Assignment paper no :-8 Cultural study

Name :  Mori Utsavi bharatbhai
Roll no:. 33
Enrollment no : 2069108420180037
M.A. Sem : - 2
Year : 2017- 2019
Email- id : - utsavibarajput18@gmail.com
Paper no :  8 ( cultural study)
Submitted to : Department of English
Topic  :.  British cultural Materialism

What is Cultural studies:
Cultural studies is the science of understanding modern society,with an emphasis on politics and power cultural studies is an umbrella term used to look at a number of different subject. Categories studied include media studies including film and Journalism, sociology, industrial culture, globalization and social theory. To pursue cultural studies is to try to decipher the world that we live in.
The definition of cultural studies can sometimes be misconstrued. It is not simply the study of different cultures but uses many other studies to analyze different cultures such as philosophy, theology, literature etc.…
  
Five types of cultural studies:-

1.   British cultural Materialism
2.   New Historicism
3.   American Multiculturalism

·       African American Writers
·       Latina writers
·       American Indian literature
·       Asian American writers
  4. Postmodernism and popular cultural
  5. Post-colonial study

Here I define British cultural Materialism

 BRITISH CULTURAL MATERIALISM:-

Cultural studies is referred to as "cultural materialism" in Britain, and it has a long tradition. In the later nineteenth century Matthew Arnold sought to redefine the "givens" of British cultural. Edward Burnett Tylor's pioneering anthropological study Primitive cultural (1871) argued that "culture or civilization, taken in its widest ethnographic sense, is a complex whole which includes knowledge belief, art, morals, low, custom, and any other capabilities and habits acquired by man as a member of society" (1). Claude Levi-Strauss's influence moved British thinkers to assign "culture" to primitive peoples, and then, with the work of British scholars like Raymond Williams memorably states: "There are no message; there are only ways of seeing [other] people as masses" (300).

To appreciate the importance of this revision of "culture" we must situate it within the controlling myth of social and political reality of the British Empire upon which the sun never set, an ideology left over from previous century. In modern Britain two trajectories for "culture" developed: one led back to the past and the feudal hierarchies that ordered community in the past; here, culture acted in its sacred function as preserver of the past The other trajectory led toward a future, socialist utopia that would annual the distinction between labor and leisure classes and make transformation of status, not fixity, the norm. This cultural materialism furnished a leftist orientation "critical of the aestheticism, formalism, ant historicism, and apoliticism common among the dominant postwar methods of academic literary criticism"; such was the description in the John Hopkins Guide to Literary Theory and Criticism (Groden and Krieswirth 180).

Cultural materialism began in earnest in the 1950s with the work of F.R.Leavis, heavily influenced by Matthew Arnold's analyses of bourgeois culture. Leavis sought to use the educational system to distribute literary knowledge and appreciation more widely; leavisites promoted the "great tradition" of Shakespeare and Milton to improve the moral sensibilities of a wider range of readers than just the elite.

Ironically the threat to their project was mass culture. Raymond Williams applauded the richness of canonical texts such as Leavis promoted, but also found they could seem to erase certain communal forms of life. Inspired by Karl Marx, British theorists were also influenced by Gorgy Lukas, Theodor Adorns, Louis Althusser Max Horkheimer, Mikhail Bakhtin, Antonio Gramsci. They were especially interested in problems of cultural hegemony and in the many systems of domination related to literature. From Gramsci, an Italian Marxist, for example, they got the concept of cultural "hegemony," referring to relations of domination not always visible as such. Williams noted that hegemony was "a sense of reality for most people . . . beyond which it is very difficult for most members of society to move" (Marxism and Literature 110). But the people are not always of hegemony; they sometimes possess the power to change it. Althusser insisted that ideology was ultimately in control of the people, that "the main function of ideology is to reproduce the society's existing relation of production, and that function is even carried out in literary texts." Ideology must maintain this state of affairs if the state and capitalism can continue to reproduce themselves without fear of revolution. Althusser saw popular literature as merely "carrying the baggage of a culture’s ideology," whereas "high" literature retained more autonomy and hence had more power (233). Walter Benjamin attacked fascism by questioning the value of what he called the "aura" of culture. Benjamin helps explain the frightening cultural context for a film such as Leni Riefenstahl's Triumph of the will (1935). Lukas developed what he called a "reflection theory", in which he stressed literature's reflection conscious or unconscious, of the social reality surrounding it not just a flood of realistic detail but a reflection of the essence of a society. Fiction formed without a sense of such reflection can never fully show the meaning of a given society.
Cultural materialists also turned to the more humanistic and even spiritual insights of the great student of Rabelais and Dostoevsky, Russian Formalist Bakhtin, especially his amplification of the dialogic form of meaning within narrative and class struggle, at once conflictual and communal, individual and social. Feminism was also important for cultural materialists in recognizing how seemingly "disinterested" thought is shaped by power structures as patriarchy.
               
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Assignment paper no -7

Name : Mori Utsavi bharatbhai
Roll no :  33
Enrollment no : 2069108420180037
M.A. Sem - 2
Year : - 2017 - 2019
Email- id - utsavibarajput18@gmail.com
Paper no  : 7 ( Literary Theory & Criticism: The 20th Western & Indian Poetics – 2:
Submitted to : Department of English Bhavnagar
Topic : I.A. Richard’s poems
Introduction:

                                   In The possibilities of misunderstanding being fourfold, we shall have to keep an eye open, too, upon those underground or overhead cross-connections by which a mistake in one function may lead to errate behaviour in another. We cannot reasonably expect diagnosis here to be simpler than it is with a troublesome wireless set, or to take an even closer parallel, than it is in a psychological clinic. Simple cases do occur, but they are rare. To take aberrations in apprehending, Sense first: those who misread ‘A COOL, GREEN HOUSE’ in poem two, the victims of ‘THE KING OF ALL OUR HEARTS TO-DAY’ in poem IX, the rain-maker and the writer who took poem v to be ‘quite an ingenious way of saying that the artist has made a cast of a beautiful woman’, are almost the simplest examples we shall find of unqualified, immediate misunderstanding of the sense. Even these, however, are not perfectly simple. Grudges felt on other grounds against the poem, misunderstandings of its feeling and tone, certainly helped to their mistakes, just as the stock emotive power of ‘King’ was the strong contributing factor, mastering for all historical probabilities and every indication through style.

                                            
                                              There is one difference however. All will agree that while delicate intellectual operations are in progress brass bands should be silent. But the band more often than not is an essential part of the poetry. It can, However, be silenced, if we wish, white we disentagle and master the sense, and afterwards its co-operation will no longer confuse us. A practical ‘moral’ emerges from this which deserves more prominence than it usually receives. It is that most poetry needs several readings – in which its can be grasped. Readers who claim to dispense with this preliminary study, who think that all good poetry should come home to them in entirety at a first reading, hardly realise how clever they must be.

