doubtful that either she is Marxist or not. It is a strong fact that Marxism was not 

present in its formulated form when she wrote but at the same time it is very important 

to understand that what Marxism is actually. It is not a set of written clauses. It is an 

attitude reflecting the class struggle and money based thinking in human psyche and 

human psyche is same as God has created all the men equal. So, it is upon reader to 

judge either, she is a Marxist or not.

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Aristotle poetics some major points

Aristotle’s Poetics

1.      The Concept of Imitation
In The Poetics, Aristotle asserts that literature is a function of human nature’s instinct to imitate. This implies that as humans, we are constantly driven to imitate, to create. By labeling this creative impulse an “instinct,” one is to believe that this desire for imitation is a matter of survival, of necessity. The question then arises, of what does one feel compelled to imitate and in what way does it aid in our survival? According to essays by T.S. Eliot and Barbara Johnson, the purpose of literature is to be a part of a necessary creative process, sometimes to the extent that the creator is lost and consumed by the cause.

The first issue to tackle is the question of what literature imitates. Imitation and representation encompass all the media of artistic expression with the artist striving to represent aspects of reality or human experience. This is done either through song, the visual arts, or literature. The artist, in a sense, strives to imitate God by wielding creative power and performing a human version of divine creation. The artist is attempting to communicate his or her subjective interpretation of the world. However, the use of an interpretive medium also poses a unique challenge. In the case of Literature, imitation is complicated by the inherent limitations of language. Despite, or perhaps because of these limitations, artist then becomes part of a creative process in which the relationship between the writer, the text, and the subject matter become intertwined, blurring distinction between these separate components.
T.S. Eliot deals specifically with how one should view literature in relation to its creator. He opposes the school of literary criticism that judges a poem’s effectiveness based on the history and personality of the poet rather than the poem itself. According to Eliot, the poet must understand his or her position in the literary tradition. He states that “what is to be insisted upon is that the poet must develop or procure the consciousness of the past and that he should continue to develop this consciousness throughout his career”(CMS 407). According to Eliot the only consciousness a writer should have is of his or her place in the literary tradition. Consciousness of emotional authenticity is irrelevant for Eliot. Consciousness of the literary past is what gives a text its individuality. The individuality of the poet or the uniqueness of the emotions expressed in the poem is unnecessary because, Eliot believes, “one error, in fact, of eccentricity in poetry is to seek for new human emotions to express”(CMS 410). Eliot wants the focus to be on the actual text for its contribution to the literary tradition rather than the poet’s personality or emotional depth. Questions of whether or not the poem realistically captures human experience are not as important as whether the poem maintains its own emotional impact regardless of the poet’s history. Therefore, if one understands imitation as the creator’s representation of personal emotions or subjective experience, Eliot does not see imitation as the goal of literature. The poem is not representing something, but rather, it is existing on its own.
Despite the fact that Eliot does not see “mimesis” or, imitation as the goal of poetry, his theory of depersonalization of literature does relate to Aristotle’s idea of mimesis. Eliot does not view the poet’s personal experience as the proper motivation for good literature. During the creative process, the poet should experience “a continual surrender of himself as he is at the moment to something which is more valuable. The progress of an artist, is a continual self-sacrifice, a continual extinction of personality” (CMS 407). However, this does not mean that the poet does not communicate emotional depth through poetry. A poet can still successfully capture certain epistemological and philosophical truths about existence and reality. He or she is still fulfilling the instinct to imitate. In fact, Elliot argues, only through depersonalization can the poet successfully communicate his imitation because it is not bogged down in subjective interpretation. Therefore, the poet is imitating and representing, but Eliot believes it is possible only by escaping the self and removing the personal implications of a text’s meaning.
