Monday, 20 November 2017

Coleridge

S T Coleridge gives his views to differentiate poem from prose in chapter 14 of biographialiteraria.
            he says that the difference between poem and prose must consist in the different object proposed. Some poems are made in metre or rhyme, but this is done only for remembering it. Coleridge says that the  poem is not only differentiate by using metre or rhyme with prose, but it would gives pleasure. The immediate object of poem is to give pleasure not the truth. On the other hand the immediate object of prose is to give the truth. He again differentiate poem from those prose whose objective is also to please the readers by saying that a poem must be a legitimate poem, means each and every single word of poem should explain and support the entire part of poem. There should be harmonious whole in poem.
In legitimate poem " the reader should be carried forward, not merely or chiefly by the mechanical impulse of curiosity or by the pleasurable activity of mind exited by the abstractions of the journey itself".
  
Helpe then, O holy Virgin chiefe of nine,                Thy weaker Novice to performe thy will;
  Lay forth out of thine everlasting scryne
  The antique rolles, which there lye hidden still,
  Of Faerie knights[*] and fairest Tanaquill
  Whom that most noble Briton Prince[*] so long                   
  Sought through the world, and suffered so much ill,
  That I must rue his undeserved wrong:
O helpe thou my weake wit, and sharpen my dull tong.
n the above canto Queen Elizabeth ask for help to the holly knight. She wants to sent him into the forest where there is a devil. She wants that knight to fight with the devil and killed him. In this lines of the poem there is not only the curiosity of the reader and restless desire to arrive at the final solution that what should this holy knight do, whether he get success in killing the demon in the forest or not, but also the there arise the pleasurable activity of the mind excited by the abstractions of the journey itself.


Poem and Poetry-


Coleridge not only distinguished prose with poems but poetry with poems also. He says that the poetry is a wider than poem, it brings the whole soul of the man. He differentiate poetry with poetic genius. He further explain that poetry of the highest kind may exist without metre and even without the contradistinguishing object of a poem.
"poetry for coleridge is an activity of the poets mind and a poem is merely one of its expression"
the best example which supports this definition of poetry is of William butler yeats's sailing to Byzantium'


An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.


In the above stanza of the poetry the poet describes the present situation of his country. He says that there is corruption everywhere. Thus he wants to sail to the holy city Byzantium. In this poetry the poet covers much wider topics and it is successively presents the activity of the poets mind


Robinson Crusoe

���� introduction : 
           Robinson Crusoe is 18th century novel by Daniel Defoe . it was.  published in 1719 . it is an adventure story of character Robinson Crusoe . it was among one of the most widely punished books . we seen many social issues in this novel . 
            The character of this novel are Robinson Crusoe , Friday , Xury , The Portuguese captain , The Spaniard .
���� Colonial discourse in Robinson Crusoe :
               England was for a long while , by far the most powerful and widely spread colonial empire in the world Portugal was , at once time , a dominant colonial force in Europe , as was Spain in defo's Robinson Crusoe , colonialism is clearly apparent .
                Crusoe gives a Christian name ' Friday ' who was nigro people of that island . Crusoe starts relationship between him and Friday as a ' MASTER - SLAVE ' and Crusoe called Friday as a ' MY MAN ' . Crusoe teach Friday to his English language . 
               Crusoe tells Friday to wear clothes but Friday was uncomfortable in wearing clothes . Crusoe started teaching his own Christian religion to Friday Crusoe tells him that his god is superior than his god .
���� How colonialism works in our life :
          After independence we have so much changes are held . the some celebration of birthday and engagements imposed by Britishers . colonialism of food and clothes are raised with trend in India and clothes are raised with trend in India which are most followed by people .
���� The movie is different than the original text in so many ways : 
1: Movie focus only on one aspect , there are many other things like repenting dis obeying his parents , the whole life of Crusoe that is not presenter in film .
2: in text when Crusoe trying to imposed his god , Friday get convinced easily without any argument , but in movie reflects the Friday doesn't consider to him and then he began argue with him .
3: in the novel when Crusoe tells Friday to go back to his own land , Friday started apologising he feels that he had done something wrong that's why his master did not need him any more . in the film there is total opposite situation Crusoe needs Friday's company , his friendship .
���� Anti - Colonialism elements :
               The change in the film shows anti-colonial element of nature . Crusoe wants to become Friday's friend . the chemistry of their relation is shown in the film .
           We can see strong bond between Crusoe and Friday . The original novel is written in 1719 while the movie is in 1997 and changing of time is reason that movie show anti - colonial elements .


        Thank You .


Post truth

When we talk about the POST-TRUTH its hide real situation and it is not presents the reality of the society .The people also live in some kind of   assumption  that is is  truth. The truth means something exist in the society but the POST-TRUTH is retelling the truth which canbe truth or not. We see in the media tht how they hide the reality of people so people is live in some kind of ignorance but in the real life but it is not truth.
              Truth is always about that exist or we can say the facts which are there. On the other hand post truth is ‘‘created truth’. the famous  phrase about truth is ‘’universal truth’’. But POST-TRUTH is an individual truth , which one believes and when that person convince others to accept the same belief by force or in a very polite way, and if people accept that as something  ‘real’ or ‘true’, it is not.
“POST- TRUTH” era is an era which changes the perception of truth by implying that “truth is not one” but it differs person to person. The  term is related with the idea of ‘many truths’ and all want their truths should be accepted by society.in the era of POST-TRUTH all answers are true because all have different opinions with their own right side.
             Example can be the molestation of girls. There is a problem in the psyche of those males who molest girls. But some political leaders and other citizens have implied that the reason is short cloths of girls for this kind of molestation. This was repeated  by most of people in india and that’s why it was widely accepted also.
The term ‘’post truth’’ is designed to elicit a sense of moral superiority in those who still support the globalist agenda. It is consistent with the elitist character of the globalist,whose rhetorical sr ategy has been to praise its supporters as ‘enligtend’ and condemn its opponents as stupid and evil.

Wordsworth

What is the basic difference between the poetic creed of 'Classicism' and 'Romanticism'?
Romanticism and classicism they are two different ideologies or 'school of thought'. And given idea about dominance of certain things. 


Classicism:in classicism aesthetic attitude and principals manifested in the art architecture and literature if ancient Greece and Rome and characterized by emphasis on form simplicity proportion and restraint. Romanticism: Romanticism was an artistic literary musical and intellectual movement that originated in Europe towards the end of 18th century. 


