Knight Gentleman Soldier - ppt video online download

Knight Gentleman Soldier - ppt video online download: Knight Gentleman Soldier Chivalrous Impressive military career Truthful battles, more than any other Honorable Generous Stained, dark tunic Courteous Not “gaily” dressed Wise, NOT boorish Possesses fine horses

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THE_WASTE_LAND - Thomas Stearns Eliot#Major_Themes_in_The_Waste_Land

#THE_WASTE_LAND - Thomas Stearns Eliot
#Major_Themes_in_The_Waste_Land
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#INTRODUCTION

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The masterpiece of T.S Eliot is a grand disconnection between classical and modern world. He very deeply and critically evaluates the inner of the man. This writing makes him an intellectual of man’s feelings and desires. It is one of the most effective poems which was written in the 20th century. 

The impact of the poem on the society was in a very great form. This poem makes the reader feel that T.S Eliot also had the power of dialectical poetry and this poem also proves him like a great saint.  Who had been sent to the world to purify the spirits?

#THE_WASTE_LAND_THEMES
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•  #Religion_and_Cult
It is exposed that man has lost his cult, and now has no interest to follow the rules and regulation of the religion. Religion had become a useless thing for him. According to the modern man, religion disallows them to be facilitated with the modern facilitations.

Bible has now become a very bore book for them and nothing more than it. Curiosity has been ended about the religion, and nobody wants to make research on it.

•  #Gulf_Between_Past_and_Present
Past and present have had such a disconnection that it is felt now that the past was a separate world and the present is a separate world. The men have rudely cut the ropes which were the source of the connection to past and present. Impossibilities have been put in the way of the man to the past days. Past looks to be a dream and that is it.

•  #Lost_Culture
Culture is the recognition of a man. With the respect of the views of T.S Eliot about the modern man, culture has not vanished especially from the Christian communities. It’s not important to them what they are now and were they before.

Everyone wishes to have luxuries whether it is against their culture or to regenerate them. Because of these activities of the man the world has not only lost its cultures but has also lost the true colors of life. Tastelessness is everywhere.

•  #Anxiety
The man who was born in this world will have, no doubt, sadness, and grief. But T.S Eliot expresses that this sadness and this grief is because of giving up the past customs and rituals. The man is too much in tensions and has no time to solve their tensions.

•  #Materialism
Past was full of happiness, and the present is full of materialistic approach. Money has now become the God of man, and always he is in search of money that how to earn it and after that how to spend it. Rich men in the world are respected everywhere, whereas poor people have no value even money is being worshipped in all aspects of life. The person who has a lot of money is considered to be a messiah.

•  #Sex
An unravished girl has no importance in the present world. According to T.S Eliot nowadays a girl waits for her boyfriend on the beach and the boy reaches her, and they have sex with each other and complete their sexual lust and appetite. The girl or boy does not feel guilty for having sex without marriage. Even they feel proud after losing their purity. Lust for sex has become overcome.

•  #Critics_Views_on_The_Wasteland
Some critics criticise T.S Eliot that exaggeration is a device in the literary world which has been used by him. He considers the past a dream world which never existed. If we study the complete of T.S Eliot’s Waste Land, we conclude that the past of the man was a heavenly life. Whereas struggles, hurdles, and controversies were there in the past which was to be solved by the man.

Lexical Studies"

"Lexical Studies"曆‍♂️‍♀️

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· A "lexeme" is a word as an item of
meaning and is represented as a different headword in dictionaries.

· "Citation forms" of lexemes are the base forms and are normally used as the headword.
For example 'sing' NOT sings.
Irregular word forms often have separate entries. e.g. 'sung', 'feet', 'wore' etc.

· Homograph = same spelling, different pronunciation and meaning. (e.g. bow)

· Homophone = same pronunciation different spelling and meaning. (e.g. feet/feat)

· Homonym = same spelling and pronunciation
different meaning. (e.g. bank, ear). These are 2 different headwords in dictionaries.

· Polysemy = a word with a number of different senses of single meaning. (e.g row, foot). These are two variants of the same headword in dictionaries.

· The difference between homonyms and polysemous meanings is usually decided on
by etymology
(i.e. where the words come from).

· The craft of the lexicographer is
primarily the writing of definitions.

· Dictionary definitions are forms of
paraphrase (i.e. putting a word into other words

· ==Definitions can use==
(1) Hyponymy is a relation between two words
in which the meaning of one of the words
includes the meaning of the other word.
The lexical relation corresponding to the
inclusion of one class in another is
hyponymy.
A hyponym is a subordinate, specific term
whose referent is included in the referent
of super ordinate term.
E.g. Blue, Green are kinds of color. They
are specific colors and color is a general
term for them.
Therefore, color is called the super
ordinate term, and blue, red, green, yellow,
etc are called hyponyms
e.g. Cutlery has the hyponyms knife, fork and spoon. Spoon in turn has the
hyponyms teaspoon, tablespoon etc.
the hierarchial relationship between meanings of lexemes.)

