Sunday, 9 October 2022

The Rape of the lock

 

Hello everyone, this blog is response to Vaidehi Ma'am's task. Here I will discuss some question of one poem "Rape of The Lock"written by Alexander Pope.


Question:-1 According to you who is the protagonist of the poem Clarissa or Belinda ?Why? Give your answer with logical reasons.

Here is some basic information of two character.



Clarissa

            Clarissa is one of the women in attendance at the Hampton Court party. She is complicit in the severing of Belinda’s hair, lending her sewing scissors to the Baron. She later delivers a moralizing sermon on the ephemeral nature of beauty and the importance of good sense once a woman’s looks have faded.

Belinda



          The character of Belinda is the heroine of The Rape of the Lock. Pope bases her character on the historical Arabella Fermor, the daughter of an aristocratic Catholic family. Robert, Lord Petre, a family friend, snipped a lock of her hair without permission, thereby causing a rift between their two families. Pope depicts this incident in the poem.

         According to me Belinda is a protagonist of this poem. Because she is a main character of this poem 


Question:-2-What is beauty?write your  views on it


           According to me Beauty is not Permanent means everything is not Permanent. Beauty is just only for few years in a life span of person. nothing is permanent so what is permanent ?



          If youth is just 5 or Ten years in a life span of 80 years of human life and if you think Youth is just a fraction out of whole life or it is Temporary means, the whole life of a Person life is just a fraction in Whole History! Your life of 100 years is just a fraction in 3000 years of History. Your whole life is Temporary only exactly speaking in time!



           This is not the solution. Instead of developing Aversion towards Beauty, make yourself Beautiful. And Beauty is not confined to certain age. Every age has got it’s beauty. Even at this Age, Rajinikanth is coming out with Bald head and it is a beauty for his age.

Question:-3  Find out a research paper on "The Rape of the Lock". Give the details of the paper and write down in brief what it says about the Poem by Alexander Pope.


          Alexander Pope’s The Rape of the Lock is a satirical epic poem, first published in 1712, and then revised and expanded in 1714. Alexander Pope is one of the foremost English poets of the 18th century, having translated Homer and moving in the same literary circles as Jonathan Swift. The Rape of the LockPope, however, suffered from Pott’s disease, which left him stunted and hunchback. Despite this disability, works such as The Rape of the Lock have made him second only to Shakespeare in the annals of English poets.



           The Rape of the Lock is supposedly based on a real incident which Pope compares to the world inhabited by the gods. In the poem, the Baron seeks a lock of Belinda’s hair, hoping to place it on an altar of trophies he collects. In using classical structure and form, Pope satirizes what was essentially a minor disagreement, comparing the abduction of Helen of Troy to a suitor cutting off a lock of hair. Called high burlesque, the literary legacy of the poem is such that three of Uranus’ moons—Belinda, Umbriel, and Ariel—are named after characters in The Rape of the Lock.


           The poem was originally published anonymously in May 1712, but after extensive revision appeared under Pope’s name two years later. Pope himself claimed that the work sold over three thousand copies in just the first four days. Pope also published A Key to the Lock in 1714 under the penname Esdras Barnivelt, a humorous piece that warns against anyone taking The Rape of the Lock seriously.

Question:-4- Write your views about the significance of hair. Is it symbolic?



          The hair symbolizes both vanity and chastity. At certain moments in the poem, Belinda's obsession with her hair seems like the foolish preoccupation of a young woman who is rather silly and unserious. However, at other times, it represents her virtue. In that sense, the hair could also be said to represent the experience of womanhood more generally.


Thank you for visiting my blog 😊



Hard times


Hello everyone, my name is Mansi Gujadiya.I am a student of English Department. This blog based on thinking activity given by Dilip Barad Sir.


Question:-1 -   discuss the Theme of Hard Times.


Introduction of novel



            Hard Times: For These Times is the tenth novel by Charles Dickens, first published in 1854. The book surveys English society and satirises the social and economic conditions of the era.


Theme of the novel "Hard Times"



Industrialization 

          Industrialization created difficult economic and environmental conditions during Dickens's time. The narrator of Hard Times describes Coketowners' resistance to government regulations, for example, in language that implies factory owners had no problem with child labor or dangerous conditions or "chopping people up with their machinery." Stephen Blackpool loses his job when he confronts Mr. Bounderby about the long hours and lack of incentives in factory work. The narrator also makes multiple references to middle-class and upper-class attitudes about workers' tendencies toward vice, which may be exaggerated when readers consider how virtuously Stephen Blackpool and Rachael live. Still, other workers do seek escape from daily toil through drink and other entertainments. The worst result of this need to escape is visible in Stephen Blackpool's wife, a woman driven to such excessive drink that her original personality is lost; her marriage is ruined; and at one point she inflicts serious harm on herself. At the end of the novel she is living on the streets, unable to escape from the temporary escape she pursued as a factory worker.



