The document is Nasim Gaha's assignment book containing 15 topics for essays. It includes topics such as major themes in the novel "One Night at the Call Center", tradition vs modernity, Gujarati history, Orientalism, the role of English language in India, short stories by Edgar Allan Poe, modernist literature, the Romantic age, Victorian novelists, T.S. Eliot's "Individual Talent", cultural studies, metaphysical poetry, Gulliver's Travels, Aristotle's theory of catharsis, and the novel. For each topic, it lists the name, roll number, and email of the student Nasim Gaha who is enrolled as student number 206910842019

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Assignment book
Department of English
Nasim gaha
Roll no.20

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Contents
1.Topic:Major Themesinthe novel One Night atthe Call Center1
2.Topic:-TraditionandmodernityinSwampDwellers 7
3.Topic: Guajarati history
4.Orientalism” 17
5.The Role of Englishlanguage inIndia 19
6. Edgar AllanPoe Shortstory 23
7.The modernistliterature p-9 26
8.write aboutthe salientfeaturesof the romanticage 29
9.Write an essayon the ‘Novelists’of the Victorianage 34
10.Three part of “Individual talent”byT.SEliot 38
11.Cultural studiesscope,Aim,methods41
12.Metaphysical poetry46
13.Critical analysisof Gullivertravelsbyswift (1726) 55
14.ExplainAristotle 'Stheoryof catharsis 58
15.Novel 65
Topic: Major Themes in the novel One Night at the Call Center
Name: Nasim .R. gaha
Roll No:20
Email id: gahanasim786@gmail.com

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Enrollment no : 2069108420190014
Seam: 4
Submitted to Department of English MKUBU.
About Other
He was born in 1974 in New Delhi. chetan Bhagat studied at Army Public School, New Delhi,
and went on to obtain his degree in Mechanical Engineering from the Indian Institute of
Technology IIT, Delhi. He also holds an MBA degree from the Indian Institute of Management
IIM. After finishing his degrees, he start working in Hong Kong as an investment banker. chetan
Bhagat has also received many awards such as the Publisher’s Recognition Award and Society
Young Achiever’s Award In the year 2010, chetan Bhagat was listed among the World’s 100
Most Influential People by Time magazine. Four of his books have been adapted in films.
Major Themes in the novel One Night at the Call Center
Phone call from God:-
The phone call from God is one of the major theme in the novel. In this novel writer has
presented God as a friendly figure rather than a boss. God is presented in a modern way and
shown as speaking in modern modern rather than the stereo‐ typical pure English or Latin that
one commonl encounterGod saying.
In the novel each characters endure from their personal problems and when they are in difficult
situation they get phone call from God. When they all go outside from call center at the night go
to club.

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After enjoying they coming back to the call center at that time their car Quails crashes into a
construction site hanging over a mesh of iron construction road. They are unable to phone call
for as there is no mobile phone network at that place. In that accidents shyam’s mobile phone
starts up ringing. The phone call is from God. God talks with everyone and listen their problems
and gives them suggestions and to improve in their life. The conversation with God motivates the
characters to such an extent that they get ready to face their problems with ulmost determination
and motivation. The story takes a dramatic and critical turn through a due ex machine when the
characters receive a phone call from God.
Nationalism:
In the novel One Night @ the Call Center writer introduces a young India and their problems like
six characters, shyam, Radhika, Esha, Priyanka, Vroom, and Military uncle of the novel they
facing problems because they working in the call center. Once they get call from God to solve
problem and the novel also about to call to alarm to India to the young people within it.
“Nationalism involves national identity, by contrast with the related construct of patriotism,
which involves the social conditioning and personal behaviors that support a state’s decisions
and actions”
Having had to suffer the country being screwed up by politicians for so years, the potential of the
nation and its people is finally being allowed to flourish. In call center most of the people work
in a night shift and get many calls from the America and solve their problems.
In the novel characters working in the call center and their bay’s name is “Western Appliances
Strategic Group” or WASG. They deal with the customers of home appliances such as
refrigerator, oven and vacuum cleaners. These strategic customers call a lot and are too difficult
to figure out things. So they thinks that they dealing with on the lines from America and even
bigger up the management pecking order.
When Vroom talks to God, Vroom says,
“I should not have taken up a job just for money. Call center pays more, but only because the
exchange rate is in the favor Americans. They toss their loose change at us. It seems like a lot of