Difference between classicism and romanticism is that classicism put out restrictions,whereas romanticism believes in liberty. Classicism presents urban life , whereas romanticism presents rural life. classicism believe on subjectivity and romanticism believes in objectivity. classicism is about intellectual and romanticism is about imagination .


➤ Why does Wordsworth say 'What' is poet? rather than Who is poet?


A poet is man speaking to men, a man, it is true, endued with more lively sensibility, more enthusiasm and tenderness,


Who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind. 


Wordsworth has greater knowledge of human nature through the emotions like observation, heightened. He also uses platonic, more comprehensive soul. 


➤  What is poetic diction? Which sort of poetic diction is suggested by Wordsworth in his Preface?


Poetic diction means 'Choice of Word'- unique style of authors that he or she chooses his or her own language, which is understood by rustic people; who closure to reality and more genuineness the language should be natural not ornamental. Wordsworth's argument is that he is interested in writing poems in lyrical ballads. And the language "as really used by men". Wordsworth also answers to Coleridge that he finds humble and rustic life, a men who closer to reality or more genuineness. Wordsworth preferred rustic men rather than city dwells.


➤ What is poetry?


 Wordsworth's  definition of poetry  :
    " Poetry is the spontaneous overflow of powerful feelings it takes origin from emotion recollected in tranquility. "


   Wordsworth portrays his idea about poetry in this definition that poet is the most comprehensive soul and far better human being than ordinary people. so, the poet is the teacher and through the medium of of poetry he imparts moral lessons for the betterment of human life.


➤  Discuss 'Daffodils - I wandered lonely as a cloud' with reference to Wordsworth's poetic creed.
  'Daffodils' is the best example of Wordsworth's definition of poetry “poetry is a spontaneous overflow of a powerful feeling, recollected in tranquility". We all see the beauty of nature by our different point of views  but we cannot recollect and express that delight in tranquility.  so, we can call Wordsworth as nature poet, by recalling his memory and sensibility and by observing the nature, Wordsworth wrote his poetry. 


Dryden

Dryden's Thinking Activity


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


first see both the definition,
Aristotle's definition


"Tragedy, then is an art of imitation of an certain that is serious, complete and of a certain magnitude; in the language embellished with each kind of artistic ornament. The several kinds being found in separate parts of the play; in the form of action not of narrative; through pity and fear effecting the proper purgation catharsis of these and no emotions."


Dryden's definition


"A play ought to be a just and lively image of human nature, representing its passion and humors and the changes of fortune to which it is subjected, for the delight and instruction of mankind"


We can see diffrence from the very starting of the definition, Aristotle starts with word "Tragedy" while wordsworth starts with "The play" which shows that Aristotle only give definition of Tragedies while wordsworth speaks about The Play in general. In Aristotle's definition there is words used like "pity", "fear", "catharsis" this all words shows inaway a delight through sad emotions while wordsworth's definition talk about "Delight" which includes all kind of delight. These are some visible difference in both definition.


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.


I would rather prefer to go with the moderns, yes ancients are important but it doesn't mean that we stuck to them if we will stuck at one point we will die we have to move on and this is the reason I will go with moderns because they always add something new to the work of ancients and yes moderns are sit on the back of ancients and they can see far because inaway they are at height.


Aristotle's poetics

 Q.1-  How far do you agree with Plato’s objection to freedom of expression and artistic liberty enjoyed by creative writers? Name the texts (novels, plays, poems, movies, TV soaps etc which can be rightfully objected and banned with reference to Plato’s objections) 


(1-A).I agree Plato's objection to freedom of expression is true because some kind of serials ,advertisement and literary text is not good aspect for examples are
➨Ahaliya-indra, kunti's children and many other's things
.
➨Sony tv serial "Bharat ka veer putar 'Maharana pratap" .
In real life Maharana Pratap and Akbar never came face to face with each other. But here the two have been fighting each other ever since they were kid. Like every other serial, this serial Forget history, the serial just like any other contemporary TV show is full of saas bahu saajish and melodrama.
➨In the tragedy "Othello" by William Shakespeare During the drama the audience finds itself in concepts of love,hate,jealousy.Othello killed his wife.
➨Advertisements of "Domino's pizza" and other advertisements .97% of all food advertised to all food advertised to make children's unhealthy levels of fat, sugar,or salt.
So I agree with Plato's objection.


Q.2.  With reference to the literary texts you have studied during B.A. programme, write brief note on the texts which followed Aristotelian literary tradition (i.e. his concept of tragedy, catharsis, tragic hero with hamartia etc)
 
(2-A).Aristotle defines tragedy as, “the imitation of an action that is serious and also has moving magnitude, complete in itself; in appropriate and pleasurable language… in a dramatic rather than narrative form; with incidents arousing pity and fear, where with to accomplish a catharsis of emotions”, . These are unique qualities which can be in Othello. The story starting with the main character and protagonist Othello, an African general for the Venice army. Othello has just married his wife Desdemona. Throughout the play Othello is challenged by Iago who works under him. Iago provides the drama; he represents the antagonist.Nothing good becomes of this play. By the end of this tragedy, both Othello and Desdemona are dead.


Q.3.  With reference to the literary texts you have studies during B.A. programme, write brief note on the texts which did NOT follow Aristotelian literary tradition. (i.e. his concept of tragedy, catharsis, tragic hero with hamartia etc.)
 
(3-A.) Harry Ape as a modern tragedy does not follow the theory of Aristotle. Yank the hero has no hamartia as he is not a man of highrank . there are the action not external but internal.


Q.4.  Have you studied any tragedies during B.A. programme? Who was/were the tragic protagonist/s in those tragedies? What was their ‘hamartia’?
 
(4-A). Othello by william shakespeare tragedy I study in my B.A pogramme.follow necessary rules and regulations proposed bAristotle's definition of tragic hero othello follow this definition and not only othello reprsent a hero as a general of an army ,he is the main character of the play.he draws compassion and sympathy from the audience making him the tragic hero.


5. Did the ‘Plot’ of those tragedies follow necessary rules and regulations proposed by Aristotle? (Like chain of cause and effect, principle of probability and necessity, harmonious arrangement of incidents, complete, certain magnitude, unity of action etc)
(5-A)."othello" follow necessary rules and regulations proposed by Aristotle


Hamlet

1.How faithful is the movie to the original play?
√…Movie is quite faithful to the play, because it has followed the text well, but it has also "a creative  touch"  by the director, and in scenes like the conversation between ghost and Hamlet, Hamlet's rude behavior  towards Ophelia, we can notice it is very well directed and performed, it can express emotions as well as by imagination while reading.