             Industrialization also created an economic class structure that determined the course of each individual's life, with little mobility existing between classes. For example, Josiah Bounderby, one of the wealthiest people in Coketown, spends most of his time loudly proclaiming himself a wholly self-made man—born in a ditch, abandoned by his mother, abused by his grandmother, and left to an aimless and dissolute youth. This story illustrates his belief that anyone can improve their circumstances, and he uses his origins as a sort of cudgel, berating his workers for laziness. However, his story is a lie. Bounderby was raised by a loving middle-class mother who worked hard to help her son get an education and build a better life. He has risen above the humbler circumstances of his birth, but he certainly has not built himself from nothing.

             Stephen Blackpool, on the other hand, illustrates the fate of most people born into poverty. He works in a factory and has little in his life beyond his work. He is subject to personal misery because he lacks the funds to divorce his alcoholic wife, even though those with sufficient wealth are able to dissolve their marriages. He is subject as well to exploitation and scorn because he refuses to join the union, but in his courageous refusal to sell out his co-workers who do join, he is fired. He dies because the industrial system denies him the financial resources to defend himself against accusations of a crime he did not commit. Stephen has no recourse against any of these injustices because he has no money and no way of earning it to improve his lot. The contrast between Mr. Bounderby and Stephen Blackpool illustrates how industrial society is structured to limit economic opportunities. If a man is born with a little bit of wealth, he may be able to grow that wealth, but if a man has nothing, he is likely to remain with nothing.

          Another hazard of industrialization was the pollution that made the environment in cities like Coketown both literally and figuratively poisonous. Even Coketown's name evokes black dust and coal rocks. The name is apt in Hard Times; soot coats every surface of the town, turning buildings black as smoke hangs heavy in the sky. The river that runs through the town is black with coal dust and dyes used in making textiles in the mills. The people of Coketown are oppressed by the factories just as the air and water are tainted by them—the physical pollution of the town reflecting the pollution present in the residents' minds and spirits. Workers live in filthy conditions that rob them of the possibility to pursue better lives or even entertain their own thoughts. Factory owners are emotionally stunted and deny the humanity of the workers, and of themselves, to maintain their privileged lives and keep their factories running and profits rolling in. Neither the workers nor the factory owners at the time are fully aware of these realities because the physical and psychological pollution generated by industry obscures everything.Reason and Imagination

            The teachers and masters at Mr. Gradgrind's school present factual knowledge and adherence to pure reason as the keys to a successful and satisfying life. Characters such as Mr. Gradgrind and Mr. Bounderby, along with the menacingly named Mr. M'Choakumchild, aim not only to teach their students the value of facts but to eliminate any sign of "fancy"—emotional or creative response—because in their narrow worldview these ideas have no value. In an early scene, a teacher goes so far as to explain why images of horses and flowers should not be used in wallpaper because, in fact, horses do not live on walls and thus do not make an appropriate wallpaper design, and because flowers do not grow on floors, they do not make an appropriate carpet design. Such narrow-minded thoughts on aesthetics illustrate the extremity of devotion to fact at a level that seems to defy reason and kill off all beauty in people's lives.


         Mr. Bounderby and Mr. Gradgrind credit reason and fact as the secrets of their financial success, and for Mr. Bounderby the evidence indicates this belief is accurate. Even though Mr. Bounderby grossly exaggerates (in fact lies about) the story of his humble beginnings, the education and apprenticeship his mother provides do allow him to rise from his start as the son of a widowed shopkeeper to become the owner of a bank and factory and, as such, a respected member of Coketown's ruling class. Even Sissy Jupe reaps some financial rewards for choosing an education in reason. Arguably, she might have been at least equally happy had she remained with the circus and taken an apprenticeship there or happier with a more liberal education, but her father believes in education as the key to his daughter's long-term prosperity—so much so he abandons her so she can pursue her schooling without interruption where she had already begun. Even though Sissy is an unremarkable student by the standards of her fact-oriented teachers, she maintains her position in the Gradgrind household as a caregiver for Mrs. Gradgrind and the younger children. She does enjoy a safe and stable life as part of a wealthy family, which eventually culminates in marriage and a family of her own, really the most she might hope for then.