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rupees but jobs that pay less could be better there could be jobs that define me, make me learn or
help my country Vroom’s ideas are very anti American so he says that,
“Americans suck the life blood out of our country’s most productive generation” The implication
is that Indian too must develop a greater sense of itself and reject the easy path of playing second
fiddle to the U. S.
Marriage:-
Theme of marriage is also very important. First theme of the marriage is shows in Priyanka's
character. She is living with her mother and her mother is very ambitious for her marriage with
Ganesh. her Mother decided her marriage very earlier so that Priyanka doesn't like that.
Radhika is married but also working lady. But her mother in law does not like this and her
husband also has another girlfriend.
Deus Ex Machine :-
This is a climax of the one night at the call center novel. Deus Ex Machina means " God From
Machine". Here a writer has composed himself into a corner for moving ahead. After this novel
all it brings a happy ending or a comic device for audience. Deus Ex Machina is used in this
novel by chetan Bhagat when all characters met an accident and no any source are there to save
their lives. At that time God call save them with many messages for life. After that they all
restart their lives from God's advice of living life happily and They all tried a lot of solve their
problems from their lives. So that happy ending is here from God.
“Deux ex machina is calque from Greek meaning “God
from the machina”
Deux ex machina is term which has evolved to mean a plot device whereby a seemingly
unsolvable problem is suddenly and all of sudden resolved by the contrived and unexpected
intervention of some new event, characters, ability and subject. It can be intended to move the
story forward when the writer has “painted himself into a corner” and sees no other way out, to
surprise the audience In same way Chetan Bhagat used deux ex machina in this novel. Where he
finds that the all characters are in trouble situation he uses a call from God to resolve a plots.
Modernization:

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One Night @ the Call Center deals with issues of young people, including questions about
career, inadequacy, marriage, family conflicts in a changing India, and the relationship of the
young Indian middle class to both executive and ordinary clients whom they serve in the United
States.
In this novel Bhagat’s aim is to convey a message to the people of India from the situation of the
characters like the harshness of the situation of women in India. Esha who wants to become a
model for that she forced to slept with 40 years old designer and it represents the dark side of the
India.
Throughout the novel Bhagat presents modernity like smoking is the contemporary metaphore of
melancholic state of being depression, stress, feel bad. Bhagat also talks about the Indian family
like the situation of Radhika in her in law’s house. Like on day she do house hold works and in
night she works in call center.
Love :
heme of love is a major theme in one night at the call center novel.
1. Priyanka and Shayam : Earlier Priyanka and Shayam were in relationship but now Priyanka
engaged with NRI boy named Ganesh, living in US.
2. Esha and Vroom : Here Esha wants to become a model , and on the base of it she slept with a
designer for modeling contract. Another side Vroom loves her a lot but can not describe only
because of her dream of modeling and desires.
3. Radhika : Radhika is a married girl , living with her mother-in-law. She also loves her husband
too much but her husband also cheated her. He had one girl friend named Payal.
4. Military Uncle : Theme of love also shown in this characters. Military uncle loves his
grandson very much who is living in abroad with his son. But His son ignored him a lot.
Globalization

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“Globalization is a process of interaction and integration among the people, companies, and
governments of different nations, a process driven by international trade and investment and
aided by information technology” (Globalization)
The effect of Globalization also describe in the novel through the struggle of each character‘s
life. The Globalization is an economical movement. The title of the novel itself tells about the
effect of globalization in call center. Thee Novel is based on the working people in Call Centre.
In the call center every workers name are changed Varun Malhotra called as Victor , Shayam
Mehra as Sam Mercy , Radhika as Ragima Jones, Esha Singh as Eliza. These people have to
change their names for American.
Through this Bhagat wants to give message to the Indians that who working in call center they
just get good salary but it not give the opportunity to do something else or show their skills and
creativity into their work. In the novel due to slack in software industry the call center wanted to
cut down the number of employees. Its effects on the people who are working in the call center it
brings all the people under burden. literally this novel talks about the anxieties, fears, and stress
of call center employees. So in the novel shows the positive and negative effects of Globalization
on people’s life.
Topic:-Tradition and modernity in Swamp
Dwellers
Name:-Nasim Gaha
Roll no:-20
Enrollment no:-20691842190014