                                              But  there is a subtler point and a fine distinction  to be noted. We  have allowed above that a good poet –to express feeling, to adjust tone and to further his other aims may play all manner  of  tricks with his sense. He may dissolve  its coherence altogether, if he sees fit. He does so, of course at his peril; his other aims must be really worth while, and he must win a certain renunciation from the reader; but the liberty is certainly his, and no close reader will doubt or deny it. This liberty is the careless reader’s excuse and the bad poet’s opportunity. An obscure notion is engedered in the reader that syntax is somehow less significant is poetry than in prose, and that a kind of guess-work- likely enough to be christened ‘intuition’ –is the proper mode of apprehending what a poet may have to say. The modicum of truth in the notion makes this danger very hard to deal with. In most poetry the sense is as important as anything else; it is quite as subtle, and as dependent on the syntax, as in prose ; it is the poet’s chief instrument to other aims when it is not itself his aim. His control of our thoughts is ordinarily his chief means to the control of our feelings, and in the immense majority of instances we miss nearly everything of value if we misread his sense.

                                                But to say this- and here is the distinction we have to note- is not to say that we can wrench the sense free from the poem, screw it down in a prose paraphrase, and the feelings this doctrine excites in us, as the burden of the poem. These twin dangers-careless, ‘intutive’ reading and prosaic, ‘over-literal’ reading-are the Symplegades, the ‘justling rocks’, between which too many ventures into poetry are wrecked.

                                              Samples of both disasters are frequent enough in the protocols, through Poem I, for example, gave little chance to the ‘intuitive’, the difference there betweena ‘poetic’ and a ‘prosaic’ reading being hardly marked enough to appear. Poem V, on the other hand, only allowed intuitive readings. However, the effect of a prosaic reading is clear; in intuition has all its own way, and the effect of its incursions is as striking as the triumph of the opposite tedency.

                                              Still keeping to the reader’s traffic with sense as little complicated as may perhaps be expected of unfamiliar words, the absence of the necessary intellectual contexts, defective scholarship, in short, as a source of error. Possibly through my choice of poems and perhaps through the advanced educaional standing of the protocol-writers, this obstacle to understanding did not much appear. Far more serious were certain misconceptions as to how the sense of words in poetry is to be taken. Obstacles to understanding, these much less combated by teachers and much more troublesome than any mere deciency of  information. For, after all, dictinaries and encyclopedias stand ready to fill up most gaps in our  knowledge, but an inability to seize the poetical sens`e of words is not so easily remedied.

                                                Some further instances of these misconceptions will make their nature plainer. Compare the chemistry with the ‘literalism’.   Not many metaphors will survive for readers who make such a deadly demand for scientific precision as do these. Less acute manifestations of the same attitude to language  appear frequently elsewhere, and the prevalence of this literalism, under present-day conditions of education, is greater than the cultivated reader will imagine. How are we to explain- to those who see nothing in poetical language but a tissue of ridicolous exaggerations, childish ‘fancies’ ignorant conceits and absurd symbolations-in what way its sense is to be read.

                                              The general problem of all responses made to indirect influences may here be considered. A reader’s liking for this passage might often be affected by his acquaintance with Swinburne’s descriptions and sea-metaphors. ‘Who fished the murex up?’ is a pertient question. The point constantly recurs when we are estimating the enthusiasm of  readers  whose knowledge of poetry is not wide. Have they, or have they not, undergone the original influence. It would be interesting to compare, by means of such a passage as this, a group of  readers before and after they had first spent an evening over songs of the Springtides, or Atalanta in Calydon.

                              A study of  his ‘The practical criticism, A Study of  Literary Judgement reveals that I.A.Richards is a Staunch advocate of a close textual and verbal study and analysis os a work of all while preparing this book the author had three things in mind. “I have set three aims before me on constructing this book,” he says,” First, to introduce a new kind of documentation to those who are interested in the contemporary state of culture whether as critics, philosophers, as teachers, as psychologists, or merely as curious persons. Secondly , to provide a new technique for those who wish to discover for themselves what they think and feel about poetry, and why thwy should like or dislike it. Thirdly, to prepare the way for educational methods more efficient  than those we use now in developing discrimination and the power to understand what we hear and read.”

                           Detective Scholarship is a third source of important thing in poetry. The reader may fall to understand the sense of  many points because he is ignorant of the sense of many a word used by the poet. The words may be new difficult, unfamiliar  to him. Or he may luck the necessary intellectual context. Words used by a poet, besides having a literal meaning, may also have acquired additional richness  and value from their having been used by other poets and writers  in different contexts, and this associative value and significance would be lost upon a reader unfamiliar with this literate context of words.

                    Besides  this, a far more serious  cause of misunderstanding is the failure to realise that the poetic use of words is different from their use in prose. Literal sense of words can be easily understood with the help of dictionary, “BUT AN INABILITY TO SEIZE THE POETICAL SENSE OF WORDS IN NOT SO EASILY REMEDIED.” For  example :

“Solemn and gray, the immense  clouds of even
Pass on their towering unperturbed way
Through the vast whitness of the rain-swept heaven.
The moving pageants of the waming day.
Heavy with dreams, desires, prognostications.
Brooding with sullen and Titanic crests.
They surge, whose mantles’ wise imaginations.
Trail where Earth’s mute and langurous body rests.
While below the Hawthrons smile, like milk splashed down.
From Noop’s blue pitcher over mead and hill
The arrased distance is so dim with flowers.
It seems itself some coloured cloud made still.
O how the clouds this dying daylight crown.
With the tremendous triumph of fall towers.”

                              These Complaints rest upon an assumption about language that would be fatal to poetry. All these things are happen in a poem if there is any good reason for their happening or anything vantage is gained from their happening.
·       A cloud cannot have ‘desires.’
·       A mantle cannot have ‘imaginations.’
·       ‘Imaginations’ cannot ‘trail.’
·       ‘Milk’ does not ‘smile.’
·       ‘Dim with flowers’ is rather weak, for flowers are bright things.
·       ‘Tall towers’ do not ‘triumph’ so far as I know, As how I never saw one doing it! Might be an interesting sight!.’

                                Poet use a figurative language , and this use of poetic figures poses a number of difficult and interesting problems, merely by expounding metaphors and hyperbeles by supplying the suppress as if ‘s’, is like ‘s’ etc…. poetry cannot be turn in to Togreatry respectable prose. A proper understanding of poetry can be posible only when the demand for accuracy and precision is combined with a recognotion of the iberties which are proper for a poet, and the power and value of figurative language.

                                     This power and value of figurative  language, as well as problems and difficulties of figurative language in general, can be better appreciated by a study of a few concrete examples. In the following passage in which the poet celebrates the eightieth birthday of George Meredith consider the hyperbole of the sea-harp.