2.After watching the movie, have your perception about play, characters or situations changed?
√…At some point it has changed my perception about the play. While reading we can imagine the different kind of situations and scenes of the play, but after watching the movie we come to know about how the dialogues were delivered, and after observing  the expressions, we conclude the interpretation more effectively.  It has given a perfect support to the play to get proper meaning.


3.Do you feel ‘aesthetic delight’ while watching the movie? If yes, exactly when did it happen? If no, can you explain with reasons?
√…Yes,this is tragic play, though I felt 'aesthetic delight' while i have watched some comic scenes of Hamlet and when there is a scene of Ophelia and Hamlet when they were happy, we can also feel delight when Hamlet recalls his memories with his father. Aesthetic delight can be found in tragic scene also, when Hamlet saw the ghost of his father and had a talk with him.


4.Do you feel ‘catharsis’ while or after watching movie? If yes, exactly when did it happen? If no, can you explain with reasons?
√…Yes, I felt 'catharsis' in such scenes like:  when Hamlet come to know about his father's murder by  his uncle and mother, when Hamlet is frustrated and he behaves cruelly with Ophelia, In the scene in which Ophelia had gone mad and his brother came, when Hamlet dies.


5.Does screening of movie help you in better understanding of the play?
√…Yes it is very much useful to get the play properly and in right way. At one point it can power up our imagination to get the setting, situations and the mind set of character by his expression.  Audio visuals can effect more than 'Only reading', as we can remember easily what we have seen than what we have read.


6.Was there any particular scene or moment in the movie that you will cherish lifetime?
√…There are many scenes in the play which are very beautifully directed, but the scene in which Hamlet follows the ghost and the whole conversation is beautifully directed, there is various emotions mingled together, there is delight, terror, revenge, shock and the feeling of hatred in the eyes of Hamlet, and the expression of the ghost and his effective voice, his tone is so effective.


7.If you are director, what changes would you like to make in the remaking of movie on Shakespeare’s ‘Hamlet’?
√…I feel that there is no need any changes in movie. Because movie is wonderfully presented by Kenneth Branagh. Movie is also faithful to play so I feel that there is no need any changes.


8.In the beginning of the movie, camera rolls over the statue of King Hamlet out side the Elsinore castle. The movie ends with the similar sequence wherein the statue of the King Hamlet is hammered down to the dust. What sort of symbolism do you read in this?
√…Symbolism is one of the narrative technique. Director use very well this technique in his movie. The first and the last scene of the kings statue outside the castle symbolizes the ' circle of life'. Power never remains stagnant. It keeps on changing. Downfall is necessary to know the real value of power.


9.While studying the play through movie, which approach do you find more applicable to the play? Why? Give reasons with illustrations.
√…We can observe many approaches in one on the other way. I feel that psychological and formalist approach is more applicable. In such scenes of play Hamlet is with his mother and when he is going to take such decision towards his revenge with Claudius, many times he finds himself helpless. In formalist approach, all about trapping each other.


10.Which of the above mentioned approaches (in Pre-viewing task) appeals you more than other?Why? Give reasons.
√…In the play, formalist approach is appeals me more than any other approach. There is vast difference between "seeming" and "being" in all the major characters like Hamlet, Claudius and Gertrude. All are pretend as they are right and good but all has some kind of devilish intention. There is a question of " knowability" of characters in play.

Gulliver's Travels

Gulliver's travels an adventure story. It involves several voyages of LEMUEL GULLIVER, a ship's surgeon. There are total four voyages that is a voyage to LILIPUTBROBDINGNAG and HOUYHNHNMS. Gulliver after each adventure is somehow able to return to his home in England, where he recovers from those unusual experiences and then sets out again on a new voyage. 
           In the third voyage there is an element of colonialism. In this voyage Gulliver finds a floating island that is Laputa. Gulliver meets several inhabitants including the king. All are pre-occupied with things associated with mathematics and music. The king of Laputa island is ruling over Balnibarbi, which is an island below it. How can one rule over other place which is far away, without knowing the cause and sufferings of people. This is what colonialism shows that is full control over another country, occupying it with settlers and exploiting it economically.                                                                  In the last voyage of Houyhnhnms elements of colonialism is developed to an extent. The Houyhnhnms are ruling over Yahoos. The civilized rules over uncivilized. Houyhnhnms the horses portrays Yahoos as uncivilized. They interpreted with their own thinking without getting other voice from Yahoos. So Houyhnhnms are colonizer, they make their own rule. Anything which is evil is Yahoo for them. There is an unequal relationship between the colonial power and the colony that is Yahoos and Houyhnhnms. Houyhnhnms are powerful and they are ruling over weaker Yahoos. Yahoos are considered as bad creature who engage in violence, fights with each other, lacks moral values. But Houyhnhnms are superior in there own world, they have all good qualities and the word 'bad' is only used for Yahoos.  




Doctor fastus

Sunday, 19 November 2017


Doctor Faustus


Q.1  The play directed by matthew dunster for globe theater ends with this scene (see the image of lucifer.) what does it signify ?

   Ans.                    In the last scene of play Dr. Faustus caught alone in his study waiting for the
devils to come and take his soul. we can see the wide wings of lucifer it signify power of evil and in the and evil wins it shows his victory.

Q.2  Is God present in the play ? if Yes, where and how? if No, why ?

Ans.                     Yes, God has present in the play as good angels and friend and as old man. God tries to help faustus one or the other way so faustus think himself powerful. we are find in this play god is present in the mind of Dr. faustus. and also shows in this play when we doing something wrong it's against to god.

Q.3  What reading and interpretation can be given to this image (see the image of  daedalus and lcarus) with reference to central theme of the play. Dr. Faustus?

Ans.                         This picture of daedalus and lcurus is Greek mythology. Daedalus was father of Lcarus. lcarus ignores his father's warning and he was destroyed and fall down so he was responsible for his own fall. similarly in this play Dr. Faustus ignored warning of god and his own inner voice he ignored everything for become more powerful so he was responsible to end of his life.

at 

Saturday, 18 November 2017

Kanthapura



Raja Rao’s first novel Kanthapura (1938) is the story of a village in south India named Kanthapura. The novel is narrated in the form of a ‘sthalapurana’ by an old woman of the village, Achakka. Kanthapura is a traditional caste ridden Indian village which is away from all modern ways of living. Dominant castes like Brahmins are privileged to get the best region of the village whereas Sudras, Pariahs are marginalized. The village is believed to have protected by a local deity called Kenchamma. Though casteist,  the village has got a long nourished traditions of festivals in which all castes interact and the villagers are united. 