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Email id: - gahanasim786@gmail.com.
SEM:-4
Submitted to Department of English MKUBU
About The Author:
Wole Soyinka, in full Akinwande Oluwole Soyinka bornJuly 13, 1934, Abeokuta, Nigeria),
Nigerian playwright and political activist who received the Nobel Prize for Literature in 1986.
He sometimes wrote of modern West Africa in a satirical style, but his serious intent and his
belief in the evils inherent in the exercise of power usually was evident in his work as well. A
member of the Yoruba people, Soyinka attended Government College and University College in
Ibadan before graduating in 1958 with a degree in English from the University of Leeds in
England. Upon his return to Nigeria, he founded an acting company and wrote his first important
play, A Dance of the Forests (produced 1960; published 1963), for the Nigerian independence
celebrations. The play satirizes the fledgling nation by stripping it of romantic legend and by
showing that the present is no more a golden age than was the past. He wrote several plays in a
lighter vein, making fun of pompous, Westernized schoolteachers in The Lion and the Jewel
(first performed in Ibadan, 1959; published 1963) and mocking the clever preachers of upstart
prayer-churches who grow fat on the credulity of their parishioners in The Trials of Brother Jero
(performed 1960; published 1963) and Jero’s Metamorphosis (1973). But his more serious plays,
such as The Strong Breed (1963), Kongi’s Harvest(opened the first Festival of Negro Arts in
Dakar, 1966; published 1967), The Road (1965), From Zia, with Love(1992), and even the
parody King Baabu (performed 2001; published 2002), reveal his disregard for African
authoritarian leadership and his disillusionment with Nigerian society as a whole. From 1960 to
1964 Soyinka was coeditor of Black Orpheus, an important literary journal. From 1960 onward
he taught literature and drama and headed theatre groups at various Nigerian universities,
including those of Ibadan, Ife, and Lagos. After winning the Nobel Prize, he also was sought
after as a lecturer, and many of his lectures were published—notably the Reith Lectures of 2004,
as Climate of Fear (2004). Though he considered himself primarily a playwright, Soyinka also
wrote novels which are very popular one. They are as given below
About Tradition and Modernity.

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The Swamp Dwellers is a play by Soyinka in which he has portrayed the real picture of two sides
that is tradition V/S Modernity. The play is about Yoruba culture in which Makuri and Alu they
are living and waiting for their son whose name is Awuchike. Soyinka has presented Yoruba
culture which is full of swamp because of food in the village. And they are suffering because of
plenty of water and Beggar who comes from Bhukanji and over there they were suffering
because of scarcity of water. Here, I would like to connect Tradition and Modernity that is one
theme of ‘The Swamp Dwellers’ both are opposite from each others. It was very difficult to tell
that which path that we want to followed.
Tradition:- Tradition is a belief or behavior passed down within group or society with symbolic
meaning or special significance with origins in the past. Makuri, Alu and Igwezu are
representation of tradition.
Modernity:-Modernity typically refers to a past traditional post medieval, historical period one
marked by the money from feudalism toward capitalism, industrialism. Secularization,
rationalization, the nation state and its constituent institutions and forms of surveillance.
Awuchike and Desala are representation of modernity.
Tradition and Modernity issue is not new for us because we are facing this issue in our society
also. With the development of human being this problem was comes into exist. In the play also
we can find the same problem. Igwezu and Awuchike they both are twins. One is representing
Tradition and another is representing modernity. he older generations’ views towards the city are
expressed through Alu and Makuri. Alu and Makuri have two sons of Awuhike and Igwezu.
Both of their sons went to the city for better prospects. But Awuchike attracted by city and cuts
off all his relation with his parents. This ungratefulness even more consolidates Alu and
Makuri’s prejudice against the city because he had got sick of the Swam. Moreover, Makuri says
that young men go to the city because he had got sick of the money. But most of them forget
their folk and cut their relation with the roots, says Makuri.
A village in the swamps. Frogs rain and other noises. The scan is a hut on stilts, built on one of
the scattered semi-firm island in the swamp. The walls are marsh stakes plaited with hump ropes.
Near the left down stage are the baskets he makes from the rushes which are strewn in front of
him.”
These all lines show that they are traditional people doing work but which can’t give them food.
At some extent tradition is good because you have your own belief and way of looking towards
life but not accepting change in life is bad. Too exaggeration is bad for your life which is shown
through the play. Igwezu went into city to earn more in life but he can’t accept the reality of life
which is in city. There is starvation for shelter in city, so cold sophisticated life than village so
we can say that Igwezu and Awuchike both are suffering because of their acceptance or to much
exaggeration of their life. There is Constance struggle or conflict between the old and To Makuri
the city is the place of immorality and corruption. Some of the events confirm Makuri’s views.
For example, Desala who had gone the city with her husband Igwezu left him and went with