“A  health a ringing  health, into  the king.
Of all our hearts today; But what proud song.
Should follow on the thought, nor do him wrong?
Unless the sea were have teach mirthful string.
And dawn the lonely listener, glad and grave.
With colours of the sea-shell and the were
In brightening eye and cheek. There is none to sing!
Drink to him, as men upon an Alpine peak
Brim one immoral cup of crimson wine,
And into it drop one pure cold cruse of snow,
Then hold is up, too rapturously to speak.
And drink- to the mountains, line on glittering line,
Surging away in to the sun-set glow.”

                       The passage has been variously commented upon as follows:
1.    The only concrete simile in the health is the liakening of the sea to a harp- surely a little extravagan.
2.    The imagery is bad . The sea may sound like an organ but it never had the scription of a harp.
3.    One woman is if the poet has correctly compared the sea convienced in the cription the harp.
4.    A far fetched  metaphor in which the sea is pictured as a harp and each  string, besides being mirthful, is made up of the lightening of spring  nights for some unknown reason Dawn listen to the music of his incredible instrument.
5.    The first definite clue to the poem’s true character is the word ‘woven’. Since strings are spun or twisted,’woven’ must have been brought in for its higher potency in releasing vague emotion. From that point onwards the poet was obviously overwhelmed with recolled phrases and piffered epithets.
6.    Common sense suggests that if the Dawn were present the lightening of spring nights would be inevitably absent.
7.    Since Dawn does not come in to being till the end of night, the strings and the listener could not exist contemporaneously.”

                                     There is no doubt that these comments rightly stress a number of inconsistencies and incoherences in the passage. They point to at least four logical flaws in the passage. But such readings are a failure to understand the beauty, value and significance of figurative language.

                                     The comments examined above show a well-balanced literalism, for they are all objections to a poem in which the poet had been guilty of many liberties and inconsistencies in his imagine but at other times, this rationality and literalism is carried to an extreme and even legitimate poetic images are subjected to rational and literal tests and condemned accordingly. Take for example, it following poem:

“ Climb cloud, and pencil all the blie
With your miraculous stockade;
The earth will have her joy of you
And limn your beauty till it fade.
Puzzle the cattle at the gras.
And paint your pleasure on their flanks;
Shoot, as the ripe cornfield you pass,
A shudder down those golden ranks
On wall and Windows slant your hand
And sidle up the golden stair;
Cherish each flower in all the land
With soft encroachments of cool air,
Lay your long fingers on the sea
And shake your shadow at the sun,
Darkly reminding him that he
Relieve you when your work  is done,
Rally your wizardries, and wake
A noonday panic cold and rude,
Till ‘neath the ferns the drowsy snake
Is conscious of his solitude.
Then as your sorcery declines
Elaborate your pomp the more,
S shall your gorgeous new designs
Crown your beneficence before.
Your silver hinges now revolve.
Your snowy citadels unfold,
And, lest their pride too soon dissolve,
Buckle them with a belt of gold,
O sprawling domes. O tottering towers,
O frail steel tissues of the sun-
What ! have ye numbered all your hours
And is your empire all fordone?”

                              Presumably could oblige by climbing pentiling etc. The whole ‘poem’ is a choice example of ugliness of  Domantic animism. If the mind had changed would the poet have got angry? Puzzle the cattle did anyone ever see cattle puzzled by a cloud. This must have been written in study by one who might have done better by the country to learn that clouds are blown by the wind, and do not climb and puzzle cattle and school shudders, lay long fingers and perform similar human actions at command of prigs.

Conclusion:
                              Probably expected some different feeling to be expressed. Who also quarrels with the opening metaphor seems to miss the descriptive sense of the poem for some other reason. In view of the effect of ‘ miraculous stockade’ no less than of ‘limn’,puzzle’,’paint’,’shoot’ and ‘sidle’ upon other readers, one is tempted  to suspedt some incapacity of visual memory. Or perhaps he was one of those who supposed that a cloud rather than its shadow was being described.’pencil’ ,if we take it to mean ‘ produce  the effects of penciling’ hardly mixes  the metaphor in any serious fashion. Its suggestion both of the hard, clear  outline of the cloud’s edge and of the shadowy variations in the lighting of its inner recesses, is not in the least cancelled by climb’ or by the sky-scraper hoist of  ‘miraculous to meet the many objections to the sounds in these words with the remark that they reflect the astonishment that a realization of the height of some cclouds does evoke ? ‘Miraculous stockade’ seems, at least, to have clear advantages over ‘ the tremendous triumph of tall towers’ in point of economy  and  vividness. ‘puzzlw’ has accuracy also on its side against these cavilers. Anyone who watches the restless shift of cattle as the shadow suddenly darkness their world for them will endorse the poet’s observation. But if the cows never noticed any change of light the word would still be justified through its evocative effect upon men. Similarly with ‘paint’ and ‘shoot’ ; they work as a rapid and fresh notation of not very unfamiliar effects, and there is no reason to suppose that those readers for whom they are successful are in any awy damaging or relawing their sensibility.

                                               With this we come back to the point at which we left poem IX. We can sum up this discussion of some instances of  figurative language as follows: All respectable poetry invites close reading. It encourages attention to its literal  sense up to the point, to be detected by the reader’s discretion, at which liberty can serve the aim of the poem better than fidelity to fact or strict coherence among fictions. It asks the reader to remember that its aims are varied and not always what he unreflectingly expects. He has to refrain from applying his own external standards. The chemist must not require that the poet write like a chemist, nor the moralist, nor the man of affairs, nor the logician, nor the professor,  that he write as they would.’The whole trouble of literalism is that the reader forgets that the aim of the poem comes first, and is the sole justification of its means.  We may quarrel, frequently we must, with the aim of the poem, but we have first to ascertain what it is. we cannot legitimately judge its means by external standards. Which may have no do, or, if we like, in becoming what in the end it has become.

Assignment paper no - 6

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Name :. Mori Utsavi bharatbhai
Roll no : 33
Enrollment no : 2069108420180037
M.a.sem :2
Year - 2017-2019
Email- id - utsavibarajput18@gmail.com
Paper no - 6
Submitted to - Department of English
Topic -"Culture and anarchy in'Hellenism and Hebraism".

Culture and anarchy in'Hellenism and Hebraism'
   

Culture and anarchy in'Hellenism and Hebraism'

  Culture and anarchy in “Hellenism and Hebraism by Arnold

   Preface
      Matthew Arnold belongs to the Victorian age in English literature; Arnold has critic, poet and also philosophical work in his writing. And also he has given parameters to evaluate the work of art in literature. As a critic Arnold puts emphasis on reading classical works and current ideas in highest degree animating and nourishing to the creative power. And it may be that to Arnold work in reflection of Victorian society and in  this time people has to different ideas and class different create to society and it may be that to his culture and other are not followers  to this kind of think, and know that Arnold in his work see that to Victorians society and culture. In Arnold best work in his essay “culture and anarchy” in Christian knowledge  and religious to this society and also we see that to political, social, psychoanalysis and physicist in society, it may be that to working class and Arnold in this essay between reflection to Karl Marx ideas Marxism in class and caste different to his essay. In Arnold essay in culture and anarchy about that “people talk about what they call culture” and Arnold wants on to remarks in strain with which modern speakers and writers have made us very familiar and also we see that how poor a thing this culture and it may be that culture is in political one of the poorest mortals alive.