          According to Mr. Bounderby and Mr. Gradgrind, the lower classes, in contrast, remain poor because they distract their minds with entertainment, such as the displays of the circus or books of fairy stories, instead of focusing entirely on facts or the hard work that might better their station. However, Louisa Gradgrind's emotional collapse and the dissolution of her marriage illustrate the flaws in such an unbalanced approach to living. She is unable to cope with her emotions because she has never been exposed to the art, literature, or creative thought that might have helped her develop and live with feelings. Sissy Jupe's experience illustrates the importance of imagination as well. Her education in reason does provide her with economic opportunities that give her a stable and happy life, but her early years in the circus, steeped in her father's love and the imaginative performances of his colleagues, give her an emotional grounding that prepares her for adulthood. She has gained strength and balance because her education in facts has been tempered with roots in fancy. Pure reason cannot provide sufficient guidance in the complex world of human behavior and emotions.


Childhood



        Childhood figures most prominently in Book 1, as this section focuses on the formative years of Louisa and Tom Gradgrind and Sissy Jupe. The lessons and experiences of childhood shape these characters later in life.

           For Louisa the emphasis on reason and the rejection of imagination and emotion in her childhood lead her to an unbalanced adulthood. Her over-reliance on reason and alienation from her own feelings make her passive and indifferent, leading her into a loveless marriage and to the edge of scandal with an extra-marital affair, which does not come to pass. When faced with emotions, she has no idea how to handle them. Her life comes apart as a result, requiring her to reassess her understanding of herself and her place in the world, and rebuild accordingly.


            For Tom the emphasis on reason in his childhood deprives him of the pleasures of childhood, defined by fun and play, and leads him to resent his family deeply. His attempts to capture the youth he feels he missed lead to irresponsibility, entitlement, excessive gambling, and other disreputable activities. He feels entitled to his sister's continued assistance and later needs his father to help him avoid the consequence of stealing from the bank. Throughout the book the narrator refers to Tom as "the whelp," a term for an unweaned puppy or dissolute young man. In short, Tom's lack of a balanced childhood prevents him from growing into a balanced, responsible adult.


           On the other hand, Sissy Jupe experiences a more balanced childhood and grows up accordingly. She spends her first seven years in the warm and whimsical environment of the circus, well loved by her father and the other performers. She reads fairy tales and plays with her dog. She spends the second half of her childhood studying facts and reason in school. Although she considers herself a failure as a student, her early experiences temper the strict education she receives and give her emotional and imaginative grounding that make her a useful resource when the Gradgrind family needs her.


Love

           The bonds of family love transcend the forces of fact and the fancies of imagination. Family bonds are as real as any fact presented, even as those bonds defy logic. Louisa Gradgrind considers herself emotionally numb, but she is devoted to her brother Tom beyond the bounds of reason. She gives him money to pay his gambling debts, even though pure logic would tell her such financial support is only a useless fool's errand. Mr. Gradgrind's devotion to Louisa moves him to radically change his life's driving philosophy when she comes to him in crisis, and this change later costs him his seat in Parliament. He also risks his reputation when he ignores the law and saves Tom from prison.


           Such familial devotion is not limited to the Gradgrinds. Sissy Jupe never abandons hope her father will one day return for her, although he cannot. Mrs. Pegler remains loyal to her son, Mr. Bounderby, observing him from afar and asking strangers about his wellbeing, defending and loving him even though he has forbidden her to contact him.


           Nor are family bonds determined solely by blood. Mr. Gradgrind comes to care deeply for Sissy and treats her as a member of his family, as is evident when he and Mr. Sleary choose to spare her the painful knowledge her father is dead. In return Sissy looks out for Tom's and Louisa's best interests as if they were her own siblings. Such feelings may likely have come from her time with the circus in which troupe members care for one another as a family of their own making. When Sissy returns to them after years away, the troupe rushes to help her and the Gradgrinds because Sissy is eternally part of the family bond they share.


          Romantic love is presented as an emotion that may create sorrow but also makes life worthwhile. Stephen Blackpool and Rachael love each other and are pained by the knowledge they cannot marry or even openly express their love. At the same time, they find comfort and respite from the bleakness of factory work and poverty by sharing each other's company. Rachael's belief in Stephen's innocence, when he is accused of theft at the bank, comes from her love and respect for him. She never wavers and ultimately helps him clear his name. Even though Stephen dies from injuries sustained after falling into a coal pit, his love for Rachael keeps him alive long enough to say goodbye and proclaim his innocence.


            Louisa's experience illustrates the value of love by showing the emptiness of a life that lacks such affection. She marries Mr. Bounderby out of a practical need to help her brother and satisfy her father's wishes. The marriage is loveless from the start, and it only declines with time. Louisa is vulnerable to James Harthouse's attentions because she is starved for an emotional connection. Even though she does not love him—and to him the seduction is just a game—the encounter shows how greatly love is missing from her life.


Question:-2- Discuss the view of F.R.Leavis and J.B.Priestley on "Hard Times " With whom do you agree? why?