Barbara Johnson explores mimesis in relation to the limitations of language in her essay, “A Hound, a Bay Horse, and a Turtle Dove: Obscurity in Walden.” Johnson focuses on Thoreau’s use of symbolic language and what she sees as his unintended goal. She understands Thoreau’s use of obscure symbols as representing an idea of obscurity rather than actual objects or concepts. She asserts that “You are supposed to recognize them as not as obscure symbols, but as symbols standing for the obscure, the lost, the irretrievable”(CMS 658). In this sense, form follows content. The symbols are purposely obscure because they represent the irretrievable and obscure. Thoreau’s imitation here is not relegated to a particular experience of loss, but of a concept and he accomplishes this in an intentionally cryptic fashion. This is because the concept he is attempting to communicate is itself so unknowable, so he uses obscure terms.
Thoreau realizes the limitations of language. He understood that the act of imitation is itself an endeavor limited by language. Therefore, for Thoreau, this instinctual impulse toward imitation remains exactly that ¬ an impulse toward creativity despite the limitations of the medium. However, his text also maintains a consciousness of its inherent limitations. Johnson calls Thoreau’s technique “catachreses,” or, figurative substitutes for a literal term that does not exist (CMS 659). Thoreau fulfills his imitative instinct by using literature’s representative, though inherently limited, faculty to represent something, which can not be represented.
Johnson concludes her essay by stating that Thoreau became so completely consumed in the creative act, that his figurative language ceases to be understandable as either pure rhetoric or a literal cataloguing of thoughts. She explains that, “what Thoreau has done in moving to Walden Pond is to move himself, literally, into the world of his own figurative language.”(CMS 661) His writing loses its coherence because his symbolism saturates and overwhelms the narrative. Johnson explains that “Thoreau has literally crossed over into the very parable he is writing, where reality itself has become a catachresis”(CMS 661). He has delved so deeply into the act of representation that the reader is never sure of the creator’s true intent. Perhaps it is Thoreau’s intent to illustrate that the imitative power of literature is that one can never quite represent an idea, thought, emotions, without disclaiming its true intent beforehand. The paradox of artistic intent is that because of its inherent duality, art and literature can never specifically be separated from its creator or its product.
Both Eliot and Johnson agree that a text should posses a certain consciousness. For Eliot that consciousness is of the literary tradition, of the text of human experience. As Johnson demonstrates through Thoreau, text can not help but be conscious of its own limited imitative capacity. Eliot believes that if a poet depersonalizes a text enough, than it can really accomplish an expression of deep emotion or thought. Johnson sees the medium of literature as an obstacle to actual representation, but that ambiguity enhances the text to the extent that it “delights and baffles” (CMS 655).
Aristotle’s idea now takes on greater depth given these new perspectives. He phrases it as an “instinct towards imitation” because this impulse toward to creation is practically unconscious. As thoughtful beings, humans are driven to pursue this creative instinct. It is as innate an instinct for survival as the need for food and shelter. Therefore we pursue this impulse toward imitation almost without caring if we imitate successfully. We are acting within our given boundaries and limitations. According to Johnson, that is what gives literature its richness. Eliot believes the poet can transcend those limitations. Everyone agrees that one must act on the creative instinct.
2.      Aristotle on Tragedy
The Nature of Tragedy: In the century after Sophocles, the philosopher Aristotle analyzed tragedy. His definition: Tragedy then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.
Aristotle identified six basic elements: (1) plot; (2) character; (3) diction (the choice of style, imagery, etc.); (4) thought (the character’s thoughts and the author’s meaning); (5) spectacle (all the visual effects; Aristotle considered this to be the least important element); (6) song.
According to Aristotle, the central character of a tragedy must not be so virtuous that instead of feeling pity or fear at his or her downfall, we are simply outraged. Also the character cannot be so evil that for the sake of justice we desire his or her misfortune. Instead, best is someone”who is neither outstanding in virtue and righteousness; nor is it through badness or villainy of his own that he falls into misfortune, but rather through some flaw [hamartia]”. The character should be famous or prosperous, like Oedipus or Medea.