      We can see that of political requires common sense, sympathy, trust, resolution enthusiasm, qualities which your man of culture has carefully rooted up of his critical olfactory. Apart from his occupation as a poet and critic, Arnold earned a reputation during his lifetime as one of his age's most knowledgeable and influential advocates for educational reform in England. Born the eldest son of Dr. Thomas Arnold, a headmaster of Rugby and generally acknowledged as the innovator of the modern public school system in England, Arnold was inculcated with a liberal attitude toward education from an early age. During his formative years and as a student at Oxford, he embraced the reform-minded ideas of social thinker John Henry Newman. In 1851 at the age of thirty, Arnold was appointed Her Majesty's Inspector of Schools, a post he held for the next thirty-five years. In his role as inspector, Arnold became intimately familiar with the disadvantages and inequalities inherent in the educational system from the favored aristocratic upper class to the ignored and impoverished lower class. So now in Arnold life and social culture to this essay, it became different of people and social culture. Arnold’s essay ‘culture and anarchy’ in part to Hellenism and Hebraisms details to explains.

     Culture and anarchy
     Culture and Anarchy is a controversial philosophical work written by the celebrated Victorian poet and critic Matthew Arnold. Composed during a time of unprecedented social and political change, the essay argues for a restructuring of England's social ideology. It reflects Arnold's passionate conviction that the uneducated English masses could be molded into conscientious individuals who strive for human perfection through the harmonious cultivation of all of their skills and talents. A crucial condition of Arnold's thesis is that a state-administered system of education must replace the ecclesiastical program which emphasized rigid individual moral conduct at the expense of free thinking and devotion to community. Much more than a mere treatise on the state of education in England, Culture and Anarchy is, in the words of J. Dover Wilson, “at once a masterpiece of vivacious prose, a great poet's great define of poetry, a profoundly religious book, and the finest apology for education in the English language.” So that in this into Arnold give six chapters and brief explain to social and political at
Hellenism and Hebraisms.

 

 

 Major work to culture  and anarchy
    Although Arnold does not create specific fictional characters to express his ideas in Culture and Anarchy, he does infuse his essays with a narrative persona that can best be described as a Socratic figure. This sagacious mentor serves as a thematic link between each of the chapters, underscoring the importance of self-knowledge in order to fully engage the concept of pursuing human perfection. This mentor also identifies and classifies three groups of people who comprise contemporary English society.

The first group is the Barbarians, or the aristocratic segment of society who are so involved with their archaic traditions and gluttony that they have lost touch with the rest of society for which they were once responsible. The second group—for whom Arnold's persona reserves his most scornful criticism—is the Philistines, or the selfish and materialistic middle class who have been gulled into a torpid state of puritanical self-centeredness by nonconforming religious sects. The third group is the Populace, or the disenfranchised, poverty-stricken lower class who have been let down by the negligent Barbarians and greedy Philistines. For Arnold, the Populace represents the most malleable, and the most deserving, social class to be elevated out of anarchy through the pursuit of culture. And also he wrote about to class difference and it may be that Arnold introduces the principal themes of Culture and Anarchy directly in the essay's title. Culture involves an active personal quest to forsake egocentricity, prejudice, and narrow-mindedness and to embrace an equally balanced development of all human talents in the pursuit of flawlessness. It is a process of self-discipline which initiates a metamorphosis from self-interest to conscientiousness and an enlightened understanding of one's singular obligation to an all-inclusive utopian society. Arnold appealed to the altruistic intellectual members of the English middle class with Culture and Anarchy that he began to gain a groundswell of support for his cause. And it may be that Arnold in his work to said that culture is “an ideal of human life, a standard of excellence and fullness for the development of our capacities, aesthetic, intellectual, and moral.”  For Arnold, the emphasis on egocentric self-assertion has a devastating impact on providing for the needs of the community; indeed, it can only lead to a future of increased anarchy as the rapidly evolving modern democracy secures the enfranchisement of the middle and lower classes without instilling in them the need for culture. Inherent in Arnold's argument is the idea of Hebraism versus Hellenism. So that now explains in detail to Hellenism and Hebraism.

·        Hellenism and Hebraism

In Arnold essay ‘culture and anarchy’ in explains to social and political one to social parts Hellenism and Hebraism. In this essay Arnold's argument is the idea of Hebraism versus Hellenism. Hebraism represents the actions of people who are either ignorant or resistant to the idea of culture. Hebraists subscribe to a strict, narrow-minded method of moral conduct and self-control which does not allow them to visualize a utopian future of belonging to an enlightened community. Moreover, Hellenism signifies the open-minded, spontaneous exploration of classical ideas and their application to contemporary society. And it may be that  Arnold believes that the ideals promulgated by such philosophers as Plato and Socrates can help resolve the moral and ethical problems resulting from the bitter conflict between society, politics, and religion in Victorian England. As well as Arnold's message is and he elects to employ the device of irony to reveal his philosophical points to his readers. Literary scholars have generally regarded Culture and Anarchy as a masterpiece of social criticism and also we see that to Victorian age issues in society and it became that to reality of England. Through irony, satire, and urbane humor, the author deftly entertains his readers with examples of educational travesties, he wittily exposes the enemies of reform and culture, and he beguiles his readers with self-deprecating humor in order to endear them to his ideas.

        In this essay, Arnold talks about to doing and thinking. It became that Hellenism and Hebraism of connected between each other and his general view about human beings is that they prefer to act rather than to think. Moreover, He rejects it because mankind is to err and he cannot always think right, but it comes seldom in the process of reasoning and meditation, or he is not rightly guided by the light of true reason. The nation follows the voice of its conscience and its best light, but it is not the light of true reason except darkness. In his opinion, the nation is energy or the capacity of doing but it is not intelligence or capacity of thinking rightly. Such energy that has the sense of obligation and duty must be related to the best light.
Arnold talks about the great idea to know and the great energy to act. Both are the most potent forces, and they should be in harmony by the light of reason. So, they are Hebraism and Hellenism. He insists on the balance of the both thought and action Hellenism and Hebraism. The final aim of Hellenism and Hebraism is the same as man's perfection and salvation. He further discusses that the supreme idea with Hellenism or the Greek Spirit is to see things as they really are, and the supreme idea of Hebraism or the Spirit of Bible is conduct and obedience. He points out that the Greek philosophy considers that the body and its desires are an impediment to right thinking, where as Hebraism considers that the body and its desires are an obstacle to right action.