  

F.R.leavis's view on "Hard Times"

         F.R Leavis in this famous essay which appears in his The Great Tradition talks about why he considers Hard Times as the best work of Charles Dickens. Right in the beginning he calls this brilliant work which is set in the fictional industrial Coketown a masterpiece. He asserts that Hard Times has, of all Dickens’ works, all strength of his genius and it is a completely serious work of art.


            Leavis says that it is because of the traditional approach to ‘the English novel’ that Hard Times did not get the recognition it so deserved. He observes a lot of unexacting expectations from the author by the readers of those times. He says Henry James’ The Europeans also suffered like Hard Times because of these unexacting expectations.


            The title of the novel confirms Dickens’ inspiration. Usually Dickens’ criticism of the world around him is casual. But in Hard Times, he has a comprehensive vision of the inhumanities of Victorian England which is represented by Thomas Gradgrind and his philosophy of Utilitarianism. He is the Member of Parliament for Coketown and has brought up his children on the lines of the ideals of John Stuart Mill which was previously carried out on himself. He marries his eldest daughter of to the much older Josiah Bounderby who is Victorian ‘rugged individualism’ – a belief that an individual can succeed on his own without any help whatsoever from the government. Bounderby claims to have come from humble background and to have made it on his own.

       

J.B.Priestley's view on "Hard Times "

          Hard Times . . . . has had its special admirers, particularly among those who see Dickens as a propagandist for their own political-economic ideology. We are told that one Cambridge pundit [F. R. Leavis?], a few years ago, declared that the only Dickens novel worth reading was Hard Times — surely one of the most foolish statements of this age. It would be far more sensible to reverse this judgment, to say that of all the novels of Dickens's maturity Hard Times is the least worth reading. It is muddled in its direct political-social criticism. As a novel it falls far below the standard set by Dickens himself from Dombey and Son onwards. Here for once it is almost as if we are seeing Dickens through the eyes of his hostile critics, for in Hard Times there really are reckless and theatrical over-statements, there really are characters that are nothing but caricatures, there really is melodramatic muddled emotion- alism. On the other hand, only in a few odd places is there any evidence of Dickens's unique grotesque-poetic genius, so obvious in Bleak House. We may join him in condemning an industrialized commercial society, its values, its economics, its education, its withering relationships, but this does not mean we have to pretend an unsatisfactory novel is a masterpiece, just because it favours our side. 


          The truth is, Dickens did not know enough about industrial England. He had given a public reading in Birmingham, which provided him with some horrifying glimpses of the grim Midlands. Because there was a big strike in Preston, he paid it a visit, but he found no drama there. He came away deeply sympathizing with the men but feeling doubtful about trade union organizers. He was not on any ground familiar to him. So his Coketown is merely a horrible appearance, and in order to offer us a sharp contrast to Gradgrind and Bounderby, their outlook and style of life, he sketches a travelling circus to represent arts, skills, warm personal relationships. But he could have found all these, together with many odd attractive characters, in Coketown, if he had really known it and not simply looked at it from a railway train. As it is, Coketown belongs to propaganda and not to creative imagination. 


       


Saturday, 8 October 2022

Dryden

 


Question .1 Do you any difference between Aristotle's definition of Tragedy and Dryden's definition of Play?


             I think there is no difference between both the definition because Aristotle and Dryden both are wrote their definition of Play and Tragedy On the base of Human nature and Imitation of an action. Merely this both the thing is same.. Emotions of mankind is the center... Whereas pity,fear,delight and instruction. for better understand it... First Let be clear about both the definition

 


Aristotle's definition of Tragedy

             "A tragedy is the imitation of an action that is serious and also as, having magnitude ,complete in itself... In appropriate and pleasurable language... In Dramatic rather than narrative form, with incident arousing pity and fear, wherewith to accomplish a catharsis of these emotions. "



Dryden's definition of Play.

             " just and lively image of human nature, representing it's passions and humorous and the change of fortune to which it is subject, for the delight and instruction of mankind. "

            According to this Dryden's definition, play is an image of human nature and that the image is just as well as lively ...and According to Aristotle Tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself. 

             Dryden's concept of poetic imitation is not mere slavish copying of nature, poetic representation is not mere imitation for it is the work of poet or creator whose concern is to produce something that is more beautiful than the life...here Dryden focus on the representation that creation should me more beautiful than the life Aristotle also noted this thing in his defination that 'in appropriate and pleasurable language... In dramatic rather than narrative form.


            Thus, I found that both the critics trying to explaining same thing by using different metaphors.

Question :- .2 If you are supposed to give your personal predilection, would you be on the side of the Ancient or the Modern? Please give reasons.

            According to me, it is not necessary that Modern always tries to copy from the Ancient, may be that sometimes there is new idea also which is presented by Modern. But generally we find that many times Modern takes ideas from Ancient and tries to present it in a different and unique manner. Thus, Modern tries to explain ideas to people and show them a different way to think. So, according to me , both are appropriate with their own ideas , Ancient gives ideas and Modern tries to represent it in a different way according to current time.