What Aristotle meant by hamartia cannot be established. In each play we read you should particularly consider the following possibilities. (1) A hamartia may be simply an intellectual mistake or an error in judgement. For example when a character has the facts wrong or doesn’t know when to stop trying to get dangerous information. (2) Hamartia may be a moral weakness, especially hubris, as when a character is moral in every way except for being prideful enough to insult a god. (Of course you are free to decide that the tragic hero of any play, ancient or modern, does not have a hamartia at all). The terms hamartia and hubris should become basic tools of your critical apparatus.
The Concept of Tragedy: The word tragedy can be applied to a genre of literature. It can mean ‘any serious and dignified drama that describes a conflict between the hero (protagonist) and a superior force (destiny, chance, society, god) and reaches a sorrowful conclusion that arouses pity or fear in the audience.’ From this genre comes the concept of tragedy, a concept which is based on the possibility that a person may be destroyed precisely because of attempting to be good and is much better than most people, but not perfect. (Irony, therefore, is essential and it is not surprising that dramatic irony, which can so neatly emphasize irony, is common in tragedies.) Tragedy implies a conflict between human goodness and reality. Many scholars feel that if God rewards goodness either on earth or in heaven there can be no tragedy. If in the end each person gets what he or she deserves, tragedy is impossible. Tragedy assumes that this universe is rotten or askew. Christians believe that God is good and just, hence, for certain scholars tragedy is logically impossible. Of course a possible variation of the tragic concept would allow a character to have a fault which leads to consequences far more dire than he deserves. But tragic literature is not intended to make people sad. It may arouse pity and fear for the suffering protagonist, or for all humanity, especially ourselves. But usually it also is intended to inspire admiration for the central character, and by analogy for all mankind. In the tragic hero’s fall there is the glory in his or her misfortune; there is the joy which only virtue can supply. Floods, automobile accidents, children’s deaths, though terribly pathetic can never be tragic in the dramatic sense because they do not occur as a result of an individual man’s grandeur and virtue. After reading each book in the course, be sure you know whether it presents a tragic view of life. (Incidentally, although some plays we read are certainly tragic in all scholars’ opinions, many Greek plays produced as tragedies are not tragic by anyone’s definition, including Aristotles’.)
Aristotle’s Poetics: Basic Concepts You should be aware of the following concepts and opinions of Aristotle’s which have tremendously influenced drama in the Western World.
a. Tragedies should not be episodic. That is, the episodes in the plot must have a clearly probable or inevitable connection with each other. This connection is best when it is believable but unexpected.
b. Complex plots are better than simple plots. Complex plots have recognitions and reversals. A recognition is a change from ignorance to knowledge, especially when the new knowledge identifies some unknown relative or dear one whom the hero should cherish but was about to harm or has just harmed. ‘Recognition’ (anagnorisis) is now commonly applied to any self-knowledge the hero gains as well as to insight to the whole nature or condition of mankind, provided that that knowledge is associated, as Aristotle said it should be, with the hero’s ‘reversal of fortune’ (Greek: peripeteia). A reversal is a change of a situation to its opposite. Consider Oedipus at the beginning and end of Oedipus the King. Also consider in that play how a man comes to free Oedipus of his fear about his mother, but actually does the opposite. Recognitions are also supposed to be clearly connected with all the rest of the action of the plot.
c. Suffering (some fatal or painful action) is also to be included in a tragic plot which, preferably, should end unhappily.
d. The pity and fear which a tragedy evokes, should come from the events, the action, not from the mere sight of something on stage. e. Catharsis (‘purification’ or ‘purgation’) of pity and fear was a part of Aristotle’s definition of tragedy. The meaning of this phrase is extremely debatable. Among the many interpretations possible, consider how well the following apply to our plays:
1) Purification of the audience’s feelings of pity and fear so that in real life we understand better whether we should feel them. 2) Purgation of our pity and fear so that we can face life with less of these emotions or more control over them. 3) Purification of the events of the plot, so that the central character’s errors or transgressions become ‘cleansed’ by his or her recognitions and suffering.
3.      Plot and Tragedy
In his Poetics