2. Synonymy .
Synonymy is used to mean sameness of
meaning. Synonym is a word, which has the
same or nearly the same meaning as
another word. There are several ways in
which they differ
1.Some set of synonyms belong to different
dialects of language, e.g. Fall - used in
united states, Autumn-used in some western
countries.
2.There is a similar situation but are more
problematic one with words that are used in
different styles or registers.
3.Some words may be said to differ only in
their emotive or evaluative meanings.
4.Words are collocationally restricted they
occur only in conjunction with other words.
5.Synonyms are often said to differ only in
their connotation.
Examples-hid, conceal,
It is very hard to list absolute synonyms:
words, which are identical both in
denotation and connotation.
e.g. purpose - intention -
reason. ( = same or similar meanings). Strict
synonymy does NOT occur within a
language.

(3) Antonyms

The word antonymy derives from the greek
root anti(opposite) and denotes opposition
in meaning.
Antonymy or oppositeness of meaning has
long been recognized as one of the most
important semantic relations .e.g. quick-
slow, big-small, long-short, rich-poor, etc.
Antonyms are divided in to several

types-1.gradable antonyms/pairs,
2.nongradable antonyms/complementaries,
and  3.reversives
4.converse pairs

1.gradable antonyms/pairs-They can be
used in comparative constructions like
bigger than or smaller than, etc. Also the
negative of one member of the gradable
pair does not necessarily imply the
opposite. e.g.not hot does not mean cold.

2.nongradable antonyms/complementaries-
The relation of oppositeness is that which
holds between the pairs as single:married,
man:woman,etc.
The denial of one implies the assertion of
the other and the assertion of one implies
the denial of the other. It is the
characteristic of complimentaries.
3. reversives-It is important to avoid most
antonym pairs as one word meaning the
negative of another.e.g.tie-untie.
4.converse pairs –Another kind of antonymy
is forming converse pairs. e.g.
Converseness is used to refer to the
relationship between buy and sell.
(4) Metonymy
A metonym substitutes for the object that is
meant the name of an attribute or concept
associated with the object. The use of
‘crown’ for ‘king’ is an e.g. of metonymy.
This term has been derived from Greek
word meta means after and onoma means
substitution for name.
e.g. gray hair can be used for old age.
The distinction between metonymy and
metaphor is made in linguistics. For
instance, the phrase ‘to fish pearls’
metonymy is used and in the phrase ‘fishing
for information’ metaphor is used. In
cognitive linguistics, the word metonymy
stands for the use of one basic
characteristic to identify a more complex
entity. Metonymy according to American
Linguist Bloomfield is nearness in pace and
time.
More precisely it focuses on specific
aspects of objects having direct physical
association to what is being referred to.

(5)
Denotation. e.g. caviar : the salted roe of
a large fish. ( = description with attempted
objectivity)

(6)  Connotation . e.g. caviar : luxury, high
living and sumptuous food. ( = association which is necessarily subjective)

(7) . Componential Analysis. e.g. girl is
[+Human] [-Adult] [+Female]. ( = meanings of lexemes are analysed into componentswhich are compared across groups. It is, however, a limited form of analysis.

(8)  Collocation . = the combination of words
that have a certain high mutual expectancy.
Polysemous meanings are often related to the different collocations. e.g. strong in:
strong tea, a strong man, a strong
personality. There is collocational restriction imposed on some words. e.g. rancid with only butter or bacon. However, collocation
does not seem to be important in
dictionaries as it is not used systematically.

Hamlet: A Hero or a Coward:

Hamlet: A Hero or a Coward:

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The question of whether or not Hamlet is a hero, is as perplexing as Hamlet himself. Hamlet, though possesses some incredibly heroic qualities; he is the chiefest bloom of the realm and the princely paragon of the state, yet the difficulty of this question is apparent when an audience considers that Hamlet can be seen as both hero and coward often in the same scene. The same character that lacks courage to carry out the revenge, also strives hard to be sure of his father’s murderer’s guilt and ensures that the revenge itself should be appropriate. His actions and often inactions do not allow a single interpretation of his character, often leaving the audience unsure of which Hamlet they are watching.

It would seem that Hamlet’s most cowardly behavior is in his treatment of Ophelia. He loves her yet is willing to manipulate her, as Gertrude, Claudius and her own father Polonius do. When he is free from the pressures of the royal family, and before the death of his father, Hamlet is able to tell Ophelia:
“Doubt thou the stars are fire/Doubt that the sun doth move /Doubt truth to be a liar/But never doubt I love.”

Hamlet is here a straightforward romantic hero and the audience is enthralled by his direct, unashamedly romantic words.

By the start of act three, his desire to avenge his father’s murder has made him suspicious some correctly. When he discovers that Ophelia has been collecting information for Polonius and Gertrude, he lashes out at calling her two-faced: “God has given you one face and you make yourselves another”. Hamlet’s heroism in being willing to destroy his love for Ophelia in pursuit of the truth could be said to be noble; but the audience struggles to align the brutality of his words to innocent Ophelia: “If thou dost marry I’ll give thee this plague for thy dowry/Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny/Get thee to a nunnery.”