Wordsworth's preface

Question:-1  What is a basic difference between the poetic creed of "classicism" and "romanticism"


Introduction 

                 The Classicism and the Romanticism are literary movements. The term Classicism refers to the admiration and imitation of Greek and Roman literature, art, and architecture. Order, maturity, harmony, balance and moderation are important qualities of Classicism. The Romanticism might best be described as anti-Classicism. This movement stressed human emotion and thoughts and emphasized the individual, the imaginative, the spontaneous, the emotional, the visionary, and the transcendental. Popular romantic authors include people like Burke, Wordsworth, Coleridge, Blake, Keats, Byron, Gordon, Burns, Southey, Cowper, Shelley, Scott, Goethe, Lamb, De Quincey, Carlyle, Bronte sisters and Jane Austen.


Definition 

             Classicism and Romanticism developed so gradually and exhibited so many phases that a perfect definition is not possible. In general, Classicism can be defined as a style in literature that draws on the styles of ancient Greece and Rome. Classicism is based on the idea that nature and human nature could be understood by reason and thought. It has attached much more importance to reason than imagination. More broadly, Classicism refers to the adherence to virtues including formal elegance and correctness, simplicity, dignity, restraint, order, and proportion. It is often opposed to Romanticism. The Romanticism can be viewed as an artistic movement, or state of mind, or both. It is a revolt against the Neoclassicism of the previous centuries and rebellion against established social rules and conventions.



Difference between classicism and romanticism 

 

[1] Views of Nature

             Toward the end of the eighteenth-century, Romanticism emerged as a response to Classicism. While the Classicists thought of the world as having a rigid and stern structure, the romanticists thought of the world as a place to express their ideas and beliefs. Classicists and Romanticists differed in their views of nature. Classicism was based on the idea that nature and human nature could be understood by reason and thought. On the other hand, Romanticists viewed nature as mysterious and ever changing.


[B] Reason and Imagination 

               Classicist and Romanticists also differed on their approaches towards reason and imagination. Classicism attached much more importance to reason than imagination because imagination could not be explained by their laws. The Romanticists, however, emphasized that reason was not the only path to truth. To the Romantic writers, imagination was ultimately superior to reason. Classicists thought that it was literature’s function to show the everyday values of humanity and the laws of human existence. The Romantics stressed the human potential for social progress and spiritual growth.”


Conclusion 

                 This discussion can be concluded by saying that both the movements played significant role in the development of literature. The classicism showed its strong effect in the field of writing in Augustan period. This ideal was followed by Dryden, Pope, Johnson and Swift. The term Romantic as a designation for a school of literature opposed to the Classic was first used by the German critic Schlegel at the beginning of the 19th century. From Germany, this meaning was carried to England and France. Wordsworth and other literary figures of the 19th century strengthened the Romanticism in England.

 

Questions:-2 Why does Wordsworth say What is poet?rather than Who is poet?

             Wordsworth in his "Preface" asks first "What is a poet?" He also asks several other questions about a poet. Then he ventures to answer them as his own. According to him, a poet is a man speaking to men. He is a man like other men. He has a social function to perform. He writes not only for his own pleasure but also for communicating his emotions and feelings to others. He tries his best to communicate them to the public. In this respect, Wordsworth says-----


      "The poet thinks and feels in the spirit of human passions." 

          A poet is a flesh and blood. His language should be the same to the language of common men. Thus the critic represents himself as a real lover of man.


           A poet must feel the pulse of the common man. He is the poet of common humanity but not for the poets only. In this respect, we can mention Edmund Spenser. He is called the poets' poet in the Elizabethan Age. When we go through his poetry, we feel that he does not write it for ordinary man but writes only for the poets and the elites. In the Neo-classical Period, we see that the poets composed poems in describing the decorated drawing room, coffee houses etc. Personifications of abstract ideas are salient features of the eighteenth century. There is no room for common people in their poetry. Wordsworth disapproves such tendency of the poets. He says-----


        "But poets do not write for poets alone but for men."

          He says that poets should not write only for poets. Poets have to write for only common men in common or rustic language.


          Wordsworth wants to say that there is no difference between a poet and a common man. A poet differs from an ordinary man not in kind but in degree. Because he has a comprehensive soul which rustic people do not have. He is endowed with more lively sensibility, more enthusiasm and tenderness. He has a greater knowledge of human nature and a more comprehensive soul. He has a greater imaginative power. So he can feel and react emotionally to the events and incidents which he not directly experienced. He is affected more than other men by absent things as if they were present. He can share the emotional experiences of others and identify himself with the emotions of others. He can express the emotions of others easily. Moreover, a poet has a great power of communication. He can communicate even those thoughts and feelings which arise in him without any immediate external excitement.