  Kanthapura is his first novel ,it is a classic of the Gandhian movement,a work in which the Gandhian struggle for independence and its impact on the Indian masses finds;its best and fullest expression. It is also great village novel,a novel with,"the various facets of the village life,with its socioeconomic divisions, superstitions, religious and caste-prejudices, blind faith in Gods and Goddesses, Poverty ,petty ,jealousies,dirty lanes , shady gardens ,snake-infested  forests, dirty pools, hills , rivers and changing seasons."Kanthapura is a microcosm of the macrocosm; it is Indian in miniature. The novelist's style of narration makes it a Gandhi Puran or a Gandhi epic.The novelist does not write ,"Babu English "but Indian English ,an English eminently suited for the expression of Indian (or presant)sensibility.He has tried to adapt his English style to the movement of a Sanskrit sentence.His style has the flavour of Kannada speech,and its rhythms are almost incantatory, the rhythms of Sanskrit, a language which is the source of Indian languages. This evolution of a suitable style for the expression of Indian Sensibility is Raja Rao's most significant contribution to the Indo-Anglian fiction.
                         Another of his important contributions is the fusion of a Western art form with an Indian theme and the Indian way of treating it.He has followed the oral Indian tradition of  story-telling and so the narration is digressive and episodic. As the old narrator's stream of reminiscence proceeds, there is a free mingling of fact and fiction,poetry and reality, the perennial and the present, and "This makes 'Kanthapura ' a distinctive novel, almost a new species of fiction."The use of the Eliotian mythical -technique enables the novelist to exalt Gandhi as Rama,to see Bharat Mata as Sita and the Redman as Ratan. This mingling of Gods and men , of myth and legend with contemporary reality, is true to the Indian tradition of story-telling.This makes Kanthapura a Gandhian epic,"a veritable Grammar of the Gandhi myth-the myth that is but a translation of reality.It will always have a central place in Gandhian Literature. "(Iyengar )
                      Kanthapura is a major achievement, but Raja Rao himself considered it confused and immature.Kanthapura was published in 1938 , and after that there was a long silence till 1960 , when he come out with his Serpent and the Rope.The art of Raja Rao shows a steady progression from Kanthapura to The Cat and Shakespeare. He is constantly changing, growing and becoming different. There is constant evolution of his art and technique.
                                              
                       In Kanthapura the narrator is an old grandmother,and her stream of memory forms the narration of the novel .
Her narration is gossipy and chatty.She is garrulous and there are numerous digressions and episodes. There is much that is superfluous.It is in the traditional Indian style of oral story-telling.

♢♢ A Political As well as Social Background of novel:-
                  Kanthapura is not only a fine work of art but it also aims at rousing the conscience of the country and even of the world at large,at the ills and injustices which plagued Indian life in 1930.Though the novel depicts the freedom movement led by Mahatma Gandhi as the main theme,it also aims at social reform.It is so because the Gandhian movement didn't aim at Swaraj itself could be attained after certain social reforms and  social awakening. These social reforms included freedom from economic exploitation by the West by boycotting foreign goods and by spinning yarn and wearing Khadi made from it,also eradication of untouchability and the rigidites of caste system and removal of illiteracy and ignorance and superstition.At the end of the novel there is also a mention that Raja Rao through his hero Moorthy,doesn't regard Gandhism as the last word and that he believes that the basic ill in India was something more fundamental than conceived by Gandhiji.i.e.,inequality.
    □ The Freedom movement
    □ British Rule
    □ The Caste system
    □ Social Awakening

The Freedom Movement :-
                         In Kanthapura, we have more than a glimpses of the Freedom movement in India under the leadership of Mahatma Gandhi. No other book of this scope and size on this theme pictures so vividly,truthfully and touchingly the story of the resurgence of India under Gandhi's leadership. We see how the name of Gandhi acts like a charm in every part of India,and how the people in remote and far-away Kanthapura wait with baited breath and observe a fast in order to show their solidarity with Mahatma Gandhi as he sets out on his historic Dandi March.In cities as well as villages there are volunteers group which organise the people, distribute charkhas and yarn, and even form an ambulance corps to take care of those who are wounded in the firing and lathi charges on satyagrahis. Moorthy is a typical example of the thousands of young man who were fired with patriotic zeal by Gandhi's inspiration and who,under his programme, laft schools, colleges, universities or resigned from their jobs and made a bonfire of their costly imporated clothes.Rangamma and Ratna represent the women's side of the movement, while Range Gowda and Rachanna show how even the people of the lower castes picked up courage, or curbed their natural instinct for realisation and accepted the voluntary restraint of non-violence. Peasants refused to pay revenue and other taxes to the Government, with the result that many of them were evicted from their lands and lost all means of earning a livelihood. There are injured and wounded in large numbers. Women, like Ratna, are beaten up and dishonoured, but thier spirit isn't  crushed. Shouts of Gandhiji ki Jai and Inquilab Zindabad resound in the air and boost the morale of the people.Large numbers are arrested his place is taken by Ratna,and so the movement continues.
                        The ideals of patriotism and national integration are depicted through one of the minor characters, Advocate Sankar. He is a Khadi-clad advocate who has been named as 'Walking advocate'because of his simple ways.His professional attitude reflects that of Mahatma Gandhi of the days when he worked as a lawyer in South Africa. Sankar never took up a false case,and would either give up a case,or make the client confess his crime, if he later found out that his case was false.He didn't charge a fee from the poor and even paid their court fees and stamp charges himself.Inspiteof this, he got many cases and soon became very rich.But still he kept up his austere ways .In his spare time he went to a school where Hindi was taught and helped the teacher with the work.In spite of being a south Indian, Sankar had a firm belief that Hindi would one day become the national language of India. It was not just a theoretical belief with him but something that he actually practised, for he used the North Indian way of greeting when he met anyone, spoke in Hindi to his old mother who couldn't understand a word of it, and spoke nothing but Hindi when he talked to his daughter. He didn't like people to use English words in conversation, and when anyone did so inadvertently he had to drop a small coin into a box kept for this purpose, the collections from which were contributed to the Congress funds.
                        In the case of Khadi, he was a fanatic. He would never attend a wedding party if anyone didn't exclusively wear Khadi. He wouldn't even make an exception in the case of the bride, telling them that the showy sarees they wore only enriched Italian yarn-makers and German dye manufacturers. Sankar was no doubt a fanatic, but he admitted this fact and claimed that a few fanatics were necessary in every field.His fanaticism was revealed in the matter of fasting, for he observed a fast, and made the members of his family also observe a fast, on most of the days connected with Mahatma Gandhi or other patriotic leaders, or days of national importance, e.g.the anniversary of the massacre at Jallianwalla Bagh. Such people may be eccentric and extremists but their example doesn't fail to impress and inspire others.