·        Religious
In this essay Arnold tells that to his religious and also culture express to his ideas, views and thought then.  We see that the church is in itself a lesson towards culture and harmonious perfections. Christianity changed nothing in this essential bent of Hebraism to set doing above knowing. We know that Self−conquest, self−devotion, the following not our own individual will, but the will of God and it may be that obedience is the fundamental idea of this form, also all kind of his religious and never be of the discipline to which we have attached the general name of Hebraism. Only, as the old law and the network of prescriptions with which it enveloped human life were evidently a motive−power not driving and searching enough to produce the result aimed at patient continuance in well doing, self conquest, Christianity substituted for them boundless devotion to that inspiring and affecting pattern of self−conquest offered by Jesus Christ; and by the new motive−power, of which the essence was this, though the love and admiration of Christian churches have for centuries been employed in varying, amplifying, and adorning the plain description of it, Christianity, as St. Paul truly says, 'establishes the law,' and in the strength of the ampler power which she has thus supplied to fulfills it has accomplished the miracles. And also our Indian culture and may be that faith us. Indian culture and religious have to temple, church, derasir etc. And we see that Arnold against to concreteness’ and temple in our self and Arnold in himself also supernatural one to this essay.

·        Human nature
Arnold tells about that to Hellenism and Hebraism to main to human nature and it became human culture. Both arise out of the wants of human nature and address themselves to satisfying those wants. But their methods are so different; they lay stress on such different points and call into being by their respective disciplines such different activities, and moreover, that the face which human nature presents when it passes from the hands of one of them to those of the other is no longer the same. In this essay Arnold taking about that To get rid of one's ignorance, to see things as they are, and it may be that by seeing them as they are to see them in their beauty is the simple and attractive ideal which Hellenism holds out before human nature and from the simplicity and charm of this ideal Hellenism and humanlike in the hands of Hellenism is invested with a kind of aerial ease, clearness, and radiancy; they are full of what we call sweetness and light. Difficulties are kept out of view, and the beauty and rationales of the ideal have all our thought. Apparently it was the Hellenic conception of human nature which was unsound, for the world could not live by it and human nature is common to this essay perfection and class has to into within us.

   My interpretation of Arnold  Hellenism and Hebraism
In this essay into Arnold give to two kinds of culture and it became more than power and immortal ideas of reality. We see that to Old Testament it became Hebraism means ‘Hebru’ culture and than New Testament it became Hellenism means ‘Hellenic’ and we know that Arnold in his ideas are of immortal as illustrated by st. Paul the Christian saint and Plato the Greek philosopher . And also I think so that this culture to create society and different between to our culture and never to different to his religious, morality to ideas. And we see that to problem of human spirit is still unsolved in both Hellenism and Hebraism. In we know that Hellenisms is between intelligent and human nature free to whatever want to do that? And not any other rule and power to Hellenism people mind to follow to culture. And second Hebraism into power and morality at first and it became god is moral and we see that fear and obedient to any one not against to god. Also example to Hellenism that Eve in paradise lost is free to tree knowledge and whatever you want do that and she is human nature in her mind. In against and different to Hebru culture in example that serpent and Satan were every time follow to god rules and it has to one fear to god also. So that in my interpretation to this essay into I have this example to Eve and serpent to became Hellenism and Hebraism. Not at all to create his own culture and also most important to human nature has to culture and it may be free to this culture in here became came to anarchy.

·        Conclusion
So that essay ‘culture and anarchy’ into Hellenism and Hebraism as different to culture, it may be that human nature and religious of both. And we see that to people has to more than except to both culture but not that to over as power and clear intelligent has important, and also I have example to our caste of Indian and if became too different god rules, religious, culture and morality. And here Arnold in this essay Hellenism and Hebraism are different and god power to Christianity knowledge of church   and in Hellenic and Hebru culture has rule to people and human nature as most important and in this point to my ideas as to culture and free to knowledge. And also that to different between thinking and action to Hellenism and Hebraism. So that Hellenism and Hebraism have different into doing and thinking of human personality and we see that to both has against then.

DERRIDA

DERRIDA

 A philosophical or critical method which asserts that meanings, metaphysical constructs, and hierarchical oppositions are always rendered unstable by their dependence on ultimately arbitrary signifiers; also : an instance of the use of this method.

The practice and theory of Deconstruction was formulated in the 1960s by Jacques Derrida, a French writer born in Algeria.

Deconstruction is a critique of the relationship between text and meaning originated by the philosopher Jacques Derrida. Derrida's approach consisted in conducting readings of texts with an ear to what runs counter to the intended meaning or structural unity of a particular text. The purpose of deconstruction is to expose that the object of language.

 Example of deconstruction 

Movie

Inception (2010)
There’s a lot going on in Inception, including a running commentary on how movies work. Take the scene in which Leonardo DiCaprio walks Ellen Page through the way dream worlds get constructed, and how at the slightest hint of unbelievability, the dreamers turn on their makers. As with movies, the illusion must be thorough or run the risk of falling apart. Or look at the way the film’s dreams start to align with film genres, including a trip into the deepest part of the psyche, which resembles the compound of a Bond villain. Or take the fate of Cillian Murphy’s character, who’s slowly manipulated into making a moving breakthrough about his relationship with his father, one that leaves him sobbing and looking at his life differently than he had before. But really, it’s just a story he’s been told. He sees himself in it, but it’s just as external as the one writer-director Christopher Nolan is telling us as we watch his film.

A. Richard -Figurative language

A. Richard -Figurative language

 I. A.RICHARDS -FIGURATIVE LANGUAGE
              
                        
     I. A.. Richard four type of misunderstanding.
   1  Careless reading
   2  Prosaic reading
   3  Inappropriate metaphor
   4  Difference in meaning

 My favorite Gujarati Gazal is 'Pan lilu joyu ne tame yaad aavya '. So I would like to compare on of the Gazal with I. A. Richard 'S figurative language. In the difference meaning of word in Gazal.

 Here is some information about this Gazal..

 There is an example of music and paintings music can not be understood by only rhythms it needs lyrics and paintings can not be understood only by patterns need thoughts which literature provides to them .

   In the Gazal monsoon is the them. In which seasons. This poem like monsoon which is very romantic and the concept of new life comes form the seasons.

  Here I am sharing one my favorite Gujarati Gazal "Pan lilu joyu ne tame yaad aavya " as example
            

    
      પાન લીલું જોયું ને તમે યાદ આવ્યાં
જાણે મૌસમનો પહેલો વરસાદ ઝીલ્યો રામ
એક તરણું કોળ્યું ને તમે યાદ આવ્યાં

ક્યાંક પંખી ટહુક્યું ને તમે યાદ આવ્યાં
જાણે શ્રાવણના આભમાં ઉઘાડ થયો રામ
એક તારો ટમક્યો ને તમે યાદ આવ્યાં

જરા ગાગર છલકી ને તમે યાદ આવ્યાં
જાણે કાંઠા તોડે છે કોઇ મહેરામણ હો રામ
સહેજ ચાંદની છલકી ને તમે યાદ આવ્યાં

કોઇ ઠાલું મલક્યું ને તમે યાદ આવ્યાં
જાણે કાનુડાના મુખમાં બ્રહ્માંડ દીઠું રામ
કોઇ આંખે વળગ્યું ને તમે યાદ આવ્યાં

કોઇ આંગણે અટક્યું ને તમે યાદ આવ્યાં
જાણે પગરવની દુનિયામાં શોર થયો રામ
એક પગલું ઉપડ્યું ને તમે યાદ આવ્યાં

   
      In  the first line we found." Pan lilu joyu ne tame yaad  aavya ".In Gazal to see that green It reminded me of you and first mansoon rain drops as fell on me ,and  one grrass leaf blossomedand it reminded me of you. 
     