            The man who has all these qualities cannot be similar to the rest of mankind. The totality of these differences is so significant as to constitute a difference of kind. A man is habitually impelled to create. This impelling is enough to institute a difference of kind. The difference between a poet and an ordinary man is similar to that between imagination and sensation. This difference is realised by realising emancipation from the accidents of space, time and casuality. A poet is pleased with his own passions and volitions. Here he is not active like the rest of mankind. He is self-satisfied and yet is more alive to life. He observes human activities. So he takes an unusual delight in communicating them in a mood of tranquillity.


           A poet has a greater readiness and power in expressing what he thinks and feels. This alone makes him a poet in the strict technical sense of the term. Thus he is capable of entering into the feelings of others. He identifies his own feelings with their feelings. In this sense, he has a more than usual organic sensibility. At the same time, he must have thought long and deeply. This deep thinking is no other than the process of recollections and contemplation.


            The Poet who has such qualities looks at the world in the spirit of love. He is always guided by the particular feelings. He develops sympathy and understand that man is organic to the universe. He binds together the vast human empire. In this respect, Wordsworth says------

     

"The poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time."

             A poet is not a particular passion or particular society. His feeling and knowledge are of universal category. He binds the whole human society with them. His world is vast and does not live in a desolate world. His feelings and his thoughts must not be mystical to the readers. He must think and feel as a man thinks and feels.


             In considering the nature and functions of a poet as Wordsworth has revealed in his famous critical essay, "Preface to the Lyrical Ballads", we may criticise him in some respects. He does not produce any well-knit definition of a poet here. He only ventures to identify some qualities or ideas of a man who intends to get himself included in the class of poets. Moreover, his concept of the language of a poet is worth criticising. T. S. Eliot says that " emotion recollected in tranquillity " is an inexact formula. Besides, Wordsworth himself often fails to maintain all these quatilities of a poet in his own poetry. Yet his initiation to explain the functions and qualifications of a poet is praiseworthy..


 Question :- 3What is Poetry?


           William Wordsworth says that he has selected incidents and situations of common life. He describes them by selection of incidents and situations of common life. He describes them by selection of language really used by men. In the past this ordinary life of the ordinary people has never been a subject of poetry. For the first time he democratizes poetry and gives a universal appeal to it. People living in the modern cities are very much artificial and far away from the simplicity of nature. Therefore, they don’t express the reality of human life. They suffer from social vanity. Artificiality predominates in them. But the villagers are very simple and free from social vanity. Wordsworth says that in Lyrical Ballads, humble and rustic life has been chosen as the theme of poetry because the essential passions of the heart find a better soul in which they can attain their maturity in the humble state of life. Wordsworth comments that humble and rustic life holds simplicity, serenity and tranquility. The rustic people express their feelings and emotion through simple, unelaborated and unsophisticated way. Their language is more passionate, more vivid and more emphatic. The language of the rustics, according to William Wordsworth is more philosophical and permanent than the language used by the city dwellers and the earlier poets.


              Poetry should express common human feelings and there should be no restriction in the expression of the experiences of the senses and sensibilities. Wordsworth defines poetry as the spontaneous overflow of the powerful feelings. It is the poet’s business to embody in their poetry the general passions of men. Wordsworth avoids the use of personifications of abstract ideas and serious diction in his poems so far as possible for making poetry intelligible to all types of readers. The language of his poetry is near to that of prose. The incidents of life, the natural objects around us and the common feelings of men as well as our sorrows and happiness, failure and success should get a ready appeal in poetry without false description. Wordsworth says, “Poetry sheds no tears, such as angels weep, but natural and human tears.” Another important idea of Wordsworth about poetry is that the function of poetry is to give pleasure to readers by presenting the incidents and situations of their lives in a fascinating and unusual way with a color of imagination. Therefore Wordsworth agrees with Aristotle, “Poetry is the most philosophical of all writings. The subject of poetry is general and operative truth which is its own testimony.” According to J. C. Smith, an eminent critic, “The nature of poetry will appear more clearly when we have considered its end or purpose, or the function of the poet in a civil society.”


          Wordsworth establishes a relation between man and nature in his poetry. Therefore he opines that poetry is the image of man and nature. It is an acknowledgement of the beauty of the universe. Poetry, to Wordsworth, is a powerful media of supplying knowledge and pleasure to mankind. He considers that man and nature are essentially adapted to each other. Therefore, man has emotional, philosophical, moral and spiritual connection to nature. The poet’s business is to describe human life in its very form and to establish a relationship between man and universe. So, Wordsworth says that poetry is the first and last of all knowledge- it is as immortal as the heart of ma.