[1].  Aristotle (384-322 BC) classifies plot into two types: simple [haplos], and complex [peplegmenos]. The simple plot is defined as a unified construct of necessary and probable actions accompanied by a change of fortune. The complex plot, says Aristotle, is accompanied by two other features, namely; peripeteia or reversal, and anagnorisis, or recognition. It is this which Aristotle feels is the best kind of tragic plot, in that it provides the best possibility of delivering tragic pleasure.
Before we look at the distinctive features of the complex plot, it would perhaps be instructive to examine those features which it shares with the simple plot. The unity of structure recommended by Aristotle includes the tripartite division of the plot into the beginning, the middle and the end, as well as the unities of time and action. He stresses unified action, where all action in the plot carries a definite link to other actions, and subsequent actions are the necessary and probable outcomes of the former.
Necessary and probable are terms which recur throughout the Poetics. They stand for the universality of poetry in that they point to how or what actions should logically be in a given situation. Unity of action, therefore, does not mean all that happens to the protagonist, but precisely what comprises a particular whole action according to the norms of necessity and probability. Unity of time, in contrast to its neo-classical applications, here simply means the time span in which the tragic action can be best comprehended by the audience, given the constraints of human memory, and the wholeness of the action.
Finally, we come to the change of fortune. It is either from good to bad or the reverse. The former is more characteristic of tragedy but in a later section Aristotle complicates the idea by saying that those plots where the catastrophe is averted by recognition are best. The change of fortune is also accompanied by a complication of events [desis] and their resolution [lusis].
Having briefly examined the common aspects of both kinds of plot, we can now look at the special attributes of the complex plot.
Let us take another look at Aristotle’s celebrated definition of complex action: ‘A complex action is one where the change is accompanied by such reversal or recognition or both.’ Peripeteia has been defined as a reversal of the action. If, however, it is just that, then how is it different from the change of fortune? Clearly this is too limited a definition of peripeteia and it would perhaps be pertinent to consider two other definitions. Humphrey House defines it as a ‘reversal of intention’. This definition takes into account the ‘thought’ or the dianoia exercised by the character. House describes it as ‘holding the wrong end of the stick’. Peripeteia is therefore the turning of the stick thinking that it is the right end.
2. The ignorance behind any peripeteia is not mere ignorance. It is the ignorance arising out of error. The other definition is more recent.
3.  Frank Kermode  defines it as a ‘disconfirmation followed by a consonance; the interest of having our expectations falsified is obviously related to our wish to reach discovery by an unexpected route. It has nothing to do with our reluctance to get there at all. So that in assimilating the peripeteia we are enacting that readjustment of our expectations in regard to an end’. This points out the pleasure we receive from peripeteia which is quite different from the straightforward following of a narrative to its end, or in other words, mere change of fortune.
Having defined peripeteia and identified its characteristic pleasure, we must also consider what this pleasure actually consists of. This is the element of surprise or wonder [Gk. Thaumaston]. The source of wonder is often the tragic recognition or anagnorisis. Recognition has been variously defined. In Aristotle it is the recognition of persons through tokens, artistic contrivances, memory, reasoning (including false inferences) and lastly, arising out of the events themselves (as in Oedipus Rex). Aristotle defines this anagnorisis as a change from ignorance to knowledge. In terms of Humphrey House’s analogy, it would mean the realization that you have got hold of the wrong end of the stick. House himself defines recognition thus, ‘The discovery of the truth of the matter is the ghastly wakening from the state of the ignorance which is the very essence of hamartia.’ Other scholars define it variously as ‘a way in which the emotional potential . . . can be brought to its highest voltage, so to speak at the moment of discharge’, or, ‘recognition brings its illumination, which can shed retrospective light’.
Aristotle likes best the recognition which arises out of the events themselves, as in Sophocles’s Oedipus Rex. The whole play is a step by step unravelling of Oedipus’s true identity and Oedipus’s holding the wrong end of the stick, as it were, in trying to discover his identity without knowing that the results will be catastrophic. At second best, he places those tragedies where reasoning effects the recognition.