British Rule :-
                     British Government in India,it's laws and ways are also depicted vividly in the novel.The white man who owns the Skeffington Coffee Estate is a symbol of the imperialist rulers of India who exploited Indians in various ways.They employed paid agents like Bhatta and the Swami to oppose the freedom movement. They send policemen like Bade Khan to harass the patriots and cook up false cases against them.Their treatment of peaceful satyagrahis is extremely inhuman.They don't spare even women and children. Inside the jails people are treated with great cruelty and forced to salute the Union Jack.Even such movements as prohibition are opposed because these would loosen the hold of the foreigners upon the poor masses.Many of their laws,for example, those relating to the ban on the making of salt, are extremely discriminatory against the poor people.Moreover, there are references to the atrocities committed by the authorities in other parts of India, e.g.,the massacre at Jallianwalla Bagh in Amritsar.The British policy of divide and rule is also seen in operation, for the loyal Swami is given a gift of twelve hundred acres of land, so that there is no chance of his joining the patriotic movement.

The Caste system :-
                                One of the most important evils in Hinduism is the caste system. In Kanthapura there is much implied criticism of it.It is described through Bhatta, and later through Swami.Both are conservative, orthodox Brahmins, are the agents of British government and work together to frustrate and defeat the Gandhi -movement. Since the Swami's power rests on the superiority of the Brahmins over other castes, he takes the view that the caste system is the very foundation of Hinduism.He maintains that no Brahmin should have contact with the pariahs, and threatens to excommunicate Moorthy because he does so.Later this threat is actually carried out.People of the lower castes aren't admitted inside temples but must have darshna of the God from outside.Though the pariahs don't seem to mind this much, there is a movement that the doors of the temples should be thrown open to all classes. One of the followers of Gandhi in Karwar has already done that.He is Advocate Ranganna who describes his meeting with the Swami.The Swami had sent a message to the advocate that he described to see him.The Swami told him that for some time there had been too much of this pariah business. According to him it was polluting for a Brahmin to mingle with a pariah. He maintained that the pariahs couldn't be uplifted through the efforts of others.

Social Awakening :-
                           The boycott of foreign goods was meant to cripple the efforts of foreign manufacturers to exploit and impoverish India,and the insistence on spinning taught people the dignity of labour as well as self reliance. In a poor country like India simple living must be practised.Moreover, spinning could provide a regular income to the common masses, especially to women who have no other means of earning available to them.Gandhi 's emphasis on education and avoiding alchoholic drinks had both a moral and an economic aim.If the poor coolies who are grossly exploited by the owners of plantations learn to read and write, they would become better acquainted with their rights and wouldn't be cheated so easily. Drink is the greatest enemy of the poor because it never allows a person to spend his income on essential items or make a saving for a rainy day.The picketing of the toddy grove and the toddy both has the immediate effect of making the coolies realise how evil toddy-drinking is ,so that some of them even take a pledge that they would never touch the poisonous drink again.

♢♢Religious Background of novel:-
                            Indian masses are deeply religious and so religion was freely exploited by Indian patriots all through the freedom struggle.The religious sentiments of the rural folk were fully exploited by B.G.Tilak, by introducing the Ganapati festival in Maharashtra and instilling in them courage, patriotism, discipline and unity.Students were also persuaded to take part in these celebrations. The festival was used as a suitable instrument for educating the masses and making them politically conscious.Tilak also started the Shivaji festival in 1895 to encourage the Marathas to emulate their beloved leader .A new longing for liberty and a firm resolution for a united national Government were fostered by festivals like these. Athletic performances, patriotic and religious songs, Kathas and ballads were recited on a large scale, resulting in a sense of pride in the glorious and worthy past of India. It may be mentioned that religionis used in this very way in the novel.There are recitals of Kathas, and holding of Harikathas and festivals. It is under the guise of a procession of Ganpati that the people of Kanthapura try to make good their escape.Religion played an important part in Indian struggle for independence, and so it does in the novel.
                            The people are ignorant, poor and superstitious. But they are also deeply religious.They have full faith in goodess Kenchamma, the presiding diety of the village. Right in the centre of the village is a temple dedicated to Kenchamma , "Great Goddess,Benign one."There is a folk song which evokes in us images and attitudes to what Kenchamma means to the people of Kanthapura :
        Kenchamma, Kenchamma, 
        Goddess benign and bounteous
       Mother of Earth,blood of life
       Harvest queen,rain crowned
       Kenchamma, Kenchamma 
       Goddess benign and bounteous 
                     Kenchamma is in the centre of the village, forms the still-centre of their lives and makes everything meaningful. Marriage, funeral, sickness, death,ploughing, harvesting, arrests, release -all are watched over by Kenchamma. "There may be small-pox or influenza around but you make a vow to the goddess, the next morning, you wake up and you find the fever has left you.Didn't she kill the demon who killed their children and molested their wives? And so she will continue to protect them, come wind , come rain, come any distress."


Conclusion :-
                       Literature is a medium of political, social and religious awakening in a country and it is natural that during India's own part.Most of the creative writing which influenced India's national movement had taken into account the personality and achievements of Mahatma Gandhi who dominated the Indian political scene from 1916 till his death in 1948.For thousands of India’s illiterate peasants Gandhi came to stand for a religious avatar or incarnation of a god, and even many of the more sophisticated city-dwellers looked upon him as a prophet as well as saviour.
                      

Plato's Objection & Aristotian Theory

       


   Plato's Objection,
                    
                                              1.  Yes, I am agree with the Plato's objection to freedom of expression and artistic liberty enjoyed by creative writer. There is so many movies which should be banned according to the Plato 's objection like
             There is some advertisement which should be banned according to the Plato's law of objection.              As we know  that there is so many films or TV shops which are bad for the minor .May they take it personally ,there is so many creative serials that children can try and that is not good for them.
         
2  -If we see an example a book  of Chetan Bharat name,"One Indian Girl. "to begin with the book highlights a feminist perspective, protagonist's (Radhika) struggles through the  society and personal life,The book gives a major  blow to the conservative Indian society where  woman are underrated. Moreover... Chetan in a woman voice indirectly  become  a courage of many. This novel not gives only entertainment or pleasure to read but,it shows the reality of Indian society.narrowness of our mentality is the center of the novel but protagonist of story leads success.this is the good  message for us. Thus, here m disagree with Plato's objection. 