Question:- 4 -Discuss Deffodils -i wandered lonely as a cloud with the reference to Wordsworth's poetic creed


Daffodils Summary by William Wordsworth About the Poet

          William Wordsworth was a 19th century literary stalwart and the most influential pioneer of English romantic poetry.He was born on 7th April, 1770 at Cockermouth, in Cumbria. He lost both his parents at an early age. He began to write poetry while he was at school. As a young man, Wordsworth developed a love of nature, a theme reflected in many of his poems. While studying at Cambridge University, Wordsworth spent summer holidays on a walking tour in Switzerland and France. He became an enthusiast for the ideals of the French Revolution



             In 1797, Wordsworth and his sister Dorothy moved from Dorset to Somerset, where he met and befriended Samuel Taylor Coleridge, another great poet of his generation. They collaborated on a collection of poems titled ‘Lyrical Ballads’, which included many of Wordsworth’s poems along with Coleridge’s long poem, The Rime of the Ancient Mariner. Brought out in 1798, this collection of poems marked the beginning of the Romantic Movement in English poetry


           In 1799, Wordsworth and Dorothy settled at Dove Cottage in Grasmere in the Lake District. In 1802, Wordsworth married a childhood friend, Mary Hutchinson. It was during his stay in Grasmere that Wordsworth wrote his poem, I Wandered Lonely as a Cloud, in 1804. In 1813, Wordsworth moved from Grasmere to nearby Ambleside. In 1843, he became the poet laureat


         Wordsworth died on 23 April, 1850 and was buried in Grasmere churchyard. His great autobiographical poem, The Prelude was published after his death. The Excursion, Ode: Intimations of Immortalit


y from Recollections of Early Childhood, Tintern Abbey, She was a Phantom of Delight, The Solitary Reaper, Michael: A Pastoral Poem, The Leech Gatherer, The World is Too Much with Us are some of his other best-known poems that have established him as One of the most outstanding figures in the history of English literature.


Introduction of poem

            The poem ‘Daffodils’ or ‘I Wandered Lonely as a Cloud’ is one of the loveliest and best-known poems of William Wordsworth. The poem was written in the year 1802. It was first published in “Poems in Two Volumes” in 1807. The very starting line of the poem “I wandered lonely as a cloud” informs the poet’s profound sentiments of being left alone. It was actually the death of his brother John that led him to “loneliness.” The poem was thus not a result of imagination, but that of actual visualization


 Analysis of this poem  Daffodils 

               The poet or the speaker in this poem, says that, once while “wandering like a cloud floating above hills and valleys”, he came across a field of daffodils beside a lake. The dancing, fluttering flowers stretched endlessly along the shore, and though the shining waves of the lake danced beside the flowers, yet the daffodils outdid the water with their beauty.

      

             The poet says that the golden daffodils twinkled and stretched in a continuous line just like the stars in the Milky Way galaxy for putting a greater implication in indicating that the flowers are heavenly as the stars. He seems the endless view of the golden daffodils as a never-ending line. The poet’s exaggeration of the number of flowers by saying “Ten thousand saw I at a glance” indicates that he has never seen so many daffodils at once. The poet could not help to be happy in such a joyful company of flowers.


           He says that he stared and stared, but did not realize what wealth the scene would bring him. For now, whenever he feels “vacant” or “pensive” the memory strikes “that inward eye” that is “the bliss of solitude” and his heart fills with pleasure, “and dances with the daffodils.”

The Puritan Age + Restoration

 Question:-1- General Characteristics of  The Puritan Age 

Introduction 



              The period between 1625 and 1675 is known as the “Puritan Age (or John Milton’s Age)”, because during the period, Puritan standards prevailed in England, and also because the greatest literary figure John Milton (1608-1674) was a Puritan. The Puritans struggled for righteousness and liberty.

General Characteristics of the Age Puritan

(i) Civil War: 

               The entire period was dominated by the civil war, which divided the people into two factions, one loyal to the King and the other opposed to him. English people had remained one and united and loyal to the sovereign. The crisis began when James I, who had recoined the right of royalty from an Act of Parliament, gave too much premium to the Divine Right and began to ignore Parliament which had created him. The Puritans, who had become a potent force in the social life of the age, heralded the movement for constitutional reforms. The hostilities, which began in 1642, lasted till the execution of Charles I in 1649. There was little political stability during the interregnum of eleven years which followed. These turbulent years saw the establishment of the Common­wealth, the rise of Oliver Cromwell, the confusion which followed upon his death, and, finally, the restoration of monarchy in 1660.


