TED HUGHES THEORY OF INSPIRATION

 That Morning by Ted Hughes

Featured snippet from the web “That Morning” is a clear analysis of the animal's psyche through which Ted Hughes portrays the critical theme of violence. In this poem, the poet shares his and his son's experience of fishing. ... This poem is one of the two salmon (a species of fish) poems; another one is “The Gulkana”. The poem is from the collection of “River”. Theories of inspiration assert inspiration is either external or internal. External inspiration would be like the Greek and Roman Muses or Spenser's Divine mimetic inspiration or the Romantics inspiration from emblematic Nature or Coleridge's divine wind: these are all external to Self. Internal inspiration would be like Locke's theory of resonating cognition, resonating thoughts, or Freud's troubled psyche or Jung's universal consciousness: these are all internal to Self. Hughes see, feels, hears a run of salmon [the collective noun for salmon is "run"; "shoal" is the collective noun for bass], polar bears romping and dinning among the salmon, the sky, the water, the air, his fishing companion. All these external elements of his experience (based on a real fishing trip) provide inspiration. The beginning point of the deep inspiration, the epiphanic inspiration, was the run of salmon. Hughes was fishing from the shallow waters, as one often does for salmon fishing, standing in chest-high fishing gear. The run of salmon suddenly came upon them, they were "Waist-deep in wild salmon swaying massed"; salmon brushed against their legs as they passed and came on and passed and came on and passed, group after group after group: "[salmon] That came on, came on, and kept on coming." In Hughes' own words, these "creatures of light" carried him toward a "dazzle of blessing." The salmon became for him the inspiration of "a spirit-beacon / Lit by the power of the salmon." In a very real sense, Hughes' external inspiration of salmon of Colridge's and Wordsworth's Nature became the internal inspiration of Locke's resonating cognition that joined Hughes to a Jungian universal consciousness that was led by the "spirit-beacon" of the "power of the salmon."

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•Present tense (uses) 

• Difference b/w oral and written discourse

Q1•Difference between Oral/written discourse. Q-2 • Prove that Linguistic is the theoritical as well as imperical Study of language.

Q3•Describe the existing difference b/w American / British English.

 Q4•Discuss the Standardization of Grammar and vocab during 18th century or

victorian Era. Q5•Norman Conquest Changed English language forever. Q6: Discuss the multiple uses of Present tense.

 •How could we differentiate among dynamic verb, Static verb

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Hamlet as a revenge tragedy

Character sketch of Hamlet/ shakespearan Hero

Dr Faustus as a tragic hero/ Marlowean Hero

Hamlet madness n delay

*Way of the world*

Theme of hypocrisy

Character of Face n subtle

Role of women in the way of the world

*King lear* as a tragic hero/Shakespearan hero

Write note on Comedy of Manners

Face character, THE WAY OF THE WORLD

*Q.1: Face depicts the hypocrisy of the society. Comment. (2018)*

Face is an appropriate name for one of the two main crooks. Jeremy the butler is transformed by Subtle into many roles, the main one being Captain Face, an officer. He is also “Lungs,” the bellows operator for the laboratory of the alchemist. He even tries to get a Spanish costume to play the count so he can have Dame Pliant. He changes face, not only in terms of costumes and roles, but he “turns face,” ready to betray anyone in his own interest. He is never who he seems to be, a genius at improvisation. 

Face is the one who spots the potential victims. He recruits and brings them to the Blackfriars house so Subtle can con them. He is constantly arguing with Subtle about who is the cleverest and deserves the largest share. Subtle may have taught him how to act the part of a Captain, but Face is the one who keeps them all afloat, the one who can talk his way out of a corner, as when his master returns and he improvises improbable lies to cover for his actions. Even his master is taken in until there is too much evidence against him to refute. 

Face is like a cat that lands on its feet. At one point he is called Ulen after Til Ulen Spiegel, the merry German prankster who gets away with mayhem. He is not very likeable since he has no loyalty even to his fellow schemers, but his dazzling wit and inventiveness recommend him as a memorable comic figure.

Subtle and Doll’s criminal associate and Lovewit’s butler. After Lovewit escapes the city for the country during an outbreak of the plague, Face runs his criminal scams and cons out of Lovewit’s city home. Face represents transformation within Jonson’s play, and he easily changes as he greets each of his victims. Face himself is always changing, which speaks to Jonson’s broader argument that all people and things are constantly in flux. 

Face also represents deception in The Alchemist and personifies the many crooks and charlatans that practiced phony alchemy during Jonson’s time. Face deceives his victims with each new disguise and con, stealing their money and trust, and he makes them believe he can deliver them perpetual youth and riches with the philosopher’s stone. Face deceives Lovewit when he lies and uses his home for illegal purposes, and he also deceives Doll. Presumably, Doll will be jealous or hurt by Face and Subtle’s infatuation with Dame Plaint, and they go to great lengths to cover it up. 

At the end of the play, Face deceives both Subtle and Doll and keeps all their profits for himself after the police arrive with their victims. Lovewit has pardoned him, Face says, not Subtle and Doll, and they must run or be arrested. Everything Face does and says is deceptive, and he represents the widespread deception that Jonson argues is rampant in broader society. Thus it can truly be said that Face depicts the hypocrisy of the society.

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