3 - If we see an example a book  of Chetan Bharat name,"One Indian Girl. "to begin with the book highlights a feminist perspective, protagonist's (Radhika) struggles through the  society and personal life,The book gives a major  blow to the conservative Indian society where  woman are underrated. Moreover... Chetan in a woman voice indirectly  become  a courage of many. This novel not gives only entertainment or pleasure to read but,it shows the reality of Indian society.narrowness of our mentality is the center of the novel but protagonist of story leads success.this is the good  message for us. Thus, here m disagree with Plato's objection. 
But in onther example a book name '
"Eleven minutes "by Paulo Coelho. The story of women name Maria,a young girl from Brazilian village.we can say merely a same girl struggle story like  Chetan's  book. But the way... Which choose by Maria is quiet  different from the Radhika. In Paulo's this book I didn't find as good as the One Indian girl. I do not know if Coelho was trying  to really get in the mindset by over analyzing sex, but I felt a real woman would be less philosophical and more emotional about her experience. 
I just felt that what shocking things would come on her way.it was too dehumanized and how she handle the situation quite differently. Thus here m thinking  that yes Plato is right that philosopher deals with idea/truth where poet deals with what appears to him/illusion.

                          
   4- In s.y.b.a.I have studied "Othello"by William Shakespeare. In this tragedy,Shakespeare didn't follow all the rules given by Aristotle but we can find Hamartia in tragic hero like his tragic flow is his credulity and jealousy, and then his tragic fall starts...

Paper no : 2 The Neo-classical Literature

Paper no : 4 Indian writing in English

Paper no .: 1 The Renaissance Literature

Paper no : 3 Literary Theory and criticism

Friday, 17 November 2017

Paper no .: 3 Assignment

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Assignment

Name : mori utsavi bharatbhai
RollNo.: 44
Enrollment No.:  2069108420180037
M.A.  Sem-1
Year:  2017-2019
Email id:  utsavibarajput18@gmai.com
Paper No.:  3
Submitted To .: Department of  English
                           bhavnagar
Topic: Coleridge definition of a  poem

  • Introduction:~                                                                                                        Coleridge is  poet and philosopher. The work of Coleridge naturally divided into three classes; His poem synthesis  poet’s emotion feeling. Coleridge  is more musical than Wordsworth. In his poem include Imagination is very important for Coleridge, poem is synthetic and magical power. The difference is  between the combination of those elements and objects. A poem has well known rhyme like; of the days in the several months, 
  • “Thirty days hath September,  April, June and November”.

 Coleridge was deals with persons and character supernatural’ According to Coleridge he also says that “Distinction resulting from the poetic genius itself which sustain sand modifies, thoughts, and emotions of the poet’s own mind” Poetry for Coleridge is an activity of the poet’s mind. The poem is merely one of the forms of its expression; According to Coleridge poetry should be ‘best world in best order’ and it delight from the ‘harmonious whole’

For example:  human body.

    Coleridge definition of a poem:~

   ~ his work Biographia Literaria is a great literary  work,it has occupied a permanent position in the whole range  of English literary criticism,and the critic discusses many important points form that. He has drawn some striking  difference between poem and poetry. However, at the end of it we are not absolutely sure about the exact remarking between poem and poetry in its essence they are supposed to be the same.

~John Shawcross writes:~

“This distinction between ‘poetry’ and ‘poem’ is not clear, and instead of defining poetry he proceeds to describe a poet, and from the poet he proceeds to enumerate the characteristics ni of the imagination”A poem according to Coleridge contains the same elements as a prose composition because both using the words.The difference between a poem and a prose composition cannot then lay in the medium for each employs the same medium,

~i.e.words

     It must therefore “consist in a different combination of them in consequent of a different object being proposed''. 

 further he says that ''a poem is that species of composition which is opposed to works of science by proposing for its immediate object pleasure not truth''.

  ~This distinction between poetry an poem is not clear to the core we are left with more questions than answers at the end of it we find, to sum up we can say that Coleridge's distinction between poem and poetry is not clear enough by the word poetry he means all kind of imaginative activity. Only in his sense he has drawn a distinction between a ‘poem’ and ‘poetry’. Not only that, Coleridge also distinguishes a 'Poem' from 'poetry'. According to Shawcross, “this distinction between 'poetry' and 'poem' is not very clear, and instead of defining poetry he proceeds to describe a poet, and from the poet; he proceeds to enumerate the characteristics of imagination.

          Conclusion:~

                          According to Coleridge he says poem and poetry is not any length he given a  new criticism and this was provide by Coleridge in the ‘Biographia Literaria.’ Biographia Literaria is a fashion of autobiography, literary criticism and philosophical theory.   Fact and fiction both are very important part of literature thus; Coleridge is the first English critic based his literary criticism on philosophical principles.

~     For him ‘art is more important’ than any other thing.

  

Paper no. : 4 Assignment

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Assignment
Name : mori utsavi bharatbhai
Roll No : 44
Enrollment No. : 2069108420180037
M.A Sem-1
Year : 2017-2019
Email id : utsavibarajput18@gmai.com
Paper No. : 4
Submitted To. : Department of English bhavnagar
Topic :  Aurobindo was a social reformer

·       Introduction : ~                                      Aurobindo (Bengali: [Sri Ă”robindo]) (born Aurobindo Ghose; 15 August 1872 – 5 December 1950) was an Indian philosopher, yogi, guru, poet, and nationalist.[2] He joined the Indian movement for independence from British rule, for a while was one of its influential leaders and then became a spiritual reformer, introducing his visions on human progress and spiritual evolution.Aurobindo studied for the Indian Civil Service at King's College, Cambridge, England. After returning to India he took up various civil service works under the maharaja of the princely state of Baroda and began increasingly involved in nationalist politics and the nascent revolutionary movement in Bengal. He was arrested in the aftermath of a number of bomb outrages linked to his organisation, but in a highly public trial where he faced charges of treason, Aurobindo could only be convicted and imprisoned for writing articles against British rule in India. He was released when no evidence could be provided, following the murder of a prosecution-witness during the trial. During his stay in the jail he had mystical and spiritual experiences, after which he moved to Pondicherry, leaving politics for spiritual work. During his stay in Pondicherry, Aurobindo developed a method of spiritual practice he called Integral Yoga. The central theme of his vision was the evolution of human life into a life divine. He believed in a spiritual realisation that not only liberated man but transformed his nature, enabling a divine life on earth. In 1926, with the help of his spiritual collaborator, Mirra Alfassa (referred to as "The Mother"), he founded the Sri Aurobindo Ashram. He died on 5 December 1950 in Pondicherry. His main literary works are The Life Divine, which deals with theoretical aspects of Integral Yoga; Synthesis of Yoga, which deals with practical guidance to Integral Yoga; and Savitri: A Legend and a Symbol, an epic poem. His works also include philosophy, poetry, translations and commentaries on the Vedas, Upanishads and the Bhagavad Gita. He was nominated for the Nobel                        Prize in Literature in 1943 and for the Nobel Peace Prize in 1950.[3]