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Awuchike who had more money. Gonushi’s son is another example of the victim of city. He also
went to the city and cut off his relation with wife and children. All the Swamp Dwellers believes
in that city is the right place to make money. Then Igwezu returns from city and meets Kadiye.
He asks him about how much money you got from city.?? Kadiye has one false perception in his
mind that Igwezu has enough money to buy entire village. But Igwezu says that he is in financial
constrain and by saying this he shows the bitter side of city life. He also talks about the reality
that in the city only money that is matter.
Thus we see that the Swamp Dweller have mixed feeling about the city. To most of the Swamp
Dwellers city is the place of comfort, money and luxury. But there are also some people who
hate the city life but is forced to go to the city to make money. ‘The Swamp Dwellers’ focuses
the struggle between the old and the new ways of life in Africa. It also gives us a picture of the
cohesion that existed between the individual and southern Nigerian society. The play mirrors the
socio-cultural pattern, the pang and the sufferings of the swamp dwellers and underlines the need
for absorbing new ideas. The struggle between human being and unfavorable forces of nature is
also captured in the play. Soyinka presents us the picture of modern Africa where the wind of
change started blowing.
‘The Swamp Dwellers’ reflects the life of the people of southern Nigeria. Their vacation mainly
is agro based. They weave baskets, till in cultivate land. They believe in serpent cult. They
perform death rites. They offer gain, bull goat to appease the serpent of the swamp. Traders from
city come there for crocodile skins. They lure young woman with money. Alu withstands their
temptation. Young men go to the cities to make money, to drink bottled beer. In fact the city
ruins them. ‘The Swamp Dwellers’ consummate their wedding at the bed where the rivers meet.
They consider the river bed itself as the perfect bridal bed. Sudden flood ruin the crops throwing
life out of gear.
Wole Soyinka’s play The Swamp Dwellers; The Swamp itself is the physical image of spiritual
death. The spiritual death by which the young server all family and human ties with the village
and indulges in a new kind of life in the towns is one of the main threats to the society of the
village. The tone of despair which has been noticeable. And “Is it of any earthly use to change
one slough for another?”Asks Igwezu, in The Swamp Dwellers, the city also is a swamp. And
yet each must be experienced, they offer challenge not refuge. Igwezu returns to his destiny in
the town. And in the end we find in the background that there is flood and drought. Igwezu
leaves the village, but the Beggar beckons him back, “the swallows find their nest again when
the cold in over”. new ways of life in Africa. There is the dialogue that old and children are
living in village. It means that young’s are living in city.
Conclusion.-
We can see conflict of tradition and modernity in the play. Village is representing tradition and
city as modernity. They both are different from each others. This play is representing those
different very well. And The Swamp Dwellers makes use of contrast, parallelism, humor and

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irony in a suitable manner. Soyinka focuses the plight of the swamp dwellers in the play
realistically. The swamp dwellers are at the mercy of furious nature unless they compromise
tradition with modernity, embrace modern technology they wouldn’t have a bright future.
Topic: Gujarati cinema history
Name: Gaha Nasim
Roll no: 20
Email id:gahanasim786@gmail.com.
Year: 2018-2020.
Enrolment no: 2069108420190014.
M.A: Sem-4
Paper no:
Submitted to:Smt Gardi Department of English maharaja Krishnakumarsihji Bhavnagar University.
 About what is Gujarati cinema called ?
Gujarati cinema industry is referred to as Dhollywood or Gollywood? The nickname of Gujarati cinema
industry Bollywood, the nickname of the cinema industry based in Dhollywood ,Mumbai(then called Bombay) . The
name has fallen off because of the abundance ofdhol used in Gujarati movies . Moreover, Gujarat and Bollywood
are the other nicknames used by the combination of both words, Gollywood . all have known, loved and admired
the Gujarati culture and its heritage. Ever since its inception in the 1930s, this one of the largest
vernacular and regional part of the cinema of India and has successfully produced over 1,000 Gujarati
movies. This industry has seen a variety of different eras and now it stands as one of the most sought