Hamlet is famed for his procrastination: his inability to act and this could indicate cowardice on his part, a reluctance to do what is right. Certainly this appears to be true when he himself witnesses Claudius’ confession of his guilt:
“O, my offence is rank it smells to heaven/It hath primal eldest curse upon it/A brother’s murder.”

With this confirmation Hamlet would seem free to enact the revenge as enjoined by his father’s ghost, yet he fails to act. The audience’s hopes for resolution are dashed to the ground.

Hamlet justifies his position by claiming that to kill Claudius after he has confessed his sins would release his soul to heaven; Hamlet does not do so, that he may suffer more at a later date. This single scene shows the difficulty of this question: on one hand Hamlet is cowardly by failing to carry out what he has resolved to do, yet on the other hand he can be seen in a more heroic way, in that he wishes his father’s revenge should be complete and perfect. The audience is ironically frustrated by his inertia and his Jekyll and Hyde heroism.

The most important speech in the play “To be or not to be” soliloquy is a meditation on whether Hamlet should commit suicide or not and on the virtues of life of thought and action. His desire to be released “from this mortal coil” is brought about by his refusal to accept the events as they have turned out — with his father dead and his mother married to his uncle. He proposes that to commit suicide is decisive action that may release him from his over-thinking that cripples him throughout the play. Conversely, the audience by now well versed in Hamlet’s weakness can see the idea as a cowardly attempt by the protagonist to run away from “the head-ache and thousand natural shocks/That flesh is heir to”.
Hamlet is acutely aware of his own weaknesses, and feels frustration at his inability to act. He passes judgment on himself saying that “thus conscious does make cowards of us all”, and the cost of contemplation is that we “lose the name of action”. Again his wisdom and ability to express universal truths, make him a more sympathetic character. It remains debatable, as to whether the audience could consider him heroic at this point.

It is interesting to note that two instances of Hamlet’s elusive action come about when he is not thinking; he is angry. We see this in the murder of Polonius, “How now! a rat? Dead for a ducat” and then at the climax of the play when he finally enacts his revenge, “…thou incestuous murderous damned Dane/Drink off this potion.” In these scenes the audience is enthralled by the justice carries out. Yet by acting without thinking, we are posed a difficult question: is justice to be served in a fit of anger or after appropriate contemplation? In this sense Hamlet is clearly not heroic as he is not in control of his actions. Ironically this is what makes him appear heroic to the audience: he has finally managed to shake off his inertia and do something. The right or wrong of his actions is almost a secondary consideration.

By the end of the play the audience cannot help but feel that Hamlet is a hero: he has killed his father’s murderer and also has sacrificed his life for the sake of truth. His faculty to deliver philosophical judgments like “What a piece of is a man! How noble in reason, how infinite in faculties . . . the beauty of the world, the paragon of animals — and yet to me what is this quintessence of dust?” and “There is a special providence in the fall of a sparrow”, make him a universal figure. It is only befitting that the noble hero falls to the beautiful heavenly benediction of Horatio:
“And flights of angels sing thee to thy rest.”

Mourning Becomes Electra Symbols

Mourning Becomes Electra Symbols,

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Symbol: The House
Most of the Mannons and the townspeople seem to hate the imposing edifice that is the Mannon house, but Christine voices this hate most emphatically: "Each time I come back it appears more like a sepulchre! The 'whited' one of the Bible—pagan temple stuck like a mask on Puritan gray ugliness!" (237). The house is thus a symbol of the Mannons themselves—closed, secretive, cruel, imposing, stately, austere, and masked.

Motif: Eyes
Eyes are everywhere in this text. The Mannons try to maintain their mask-like faces so no one can tell what they are thinking, and are consequently looking at everyone else's eyes to discern their thoughts. Ezra even asks Christine to close her eyes when he is trying to tell her his deepest feelings because he does not want to see either her apathy or disgust. The portraits also have eyes—eyes that frighten Christine, or fill Lavinia with conviction, or anger Orin.

Symbol: Islands
The Islands are a potent symbol. An island is separate from the mainland, isolated and thus generally "purer" and free from the deleterious effects of mainland civilization. The Blessed Isles in this novel are described as a warm, beautiful, dreamy paradise. They are more than that for the characters, though -they are a symbol of the womb, of a refuge, of a prelapsarian Eden, and of freedom.

Symbol: Hair
Christine, Lavinia, and Marie Brantome's hair, as it is in many poems and works of literature (see Baudelaire's poetry) symbolizes their femininity and sexual openness. The intriguing copper hue and the loose, lustrous flow entice and indicate all of the men in this play; Lavinia's choice to wear hers back at the beginning of the play suggests she is sexually frigid, but after she returns from the Islands she lets it down as a symbol of her newfound sexual openness.

Symbol/Motif: The Chanty
O'Neill chooses to portray Seth often singing "Shenandoah." As critic Jesse Weiner notes, "The shanty [Shenandoah] itself works as a symbol of death and contributes to the drama's motif of fate, since it is recited prior to Ezra's return and murder, immediately preceding the murder of Brant, again as Christine commits suicide, and finally just before the symbolic entombment of Lavinia."