              

Assignment paper no - 5 Romentic Litereture.

To evaluate my Assignments
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Name : Mori Utsavi bharatbhai
Roll no : 33
Enrollment - 2069108420180037
M.a. Sem -2
Year-2017-2019
Email- id - utsavibarajput18@gmali.com
Paper no -5 (Romentic Litereture)
Submitted to- Department of English
Topic - irony and style in sense and sensibility.

   

◆Introduction of Jane Austen:

    Austen was born in Hampshire, the united kingdom December 16,1775

·       Died July  18, 1817

·       Genre : literature and fiction, romance

        Jane Austen works of romantic fiction, set among the landed gentry, earned her a place as one of the most widdly read writers in English literature.

     Her realism and biting social commentary commenting her historical importance among scholars and critics

     Austen’s works critique the novels of sensibility of the second half of the 18thcentury and are part of the transition to 19thcentury realism.

     Austen lived her entire life as part of a close knit family located on the lower fringes of the English landed gentry. She was educated primarily  by her father and older brother  as well as through her own reading .the steadfast support of her family was critical to her development as a professional writer. Her artistic apprenticeship lasted from her tanager years unfill she was about “35 years” old.

                                

                                             During this period, she experimented with various literary forms, including the fourth. from 1811 until 1816, with the release of sense and sensibility .pride and prejudice, Mansfield park and Emma she achieved success as a published writer ,she wrote two additional novels , Northanger abbey and persuasion, both  published posthumously in 1818, and began a third ,wich  was eventually titled sandstone , but did before completing it.

                                          Austen’s works critique the novels of sensibility of the second half of the 18th century and are part of the transition to 19th century realism. Her plots, though fundamentally comic, highlight the dependence of woman on marriage to secure social standing and economic security.

Her work brought her little personal fame and only a few positive reviews during her lifetime, but the publication in 1869 of her nephew’s memoir of Jane Austen introduce her to a become widely Accepted in academia as great English writer.

The second half of the 20th century saw a proliferation.
  “ Irony in sense and  sensibility”:

·       “she was a woman who spent her days in sitting , nicely dressed, on a safe doing some long piece of needlework of little use and no beauty , thinking more of her pug than her children ,but very indulgent to the latter when it did not put herself to inconvenience.
·       “Irony” is one of Austen’s most haricot eristic and most  discussed literary techniques. She contrast the plain meaning of a statement with  the comic, undermining the  meaning of the original to create ironic isjunctions .in her juvenile works , she relies upon satire , the article is about the genre. For the mythological creature, so satyr.
·       “Satire”  is  a  genre of literature, and sometimes graphic and performing arts.  In wich vices, fillies, abuses, and shortcoming are held up to ridicule, ideally with the intent of shaming individualism, corporations, government or society itself, into improvement. Although satire is usually meant to be humorous ,its  greater purpose is often constructive social criticism , using wit as a weapon and as a tool to draw attention to both particular and wider issues in society.
·       A feature of satire is strong irony or sarcasm in satire, irony is militant but parody , burlesque, exaggeration, juxtaposition  comparison , analogy , and double Dendrite are all frequently used in satirical speech and writing.

“she relies upon satire ,parody , and irony based on incongruity”
·       Here mature novels employ irony to foregrounds social hypocrisy .in particular Austen uses irony to critique the marriage market.
·       For example :
Perhaps the most famous example of irony in Austen is the opening  line of pride and prejudice.
‘it is a truth universally acknowledged , that a single man be in want of a wife”. A first glance the sentence is straightforward and plausible , but the plot of the novel contradicts it:

       It is women without fortunes who need husbands and seek them out. By the end of novel ,the  truth of the statement is acknowledge only by a single character ,mrs. Bennet a mother sacking husbands for her daughters , rather than the entire world . Austen irony goes beyond the sentence level. As Austen scholar Jan Fergus  explain , “the major structural device of ironies within the novel’s action wich ,like parallels and contrasts , challenge the reader’s  attention’s  and judgment  throughout, and in the end also engage his feelings.

*      Irony in Jan Austen’s novel :
*      The use of irony in Jane Austen’s novel:
   

           In the context of Austen, irony is best understood as a mode of expression  that  calls into question the way things  appear. As Marvin mud rick remark, ‘irony … consists and pretension, between   being and seeming , between …man  as he is and mass  as a kind of relief from man’s  involve met toward delusion and error’.

              Austen, however, used irony for satiric as well as comic effect. Often, then the ironic comments in her novels do more than exposed her character’s misguided  assumption ; irony helps her condom the social norms that helps foster such beliefs.

                  

               In Austen’s   novels appear in immamorable ways ,it is occur during a verbal exchange for instance, in sense and sensibility , this is how Elinor defends colonel Borden’s use  of a bland waistcoat .that he been only in a violent fevet, you would not have despised him half so much .

*    For example:
In Emma, the fact that Emma blithely idealized a portrait of Harriet smith underscores the fact that Emma imagines much that is not true about her Newfield.

Austen’s irony may also depend upon a disparity between what can be seen and what is invisible. Willoughby’s person and air are equal to what for the hero of a favorite’s story’; however, he behaves like a cad.

ü Austen uses irony as a means of moral and social satire.
ü Her sentences  ,while usually simple and direct , contra
ü Contain within them the basic contradictions with reveal profound insight into character and theme.
ü  This is most obvious in her blunt character sketches.
ü Her irony ranges from the gentle to the severe.
ü It is quite ironic scene of the novel.
ü Jane Austen has used irony to bring out the inward consciousness and hypocrisy of individuals and society of the time
ü These all aspects of ‘irony’ can be found in the novel sense and sensibility by Jane Austin. 

*    Austin’s portrayal of sir john Middleton and Lady Middleton is also ironic in the sense that Austen highlights their idle existence.

v   Austen’s writing style in sense and sensibility :

Jane Austen is considered to be one the world’s greatest novelist .the earliest novel, sense and sensibility, is the story two sister who must grow in opposite ways.