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after type of mode of entertainment in the state. Some of the movies in the current era has even gathered
international accolades for its creativity.
Gujarati films are mostly woven by human or social emotions. These include family relations, the desires of
the human mind, and the contents of social life. In the early years of Gujarati cinema, a large number of films
based on mythological subjects and legends were produced. Movies were also made on popular Gujarat saints
and "Sati" like Narsih mheta Mehta Gangashati movies were made with a view to rural viewers with
knowledge of such topics. Early movie producers also produced on the topic of social reform. Based on family
life and lajnajivana movies such gunasundari and Kariyavar can be considered significant. Historical, social,
and religious topics were prominent in the decades of 1 and 2. Many Gujarati movies like Kashi's Son Created
from a Gujarati novel. In the sixties, the subjects of saint and sati were again prominent. Hindi cinema has had
an impact on Gujarati cinema in the 8th and 9th and films have been made on exciting topics. At the beginning
of the sixties, the films were mainly aimed at rural audiences and became a local story and genre. After that,
Gujarati cinema was resurrected and urban cultures were added to it. In recent times, has been building
more presents movies for viewers.
Rainbow (1) is the first Gujarati movie on the homosexual or LGBT community .
The scripts and stories of the Gujarati films include relationship and family oriented subjects,as well as human
aspirations and Indian family culture. There were a large number of films based on mythological narratives and
folklore produced in the early years of Gujarati cinema.
During the silent film era, many individuals in the industry Gujarati. The language-associated industry dates backto
1932, when the first Gujarati talkie, Narsih mheta, was released. Until the Independences ofIndia in 1947, only
twelve Gujarati films were produced.There was a spurt in film production in the 1940s focused on saint,
sor dacoit stories as well as mythology and folktales. In the 1950s–1960s, the trend continued with the addition of
films on literary works. In the 1970s, the government of Gujarat announced a tax exemption and subsidies which
resulted in an increase in the number of films, but the quality declined.
After flourishing through the 1960s–1980s, the industry saw a decline through 2000 when the number of new films
dropped below twenty. The Gujarat state government announced a tax exemption again in 2005 which lasted until
2017. The industry has been partially revived in the 2010s due first to rural demand, and later to an influx of new
technology and urban subjects in films. The state government announced a policy of incentives in 2016.
Silent Films in Gujarat:
Way before the films became a crucial part of the media industry, dominating the screens were the silent
films. In Gujarati silent films, people were seen being closely related to the culture and social life of the
people there which made it immensely popular among the masses. Between the duration of 1913 and
1931 there were around 20 top rated media companies producing such films in Gujarati and mostly
functioning from Bombay.
Early Talkies in Gujarat:
The first short Gujarati sound film called Chavchav No Murabbo was brought in to screen for public
viewing on 4th February 1931 in Bombay. It featured the very first sound in any Indian film called mane
Mankad Karde. It is commendable that even before the release of a full length Gujarati sound film, 2 short
sound films were already released with the Hindi film industry. However the landmark movie which made
its appearance in the Gujarati cinema industry was Narsinh Mehta in the year 1932 which was directed by
Nanubhai Vakil. The movie showcased the life of saint Narsinh Mehta.

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After independence Movies in Gujarat:
There was a huge surge of production in Gujarati movies post the independence in the year 1947. In
1948 alone 26 Gujarati films were produced and released. The movies released in between the years
1946 and 1952, 74 different movies in Gujarat were produced and admired which were related to stories
about dacoits, saints or sati. All these movies were made for the masses and the rural audience who are
very much familiar with these subjects. Numerous movies which are made were relatable with the life and
problems observed by the people residing this region and especially the folklores and myths.
Decline and Revival of Gujarati Cinema:
In the early 2000s less than 20 films have been produced and released however in 2005 a number of tax
exemptions were announced by the government of Gujarat for entertainment. 5 lakh rupees of subsidy
was also announced by the government for various Gujarati films. This was the revival point of Gujarati
cinema in general. These exemptions resulted in a sudden surge of Gujarati movie production and
release. Eventually with the onset of new technology and styles in the cinematic universe the production
value of the movies also became better as its demand became higher and higher. In the golden globe
awards of 2018 Gujarati film festival made its debut which was a landmark move in this field which now
continues to grow.
Conclusion
Today Gujarati cinema in many different cultures,cloth,food, house, languageand many different in cinema
example clothes today heroine wears western clothes.Nero and T-shirtand .and before heroine wear village's
clothes Shaniya choli and Shari and nowheroine wear new fashion cloth.Today in Gujarati movie.
Works Cited
contributors,Wikipedia. Gujarati cinema. 09february2020. 09 march 2020
<https://en.wikipedia.org/wiki/Gujarati_cinema>.
Expert,Gujarat. Gujrati cinema. 2020. 09 march 2020 <https://www.gujaratexpert.com/gujarati-
cinema/>.
4. Orientalism”
Topic:Critical analysisof “Orientalism”
Name:NasimGaha
Roll:22