(ii) The Puritan Movement: 

            The Renaissance, which exercised immense influence on Elizabethan literature, was essentially pagan and sensuous. It did not concern the moral nature of man, and it brought little relief from the despotism of rulers. “The Puritan movement,” says W. J. Long, “may be regarded a second and greater Renaissance, a rebirth of the moral nature of man following the intellectual awakening of Europe in the fifteenth and the sixteenth centuries.” In Germany and England the Renaissance was accompanied by a moral awakening, “that greatest moral and political reform which ever swept ‘over a nation in the short space of half a century”, which is meant by the Puritan movement. Puritanism had two chief objects: the first was personal righteousness; the second was civil and personal liberty. In other words, it aimed to make men honest and to make them free.


          “Though the spirit of the Puritan movement was profoundly religious, the Puritans were not a religious sect; neither was the Puritan a narrow-minded and gloomy dogmatist, as he is still pictured in the histories.” Hampden, Eliot, Milton, Hooker and Cromwell were Puritans.

           From a religious viewpoint Puritanism included all shades of belief. In course of time “Puritanism became a great national movement. It included English Churchmen as well as extreme Separatists, Calvinists, Covenanters, Catholic noblemen,— all bound together in resistance to despotism in Church and State, and with a passion for liberty and righteousness such as the world has never since seen,” says W. J. Long.


              During the Puritan rule of Cromwell severe laws were passed, simple pleasures were forbidden, theatres were closed, and an austere standard of living was forced upon an unwilling people. So there was rebellion against Puritanism, which ended with the Restoration of King Charles ll.


Literary Characteristics of the Age of  Puritan


(i) Influence of Puritanism: 

             The influence of Puritanism upon English life and literature was profound. The spirit which it introduced was fine and noble but it was hard and stern. The Puritan’s integrity and uprightness is unquestionable but his fanaticism, his moroseness and the narrowness of his outlook and sympathies were deplorable. In his over-enthusiasm to react against prevailing abuses, he denounced the good things of life, condemned science and art, ignored the appreciation of beauty, which invigorates secular life. Puritanism destroyed human culture and sought to confine human culture within the circumscribed field of its own particular interests. It was fatal to both art and literature.


              Puritanism created confusion in literature. Sombreness and pensiveness pervaded poetry of this period. The spirit of gaiety, of youthful vigour and vitality, of romance and chivalry which distinguished Elizabethan literature was conspicuous by its absence. In the words of W. J. Long: “Poetry took new and startling forms in Donne and Herbert, and prose became as sombre as Burton’s The Anatomy of Melancholy. The spiritual gloom which sooner or later fastens upon all writers of this age, and which is unjustly attributed to Puritan influence, is due to the breaking up of accepted standards in religion and government. This so-called gloomy age produced some minor poems of exquisite work­manship, and one great master of verse whose work would glorify any age or people, —John Milton, in whom the indomitable Puritan spirit finds its noblest expression.”


(ii) Want of Vitality and Concreteness: 

               The  literature of this period lacks in concreteness and vitality. Shakespeare stands first and foremost for the concrete realities of life; his words and phrases tingle with vitality and thrill with warmth. Milton is concerned rather with theorising about life, his lines roll over the mind with sonorous majesty, now and again thrilling us as Shakespeare did with the fine excess of creative genius, but more often impressing us with their stateliness and power, than moving us by their tenderness and passion. Puritanism began with Ben Jonson, though it found its greatest prose exponent in Bunyan. W. J. Long writes: “Elizabethan literature is generally inspiring; it throbs with youth and hope and vitality. That which follows speaks of age and sadness; even its brightest hours are followed by gloom, and by the pessimism inseparable from the passing of old standards.”


iii) Want of the Spirit of Unity: 

             Despite diversity, the Elizabethan literature was marked by the spirit of unity, which resulted from the intense patriotism and nationalism of all classes, and their devotion and loyalty to the Queen who had a singleminded mission to seek the nation’s welfare. During this period James I and Charles II were hostile to the interests of the people. The country was divided by the struggle for political and religious liberty; and the literature was as divided in spirit as were the struggling parties.


iv) Dominance of Critical and Intellectual Spirit:

              The critical and intellectual spirit, instead of the romantic spirit which prevailed on Elizabethan literature, dominates the literature of this period. W. J. Long writes: “In the literature of the Puritan period one looks in vain for romantic ardour. Even in the lyrics and love poems a critical, intellectual spirit takes its place, and whatever romance asserts itself is in form rather than in feeling, a fantastic and artificial adornment of speech rather than the natural utterance of a heart in which sentiment is so strong and true that poetry is its only expression.”


v) Decay of Drama: 

           This period is remarkable for the decay of drama. The civil disturbances and the strong opposition of the Puritans was the main cause of the collapse of drama. The actual dramatic work of the period was small and unimportant. The closing of the theatres in 1642 gave a final jolt to the development of drama.