ü Austen distinct style is evident throughout
The novel .Austen creates a world that is indirect but realistic .the reader must evident throughout the novel.
*    Sense  and sensibility in writing style of Jane  Austen:

Parody and Burlesque
Irony
Conversation and language
Genre
Realism
Free indirect speech

Parody and Burlesque:
In Northanger Abbey, Austen parodies the Gothic literary style that was popular during the 1790s. Pride and Prejudice which begun as an Epistolary novel. Parody and Burlesques of popular 18th century genres, such as the sentimental novel.
Irony:
She contrasts the plain meaning of a statement with the comic, underling the meaning of the original to create ironic disjunction.
Free indirect speech:
Austen is most renewed for her development of free indirect speech, a technique pioneered by 18th century novelists Henry Fielding and Frances Burney.
Conversation and language:
“Then” , observed Elizabeth “you must comprehend a great deal in your idea of an accomplished woman”. Conversation contain many short sentences, question and answer pairs and rapid exchange between characters.
Realism:
The extent to wich Austen’s novels are realistic is vigorously debated by scholars. The lack of physical description in her novels lends them an air of unreality. In Austen novels, as page notes there is a conspicuous absence of words referring to physical perception the world of shape and coloure and sensuous response.
Genre:
Jane Austen famously wrote to her nephew James Edward Austen that his ‘strong, manly, spirited sketches full of aboriety and glow’ would not fit on the little bit of irony on which work with so fine a brush, as produce little effect affect after much labour.
Jane Austen distinctive quality different type of the use writing style in the novel. Literary style relies on a combination of parody, burlesque, irony, free indirect speech, and a degree of realism.
She uses to parody and burlesque for comic effect and to critique the portrayal of women in 18th century sentimental and Gothic novels. Austen extends her critique by highlighting social hypocrisy through irony. She often create an ironic tone through free indirect speech critics believe Austen’s characters have psychological depth informs their views regarding her realism. While some scholars argue that Austen fails into a tradition of realism because of her finally executed portrayal of a individual character and her emphasis on “everyday” others connected that her characters lack a depth of feeling compared with earlier works and that is combined with Austen polemical tone, place her outside the realist tradition.
      
                      ◆=◆=◆=◆http://dilipbarad.blogspot.in/2015/10/rubric-for-evaluation-of-written.html

Contemporary Debates and Mario Vargos Llosa.

Contemporary Debates and Mario Vargos Llosa.

Hello readers,

              This blog is a part of our thinking activity on Contemporary Debates and Mario Vargos Llosa.

  mario Vargas LIosa was a Peruvian writer, Politician, Journalist, Essayist and College Professor. And he belongs to Latin America. He was the Nobel prize also in Literature from his cartography of structures of power  and his trenchant images of the individual's resistance revolt and defeat.

He was popular with his various opinion on the issues like...

Vargas Llosa's style encompasses historical material as well as his own personal experiences.

For example, in his first novel, The Time of the Hero, his own experiences at the Leoncio Prado military school informed his depiction of the corrupt social institution which mocked the moral standards it was supposed to uphold.

Furthermore, the corruption of the book's school is a reflection of the corruption of Peruvian society at the time the novel was written.

Vargas Llosa frequently uses his writing to challenge the inadequacies of society, such as demoralization and oppression by those in political power towards those who challenge this power. One of the main themes he has explored in his writing is the individual's struggle for freedom within an oppressive reality.

For example, his two-volume novel Conversation in the Cathedral is based on the tyrannical dictatorship of Peruvian President.

The protagonist, Santiago, rebels against the suffocating dictatorship by participating in the subversive activities of leftist political groups. In addition to themes such as corruption and oppression, Vargas Llosa's second novel, The Green House, explores "a denunciation of Peru's basic institutions", dealing with issues of abuse and exploitation of the workers in the brothel by corrupt military officers.

Political correctness is the enemy of freedom because it rejects honesty and authenticity. We have to tackle it as the distortion of the truth.

1. Ideology

2. Nationalisms

3.populism

4.intellectuals

5. Political correctness

              I do agree with his(Mario Vargos) second point as he mentioned that, “Nationalism involves a kind of Racism and Racism inevitably leads to Violence and the Suppression of Freedom”. 'Nationalism' and 'Populism':~  Language and Literature that makes effect on nation. Number people that makes political issues and also rigorous events that intentionally for 'populism'. This is that invisible truth that creates national controversies.....

Nationalism

 

             Here Losa speakers about nationalism a kind of racism . He says , that , if we believe superior over others .For example ....... In our country power strictly follow nationalism . Nationalism is good but you can't ask ask anyone to follow the ideology of nation because that is oppose to freedom because like national anthem in cinema's and so on. ........

Technology

               Technology is a part of our body now a days threw which we can easyly live  in digital era. But , now it's applying by fake news and post truth . Now a days technology used to serve lies and enemy of freedom.

Thank you.

Thinking activity on Cultural Studies and Post colonialism

Online discussion.

April 06, 2018

Thinking activity on Cultural Studies and Post colonialism

o we here my interpretation, according to my understanding.

A documentary about honor killings in Pakistan won an Oscar on Sunday night having already spurred the country’s government toward toughening laws to protect women. 

"A Girl in the River” is the story of Saba Qaiser, whose father and uncle shot her in the face, stuffed her in a bag and tossed her in a river in rural Punjab province, after she ran away to marry the man she loved. Ms. Qaiser, 18 years old at the time, survived.

The film was the second Oscar for Pakistani producer and director Sharmeen Obaid-Chinoy and won the award for best short documentar.

I am agree with this  here Sharmeen's point also same Sharmeen's first Oscar award winning documentary film, A Girl in the River, portrayed a negative side of India. Has been much celebrated at home. Deservedly  so. In this documentary, she has presented reality of women's life that hwomen in Pakistan are suffering by the honour killing which may bring change in women's life after showing the true picture of it. Once reality came out, we can change the bad situation but if it is still hidden we can't do anything as there are so many crimes happen with women daily which can't reported in news or by any documentary like . 

 Thank you.

Structuralism and Literary Criticism

Structuralism and Literary Criticism

As a part of our study, we learn STRUCTURALISM and how structuralist do their criticism. 

     Almost all literary theorists since Aristotle have emphasized the importance of structure. ''Structuralist criticism" now designated the practice of critics who analyze literature on the explicite model of structuralist linguistics. This mode of criticism is a part of a large movement, French Structuralism in the 1950s by the cultural anthripologist Claude Levi-Strauss, who analyzed, on Saussure's liguistic model. 

     Saussure has said about linguistic structure in which he has emphasized on three terms: 

1. Parole: Which is individual utterence, a word. Every person uses different words as per their birth place for the word "Water" 

2. Langue: Which is perticular meaning of a perticular word. 

3. Language: So many Langue combinely made a Language. A meaningful way of communication. 

     As a structuralist on should identify these three things first. Here I am trying to analyze on movie. 

Northrop Frye: The Archetypes of Literature

Northrop Frye: The Archetypes of Literature.

 

1. What is Archetypal Criticism? What does the archetypal critic do?

 

In literary criticism the term Archetype is used to show the recurrent narratives, designs, pattern of action, character types, themes and images which can be seen in wide variety of other literary works as well as in myths, dreams and even social rituals. And after much time reoccurred in works they become universal forms of pattern and symbols. And thus when the attentive reader read it, he finds that pattern. The archetypal critic tries to find this pattern, symbols and myths in present literary works.