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Email id:gahanasim786@gmail.com
Enrolmentno:2069108420190014
Sem-3
SubmittedtoDepartmentof EnglishMKUBU.
AboutEdwardSaid
Born inPalestine in1935, Saidwas educatedfirstinJerusalemandCairoandthenat Princetonand
Harvard. He joinedthe facultyatColumbiaUniversityasaprofessorof Englishandcomparative
literature in1981 where he continuedtoresearch,write andteachuntil hisdeathin2003.
AboutEdwardSaid; Orientalism
"Orientalism”isaway of seeingthatimagines,emphasizes,exaggeratesanddistortsdifferencesof
Arab peoplesandculturesascomparedtothat of Europe and the U.S. It ofteninvolvesseeingArab
culture as exotic,backward,uncivilized,andattimesdangerous.EdwardW.Said,inhisgroundbreaking
book,Orientalism,defineditasthe acceptance inthe Westof “the basicdistinctionbetweenEastand
Westas the startingpointforelaborate theories,epics,novels,social descriptions,andpolitical accounts
concerningthe Orient,itspeople,customs,‘mind,’destinyandsoon.”AccordingtoSaid,Orientalism
datesfromthe periodof EuropeanEnlightenmentandcolonizationof the ArabWorld.Orientalism
providedarationalizationforEuropeancolonialismbasedonaself-servinghistoryinwhich“the West”
constructed “the East” as extremelydifferentandinferior,andthereforeinneedof Western
interventionor“rescue
The “East” as differentiatedfromthe “West”,whichincludesthe MiddleEast,NearEast,Central
Asia,SouthAsiaandthe Far East, istodaytop of mindwithnewsbreakinginastreamof anxiety,fear,
economicandpolitical pressures,social conflict,unrestandwar.Whenone doesa WorldCat.Orgsearch
for the keyword“Orientalism”one ispresentedwithover16,000 entries,includingover 7,000 peer-
reviewedarticles.A Google searchreturnsover870,000 listings.Clearly,EdwardSaidhitaworldwide
nerve whenhe publishedOrientalismin1979. SaidopensbydefiningOrientalismasthree
interdependentideas.Firsthe states,“The mostreadilyaccepteddesignationforOrientalismisan
academicone … Anyone whoteaches,writesabout,orresearchesthe Orient –andthisapplieswhether
the personisan anthropologist,sociologist,historian,orphilologist…isan Orientalist,andwhathe or
she doesisOrientalism.”Second,“Orientalismisastyle of thoughtbaseduponan ontological and
epistemological distinctionmade between“the Orient”and(mostof the time) “the Occident.” Here he
presentsakeyduopolistictheme repeatedandexpanded uponthroughoutthe book.Said’sthird
meaning,“Whichissomethingmore historicallyandmateriallydefinedthaneitherof the othertwo.…
Orientalismcanbe discussedandanalyzedasthe corporate institutionfordealingwiththe Orient –
dealingwith itbymakingstatementsaboutit,authorizingviewsof it,describingit,byteachingit,
settlingit,rulingoverit:inshort,Orientalismasa Westernstyle fordominating,restructuring,and
havingauthorityoverthe Orient.” Andwiththisthird definition,Said
referencesMichel Foucault’sideasaboutdiscourse asasource of power,andhow one can reveal the
hierarchiesof powerstructuresthroughthe analysisof texts.Knowledge ispower, orif you’drather,
texualizeddiscourse ispower. Saidproceedstooutline hismethodologyforthe bookandaddsa
personal dimension,endingwitharesonate statement,callingouthisownsecularhumanism, “If this