                Sri  Aurobindo

Social reformer of Aurobindo : ~               
          
            ~  Aurobindo was a Reform is not an excellent thing in itself as many Europeanised intellects imagine; neither is it always safe and good to stand unmoved in the ancient paths as the orthodox obstinately believe. Reform is sometimes the first step to the abyss, but immobility is the most perfect way to stagnate and to putrefy. Neither is moderation always the wisest counsel: the mean is not always golden. It is often an euphemism for purblindness, for a tepid indifference or for a cowardly inefficiency. Men call themselves moderates, conservatives or extremists and manage their conduct and opinions in accordance with a formula. We like to think by systems and parties and forget that truth is the only standard. Systems are merely convenient cases for keeping arranged knowledge, parties a useful machinery for combined action; but we make of them an excuse for avoiding the trouble of thought.
One is astonished at the position of the orthodox. They labour to deify everything that exists. Hindu society has certain arrangements and habits which are merely customary. There is no proof that they existed in ancient times nor any reason why they should last into the future. It has other arrangements and habits for which textual authority can be quoted, but it is oftener the text of the modern Smritikaras than of Parasara and Manu. Our authority for them goes back to the last five hundred years. I do not understand the logic which argues that because a thing has lasted for five hundred years it must be perpetuated through the aeons. Neither antiquity nor modernity can be the test of truth or the test of usefulness. All the Rishis do not belong to the past; the Avatars still come; revelation still continues.
Some claim that we must at any rate adhere to Manu and the Puranas, whether because they are sacred or because they are national. Well, but, if they are sacred, you must keep to the whole and not cherish isolated texts while disregarding the body of your authority. You cannot pick and choose; you cannot say “This is sacred and I will keep to it, that is less sacred and I will leave it alone.” When you so treat your sacred authority, you are proving that to you it has no sacredness. You are juggling with truth; for you are pretending to consult Manu when you are really consulting your own opinions, preferences or interests. To recreate Manu entire in modern society is to ask Ganges to flow back to the Himalayas. Manu is no doubt national, but so is the animal sacrifice and the burnt offering. Because a thing is national of the past, it need not follow that it must be national of the future. It is stupid not to recognise altered conditions.
We have similar apologies for the unintelligent preservation of mere customs; but, various as are the lines of defence, I do not know any that is imperiously conclusive. Custom is shishtachar, decorum, that which all well-bred and respectable people observe. But so were the customs of the far past that have been discontinued and, if now revived, would be severely discountenanced and, in many cases, penalised; so too are the customs of the future that are now being resisted or discouraged, — even, I am prepared to believe, the future no less than the past prepares for us new modes of living which in the present would not escape the censure of the law. It is the achar that makes the shishta, not the shishta who makes the achar. The achar is made by the rebel, the innovator, the man who is regarded in his own time as eccentric, disreputable or immoral, as was Sri Krishna by Bhurisrava1 because he upset the old ways and the old standards. Custom may be better defended as ancestral and therefore cherishable. But if our ancestors had persistently held that view, our so cherished customs would never have come into being. Or, more rationally, custom must be preserved because its long utility in the past argues a sovereign virtue for the preservation of society. But to all things there is a date and a limit. All long-continued customs have been sovereignly useful in their time, even totemism and polyandry. We must not ignore the usefulness of the past, but we seek in preference a present and a future utility.
Custom and Law may then be altered. For each age its shastra. But we cannot argue straight off that it must be altered, or even if alteration is necessary, that it must be altered in a given direction. One is repelled by the ignorant enthusiasm of social reformers. Their minds are usually a strange jumble of ill-digested European notions. Very few of them know anything about Europe, and even those who have visited it know it badly. But they will not allow things or ideas contrary to European notions to be anything but superstitious, barbarous, harmful and benighted, they will not suffer what is praised and practised in Europe to be anything but rational and enlightened. They are more appreciative than Occidentals themselves of the strength, knowledge and enjoyment of Europe; they are blinder than the blindest and most self-sufficient Anglo-Saxon to its weakness, ignorance and misery. They are charmed by the fair front Europe presents to herself and the world; they are unwilling to discern any disease in the entrails, any foulness in the rear. For the Europeans are as careful to conceal their social as their physical bodies and shrink with more horror from nakedness and indecorum than from the reality of evil. If they see the latter in themselves, they avert their eyes, crying, “It is nothing or it is little; we are healthy, we are perfect, we are immortal.” But the face and hands cannot always be covered, and we see blotches.
The social reformer repeats certain stock arguments like shibboleths. For these antiquities he is a fanatic or a crusader. Usually he does not act up to his ideas, but in all sincerity he loves them and fights for them. He pursues his nostrums as panaceas; it would be infidelity to question or examine their efficacy. His European doctors have told him that early marriage injures the physique of a nation, and that to him is the gospel. It is not convenient to remember that physical deterioration is a modern phenomenon in India and that our grandparents were strong, vigorous and beautiful. He hastens to abolish the already disappearing nautchgirl, but it does not seem to concern him that the prostitute multiplies. Possibly some may think it a gain that the European form of the malady is replacing the Indian! He tends towards shattering our cooperative system of society and does not see that Europe is striding Titanically towards Socialism.
Orthodox and reformer alike lose themselves in details; but it is principles that determine details. Almost every point that the social reformers raise could be settled one way or the other without effecting the permanent good of society. It is pitiful to see men labouring the point of marriage between subcastes and triumphing over an isolated instance. Whether the spirit as well as the body of caste should remain, is the modern question. Let Hindus remember that caste as it stands is merely jat, the trade guild sanctified but no longer working, it is not the eternal religion, it is not chaturvarnya. I do not care whether widows marry or remain single; but it is of infinite importance to consider how women shall be legally and socially related to man, as his inferior, equal or superior; for even the relation of superiority is no more impossible in the future than it was in the far-distant past. And the most important question of all is whether society shall be competitive or cooperative, individualistic or communistic. That we should talk so little about these things and be stormy over insignificant details, shows painfully the impoverishment of the average Indian intellect. If these greater things are decided, as they must be, the smaller will arrange themselves.