 

2. What is Frye trying prove by giving an analogy of ' Physics to Nature'and   Criticism to Literature?

 

  Northrop Frye trying proves by giving an analogy of ‘Physics to Nature’ and ‘Criticism to Literature’. While, Physics is an organized body of knowledge about nature, and a student of it says that he is learning physics, not that he is learning nature. Art, like nature, is the subject of a systematic study, and the study itself, which is criticism. It is therefore impossible to “learn literature”: one learns about it in a certain way, but what one learns, transitively, is the criticism of literature. So, while no one expects literature it self to behave like a science, there is surely no reason why criticism, as a systematic and organized study, should not be, at least partly, a science.

 

 3. Share your views of Criticism as an organised body of knowledge. Mention relation of literature with history and philosophy.

 

 We can say that, criticism as an organized body of knowledge and we finds that literature is the central division of the “humanities,” flanked on one side by history and on the other by philosophy. The systematic mental organization of the subject, the student has to turn to the conceptual framework of the historian for events, and to that of the philosopher for ideas.

 

4. Briefly explain inductive method with illustration of Shakespeare's Hamlet's Grave Digger's scene.

 

 We can say that, Inductive method with illustration of Shakespeare’s Hamlet’s Grave Digger’s Scene. ‘Hamlet’ is a play. In particular, the literary anthropologist who chases the source of the Hamlet legend from the pre-Shakespeare play to Saxo, and from Saxo to nature –myths, is not running away from Shakespeare: he is drawing closer to the archetypal from which Shakespeare

.

5. Briefly explain deductive method with reference to an analogy to Music, Painting, rhythm and pattern. Give examples of the outcome of deductive method. 

 

As we know that, Deductive method it means from general to particular. The music, painting, rhythm and pattern there are all arts may be conceived both temporally and spatially. The criticism of painting that is why we are apt to think of narrative as a sequential representation of vents in an outside “life” and of meaning as a reflection of some external “idea”. Similarly an image is not merely a verbal replica of an external object, but any unit of a verbal structure seen as part of a total pattern or rhythm.

 

6. Refer to the Indian seasonal grid (below). If you can, please read small Gujarati or Hindi or English poem from the archetypal approach and apply Indian seasonal grid in the interpretation.

 

 Here, I applied Indian seasonal grid in this poem…….
“Vasantni vasaliyo vagi,
Tahuki uthe paan,
Lachak lahere jumi nache ,
Akhe akhu gaam.”
In India we can find, spring is a season of Happiness. When spring come at that time all person fill Happiness. Same as in literature also gives as pleasure and moral. So in this poem we understand very well…..

Mathew Arnold : Thinking activity

Mathew Arnold : Thinking activity

Q: 1 write about the one idea of Mathew Arnold which you find interesting and relevant in our time.

Ans :
         'A study of poetry ' is a critical essay by Mathew Arnold.  In this he criticises upon Art of poetry and Art of Criticism. He gives definition of poetry that " Poetry is the criticism of life " . It is true that poet is critic of life and after criticising the life he became a poet .  So this thing is also relevant and true that poet is critic of life .

         The idea of "Disinteresteness" was given by Mathew Arnold.This idea is right in present time.Mathew Arnold was very good poet and also good critic. Detachment is very required for critic to pass his judgment strongly and with loud voice.The method of comparative studies of different literature and also we have found in our relevant time many things idea and our life.

Q: 2.  Write about one idea of Matthew Arnold which you found out-of-date and irrelevant in our times.

Mathew Arnold believe in Touchstone method, Art for life sake,and also Truth and Seriousness of matterAnd this method is not appropriate in our times and in this method reader aware about the fallacy in judgment view of personal fallacy and historical fallacy.

Thank you...

T.S. Eliot -Thinking Activity

Thinking Activity On T.S.Eliot : Traditional and Individual Tale

5, april ,2018

Q.1  How would you like to explain Eliot's concept of tradition ? Do you agree with it ? 

Ans.  Yeas i agree with the Eliot concept of tradition. Tradition is not only slavish imitation of the past but it was the relation of the past and the present. Eliot sees tradition in very positive way and says that we have to learn positive and good things from tradition and also see negative things and not repeat this negative and bad  things in present and that way we can make better present.

             " We have to learn tradition but not blindly follow tradition". 

Q.2  What do you understand by historical sense ? ( Use these quotes to explain your understanding) 

Ans.  "The Historical sense involves a perception not only of the pastness of past but of its presence" 

It mean tradition is not dead but something is live. it give idea about good or bad things and it help to make better present with positive idea. 

"  The historical sense,which is timeless as well as of temporal and of the timeless and temporal together is what makes writer tradition" 

It means history has not any past or present. The historical sense writer anables to write not only with his own generation in mind but from past to present with continuity of tradition. sense of timeless and temporal, many historical character is alive in our life even we never see them, for example ' Radha and Krishna'. 

Q.3  What is the relationship between "tradition" and "individual talent" according to the poet T.S.Eliot. 

Ans.  According to T.S.Eliot tradition obtain with an effort and inheret. there is not slavish imitation of tradition. A poet or writer have to developed great judgement from  traditional writer  and shift of greatness. His significance, his appreciation is the appreciation of his relation to the dead poets and artiste. 

Q.4  Explain "Some can absorb knowledge the more tardy must sweat for it shakespeare acquire more essential history from plutarch  than most men could from the whole British museum". 

Ans.  Eliot demands first wide reading but here give example of shakespear, we see in history there is no mention that shakespear went to any school and university and he was not known other language than English but he has wide knowledge of entire cross section of character,theme,ideas in his work. shakespear seemed to absorbed his age and became great writer. 

Q.5  Explain "Honest criticism and sensitive appreciation is direct not upon poet but upon poetry".

Ans.  In this critic should appreciate the work without any personal intention. while reading poetry there has no any effect of poet. criticize poetry without any bias or prejudice, if we like any work its because of quality of work not because of poet. 

 Q.6 How would you like to explain Eliot's theory of Depersonalization ? you can explain with the help of chemical reaction in presence of catayst agent platinum. 
                        
Ans.  Eliot trys to bring the elements of science into humanities.The combination of sulphuric acid, takes place only if the platinum is present. platinum played very important role in this process so this also connect with poet's mind. Eliot says that emotion and feelings are the elements which entering the presence of poet's mind and acting as catalyst. 

Q.7 Explain "Poetry is not a turning losse of emotions but an escape from emotion it is not the expression of personality but an escape from personality". 

Ans.  It means that poet write poetry to escape from his emotions of his personal life and create something different. when we read any poetry and think same way about poet so it is not right way. for example, we like any hero in movie but in personal life he was so different in same way poet is different and impersonal from his personality. 

Q.8 Write two points on which one can write critique on 'T.S.Eliot as critic'. 
Ans.  " Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry". 

"Poetry is not turning to losse of emotion but an escape from emotion it is not the expression or personality but escape from personality". 

Thank You...