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stimulatesanewkindof dealingwith the Orient,indeedif iteliminatesthe “Orient”and“Occidental”
altogether,thenwe shall have advancedalittle inthe processof whatRaymondWilliamshascalledthe
“unlearning”of “the inherentdominative mode.” Thisaspirationdesire thatpeoplecanandshould
workto obliterate (oreliminate) the duopolisticandnegative resultsof seeingthe worldasEast or
West,Europeanor Asiatic,Oriental orOccidental,‘us’or‘them’,isreiteratedthroughoutSaid’stext.Itis
a fundamentallyimportantpointthatone shouldkeepinmindwhile readinghisanalysis,since itisa
hopeful considerationthatmitigatessome of hisharshersocial criticisms.
ThorntonWilderisconsideredone of America'smostimportantauthors,althoughThe Matchmakeris
not generallythoughtof asone of hismostimportantworks.Takenas an evening'sentertainment,the
playhas alwaysbeenwell respectedbycritics.Negative viewshave onlycome whencriticshave thought
the work of such an importantauthorshoulddomore.
Wilder'splace inAmericanliteratureissecure,if onlybecausehe isthe onlywritertohave wonPulitzer
Prizesforbothfiction(forThe Bridge of San LuisRey) and drama (forbothOur Townand The Skinof Our
Teeth).Overall,hisreputationasa dramatisthasheldup betterthanthat as a novelist.
The Bridge of San LuisReyisstill requiredreadinginliteratureclasses,butitisseldomreadoutsideof
schools,andhisothernovelshave disappeared.OurTown,onthe otherhand,remainsone of the most
enduringandmostfrequentlyperformedworksinAmerica,performedbyoverfourhundredamateur
groupseach year.Wilder'sfirstcritical andpopularsuccesscame withThe Bridge of San Luis Reyin
1927. Notonlydidit winthe Pulitzer,butitsoldmillionsof copies.Justthree yearslater,though,a
critical backlashbeganwitha 1930 article byMichael Goldfor the New Republicanda secondarticle he
wrote laterthat yearfor NewMasses,inwhichhe said,"Yes,WilderwritesperfectEnglish.Buthe has
nothingtosay inthat perfectEnglish.He isa beautiful,rouged,well-dressedcorpse,lyingamongthe
sacredcandlesand liliesof the past,sure to stinkif exposedtothe sunlight."Hiscriticismstruckachord
withotherreviewers,whobegantakingWildertotaskfor hisfailure toaddresscomplex social
problems.AsJacksonBryerexplainedthe critics'complaintsinhisessaycommemoratingWilder'sone-
hundredthbirthday,"Whatthese criticswere sayingwasthatWilderwasnotsufficientlyattunedto the
problemsof hisday,that bysettinghisnovelsinremote timesandplaces,he wasignoringthe present."
Bryerwenton to explainthatithadto be that way.Unlike othermajorwritersof the day,such as
FaulknerorHemingway,Wildergrewupindifferentplacesondifferentcontinents,andsohe had no
place that he couldfeel deepinhisheartwashisown.It wasnatural forhimto set hisfictionsin
differenttimesandplaces,eventhoughsome criticstookthisasa signof aloofness.The mostobvious
distancingmechanismisthe surlypersonalityof the play'smaincharacter,Horace Vandergelder.
Certainly,there are elementstohischaracterthat anyone can relate to,but justas certainlythere are
not people comingawayfromthe theatertelling themselves,"He'slikeme."He isa curmudgeon,a
crank, anda tightwad,toomoneyconscioustorecognize true love andtoostingytolethisemployees
have one eveningoff outof the week.He distruststhe young,buthe alsohasno respectforthe law.He
parts withcash sparingly,afewdollarshere andthere,buthe carriesa huge amountinhispurse,which
he is surprisinglycarelessenoughtolose.Inshort,he isa compilationof unpleasanthumantraits,which
wouldmake hima fine secondarycharacter.Asthe lead,he servestoremindaudiencesof the extremist
nature of comiccharacters. PuttingHorace Vandergelderinthe middleof the playislike focusinga
movie cameraso tightlyona science fictionmonsterthata zipperinthe back of the suiteventually
shows.
Because Wilderhad,bythe time The Matchmaker wasproduced,wontwoPulitzersandestablished
himself asafixture of the Americanliteraryscene,reviewershadtolowertheirexpectationsinorderto
thinkof the play inthe right sense.AsRex Burbankwasto putit inhisoverview of Wilder'scareerin