4. For him it is a stumbling block to belief which disturbs the decorum. From this comparison we realize the complicated nature of recognition. In the unravelling of the complex plot the point of the recognition is very different from that possible in a simple plot. The combination of peripeteia and recognition does not merely affect the characters in the tragedy. They can also extend to the audience or the reader. The unexpectedness of the tragic catastrophe which the complex plot brings [the element of wonder or thaumaston] heightens our feelings of pity and fear as well as other related emotions.
Here it would be useful to look at another famous assertion of Aristotle’s. In Ch XIV of the Poetics he says, ‘the pleasure which the poet should afford is that which comes from pity and fear through imitation’ [5]. Perhaps an examination of pity and fear together with imitation can give us a better idea of the pleasures incidental to tragedy. Let us start with an appraisal of pity and fear. Pity and fear are man’s sympathy for the good part of mankind in the bad part of their experiences. Pity is evoked when there is a discrepancy between the agent and Fate, and fear when there is a likeness between the agent and us. Stephen Dedalus defines Pity and Fear in James Joyce’s A Portrait of the Artist as a Young Man. He calls pity the feeling which arrests the mind in the presence of whatsoever is grave and constant in human-sufferings and unites it with the human sufferer. Terror, or fear, is that which unites it with the secret cause.
[6]. Aristotle himself gives similar definitions of these terms in his Rhetoric [books V and II]. There he defines them as a species of pain. It is here that we can begin to consider the idea that tragic pleasure derives from the purgation of these emotions. The idea of purgation as a medical metaphor has been in vogue for a long time and can be substantiated by examples from Aristotle’s Problems [problem XXX] where coldness of black bile accompanies ‘despair and fear’ and heat is the suggested cure which restores the temperature to a temperate mean. Aristotle, unlike his teacher Plato, says that the emotions are good in themselves. Therefore there should be no need to purge the feelings of pity and fear. Instead, a more sensible definition of tragic pleasure would be that concomitant with the proper feeling of these emotions. By proper I mean a temperate attitude to these emotions as Aristotle teaches in his Nichomachean Ethics. In Book II of his Ethics, he says:
fear and confidence and appetite and anger and pity and in general pleasure and pain may be felt both too much and too little, and in both cases not well; but to feel them at the right times, with reference to the right objects, towards the right people, with the right motive, and in the right way, is what is both intermediate and best, and this is characteristic of virtue.
[7] Aristotle’s idea of the mean is derived from the Pythagoreans who applied it to music. Here we may note that another place where Aristotle uses the term catharsis is in his Politics and in the context of giving ‘relief to overcharged feeling’ through music. Interestingly, here too, he mentions pity and fear among the emotions dealt with and the restoration is once again to a temperate mean.
[8] Is catharsis the only possible source of pleasure in tragedy? Humphry House does not think so. Those who are temperate in themselves and do not require an adjustment of their emotional reactions to tragic situations, still derive pleasure from tragedy. Even Plato in The Republic testifies to this fact: ‘even the best of us enjoy it and let ourselves be carried away by our feelings; and are full of praises for the merits of the poet who can most powerfully affect us in this way.’
[9]. The pleasure arising out of poetry is therefore not entirely dependent on catharsis. Instead, it works in two ways. Aristotle discusses ‘pure’ pleasure and ‘incidental’ pleasure. The former is universal and is accompanied by no pain and is likened to the pleasure arising out of contemplation. Those who experience this do so solely by contemplating and appraising the imitation of human emotions in tragedy.
It is through this view that we bring our focus back on the last part of Aristotle’s statement quoted above. Pleasure is effected through imitation [or mimesis].
[10]  Imitation is itself a pleasurable act. All of this applies to epic as well as tragedy and can probably be extended to other types of poetry. The specifically ‘tragic’ pleasure is that pertaining to the medium and the dramatic mode of tragedy. These constitute the specific imitative aspects of tragedy.
The idea of tragic pleasure therefore necessarily consists as Aristotle aptly puts it ‘in that which comes with pity and fear through imitation’. A heightened sense of pity and fear is effected when the necessary and probable events take an unexpected turn. This is possible in the complex plot with the accompanying peripeteia and anagnorisis. Thus our examination of the elements of the complex plot has led us to a consideration of pity and fear. These together with imitation [or mimesis] help us understand the pleasure peculiar to tragedy.