There are standards that are universal and there are standards that are particular. At the present moment all societies are in need of reform, the Parsi, Mahomedan and Christian not a whit less than the Hindu which alone seems to feel the need of radical reformation. In the changes of the future the Hindu society must take the lead towards the establishment of a new universal standard. Yet being Hindus2 we must seek it through that which is particular to ourselves. We have one standard that is at once universal and particular, the eternal religion, which is the basis, permanent and always inherent in India, of the shifting, mutable and multiform thing we call Hinduism. Sticking fast where you are like a limpet is not the dharma, neither is leaping without looking the dharma. The eternal religion is to realise God in our inner life and our outer existence, in society not less than in the individual. Esha dharmah sanatanah. God is not antiquity nor novelty: He is not the Manava Dharmashastra, nor Vidyaranya, nor Raghunandan; neither is He an European. God who is essentially Sachchidananda, is in manifestation Satyam, Prema, Shakti3, — Truth, Strength and Love. Whatever is consistent with the truth and principle of things, whatever increases love among men, whatever makes for the strength of the individual, the nation and the race, is divine, it is the law of Vaivaswata Manu, it is the sanatana dharma and the Hindu shastra. Only, God is the triple harmony, He is not one-sided. Our love must not make us weak, blind or unwise; our strength must not make us hard and furious; our principles4 must not make us fanatical or sentimental. Let us think calmly, patiently, impartially; let us love wholly and intensely but wisely; let us act with strength, nobility and force. If even then we make mistakes, yet God makes none. We decide and act; He determines the fruit, and whatever He determines is good.
He is already determining it. Men have long been troubling themselves about social reform and blameless orthodoxy, and orthodoxy has crumbled without social reform being effected. But all the time God has been going about India getting His work done in spite of the talking. Unknown to men the social revolution prepares itself, and it is not in the direction they think, for it embraces the world, not India only. Whether we like it or not, He will sweep out the refuse of the Indian past and the European present. But the broom is not always sufficient; sometimes He uses the sword in preference. It seems probable that it will be used, for the world does not mend itself quickly, and therefore it will have violently to be mended.
But this is a general principle; how shall we determine the principles that are particular to the nature of the community and the nature of the Age? There is such a thing as yugadharma, the right institutions and modes of action for the age in which we live. For action depends indeed on the force of knowledge or will that is to be used, but it depends, too, on the time, the place and the vessel. Institutions that are right in one age are not right in another. Replacing social system by social system, religion by religion, civilisation by civilisation God is perpetually leading man onwards to loftier and more embracing manifestations of our human perfectibility. When in His cosmic circling movement He establishes some stable worldwide harmony, that is man's Satya Yuga. When harmony falters, is maintained with difficulty, not in the nature of men, but by an accepted force or political instrument, that is his Treta. When the faltering becomes stumbling and the harmony has to be maintained at every step by a careful and laborious regulation, that is his Dwapara. When there is disintegration, and all descends in collapse and ruin, nothing can stay farther the cataclysm that is his Kali. This is the natural law of progress of all human ideas and institutions. It applies always in the mass, continually though less perfectly in the detail. One may almost say that each human religion, society, civilisation has its four Ages. For this movement is not only the most natural, but the most salutary. It is not a justification of pessimism nor a gospel of dumb fate and sorrowful annihilation. It is not, as we too often think in our attachment to the form, a melancholy law of decline and the vanity of all human achievements. If each Satya has its Kali, equally does each Kali prepare its Satya. That destruction was necessary for this creation, and the new harmony, when it is perfected, will be better than the old. But there is the weakness, there is the half success turning to failure, there is the discouragement, there is the loss of energy and faith which clouds our periods of disintegration, the apparent war, violence, ragging, tumult and trample to and fro which attends our periods of gradual creation and half-perfection. Therefore men cry out dismally and lament that all is perishing. But if they trusted in God's Love and Wisdom, not preferring to it their conservative and narrow notions, they would rather cry out that all is being reborn.
So much depends on Time and God's immediate purpose that it is more important to seek out His purpose than to attach ourselves to our own nostrums. The Kala Purusha, Zeitgeist and Death Spirit, has risen to his dreadful work — lokakshayakritpravriddhas — increasing to destroy a world, — and who shall stay the terror and mightiness and irresistibility of Him? But He is not only destroying the world that was, He is creating the world that shall be; it is therefore more profitable for us to discover and help what He is building than to lament and hug in our arms what He is destroying. But it is not easy to discover His drift, and we often admire too much temporary erections which are merely tents for the warriors in this Kurukshetra and take them for the permanent buildings of the future.
The Pandits are therefore right when they make a difference between the practice of the Satya and the practice of the Kali. But in their application of this knowledge, they do not seem to me to be always wise or learned. They forget or do not know that Kali is the age for a destruction and rebirth, not for a desperate clinging to the old that can no longer be saved. They entrench themselves in the system of Kalivarjya, but forget that it is not the weaknesses but the strengths of the old harmony that are being subjected to varjanam, abandonment. That which is saved is merely a temporary platform which we have erected on the banks of the sea of change awaiting a more stable habitation; and it too must one day break down under the crash of the waves, must disappear into the engulfing waters. Has the time arrived for that destruction? We think that it has. Listen to the crash of those waters, — more formidable than the noise of assault, mark that slow, sullen, remorseless sapping, — watch pile after pile of our patched incoherent ramshackle structure corroding, creaking, shaking with the blows, breaking, sinking silently or with a splash, suddenly or little by little into the yeast of those billows. Has the time arrived for a new construction? We say it has. Mark the activity, eagerness and hurrying to and fro of mankind, the rapid prospecting, seeking, digging, founding — see the Avatars and great vibhutis coming, arising thickly, treading each close behind the other. Are not these the signs and do they not tell us that the great Avatar of all arrives to establish the first Satya Yuga of the Kali?
For in the Kali too, say the secret and ancient traditions of the Yogins, there is a perpetual minor repetition of Satya-Treta-Dwapara-Kali subcycles, the subSatya a temporary and imperfect harmony which in the subTreta and subDwapara breaks down and disappears in the subKali.

Paper no : 15 Assignment

Assignment Name: Mori Utsavi Bharatbhai Roll No. : 33 Enrolment No. : 2069108420180037 M.A.Sem: 4 Year: 2017-2019 Email id:...