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1961, "There islessclaimtoseriousattentionandcontemplationinthisplaythaninanyof Wilder's
otherfull-lengthworks;anditshouldbe enjoyedforwhatitis—afarce."The lackof social insightthat
became a rallyingcryagainstWilderinthe 1930s helpsreadersunderstandthe spiritof The
Matchmaker,according toBurbank: "one enjoyslaughingatVandergelder'sabsurditiesbutisnot
constrainedtogive muchthoughtto theirsocial or ethical significance."
5.The Role of English language in India
Topic:The Role of Englishlanguage inIndia
Name:NasimGaha
Roll no -22
Paperno -12
Email id:gahanasim786@gmail.com
Enrollmentno:2069108420190014
SubmittedtoDepartmentof Englishmkubu
Role of Englishlanguage inIndia.Languages:
Languagesare importantinthe life of anynation.The membersof a social groupneedlanguage to
communicate witheachother,forall social purposes,forpublicadministration,forcommerce and
industry,foreducationandsoon.
Ours isa country withMultilingual,Multicultural,andpluralisticmilieu.Social aspirationscanbestbe
fulfilledwhentheyare allowedtofunctionthroughthe mothertongue.Therefore itisnatural tothinkof
mothertongue forthe purpose of education.Butthe necessitytohave a commonlanguage for
interactionhasledtothe learningof English.
Role of Englishlanguage inIndia.Languagesare importantinthe life of anynation.The membersof a
social groupneedlanguage tocommunicate witheachother,forall social purposes,forpublic
administration,forcommerce andindustry,foreducationandsoon.Thus,thougha foreignlanguage,
Englishoccupiesaunique positioninthe Indianeducational system.Evenafter independence,it
continuestobe a major language havingaprestigiouspositioninoursociety.Thischapterattemptsto
focusattentiononthe role of the Englishlanguage andthe changingneedsof EnglishLanguage Teaching
and learninginIndia.English speakingandEnglishlisteningare givenaveryhighpriorityinthe Indian
educational system.The elite societyinIndiasendstheirchildrentoEnglish-mediumschoolsandeven
the poorestof the pooraspire to sendtheirchildrentothe same since Englishisseenasa language that
providesupwardeconomicandsocial mobility.
Eightessays
Teachingof EST inIndianconditionsbyR.SSharma

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TeachingEnglishas'SecondLanguage'in IndiabyKapil KapoorJNU,Delhi
Socio-cultural Dimensionsof Englishasa secondLanguage byRekhaAslam
Teachingof English: A Pleaforpractical Attitude byR.K.Singh
TeachingEnglishasa secondlanguage inIndiafocusonobjective shivendrak.vermae by
EnglishforAcademicPurposesbyLizHampLoyns
EnglishforspecificPurposesbyTony
Intercultural communicationbyClaire Kramsch
Teachingof EST inIndianconditionsbyR.SSharma
The term EST was givenbyR.S.Sharmathroughhisresearchwork.Englishisglobal language andthatis
whywe will findEnglishlanguageall mostineveryfield.There are manylanguages;Englishisused
prominentlyinthe fieldof scienceandtechnology.
What isEST?
As learnerandfeaturesof technical Englishtakentougherwill enable ustooutline clearlythe materials
and methodsuse inscience andtechnical students.Teachingof ESTinIndiasuffersfromsome serious
drawbacks.The course & methodsare unrelatedtothe specificacademicandprofessional needsof the
science student.In1977, itwas realizedthatthe problemsof Englishfor specialpurposeswere largely
unrecognizedthiscountry.WherevernecessaryinIIT's,engineeringoragriculture studentsinrole,
processesandcontextof majorsubjectmatterof whicharea course and teachingEnglishmethods.
The teacher’srole ina learner-centeredclassroomof EST:
The teacher’srole ina learner-centeredclassroomof ESTis absolutelycritical.Ittakespractice.Ittakes
patience.Itrequiresawillingnesstotrynew things,fail,reflect,revise,redeemandrepeat.The teacher
has to use manytechniquesinthe teachingprocess.The teacherinalearner-centeredclassroomof EST
has to:
¬ Introduce challenging,engagingideasthatinspire studentquestions.
¬ Finda happymediumbetweengivingstudentstoomuchdirectionandtoolittle.
¬ Establishroutinesandstructuresinthe classroomthatsupportinquiry.
¬ Engage infrequentconversationswithstudents.
¬ Focusstudentsongeneratingargumentsbasedonevidence.
¬ Provide opportunitiesforstudentstochoose how theydemonstrate theirlearning.
¬ Connectstudentswithexpertsinfieldsrelevanttotheirinquiryandfacilitate theirconversations.

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¬ Teachskillsandprocessesthatstudentsneedtoknow inordertoengage ineffective inquiry. Provide
time forreflectionandmeta-cognitionwithinthe structure of learningcycles.
¬ Maintainthe studentstohave theirmoodand mindhappilyandhilariouslyall the time.
Conclusion:- EST is Englishfoe academicpurpose thusitschief aimistocomplete the requirements
and needsof the studentsaswell asorganization,andforthatneedanalysisisnecessaryandthe
analysisshouldbe keptinmind,materialsandmethodsof teachingshouldbe accordingtoneed
analysis.Andforthata professorV.ChandraSekharRaosuggestedthatLearnercenteredapproachisof
worth.
TeachingEnglishas'SecondLanguage'in IndiabyKapil KapoorJNU,Delhi
Introduction
The term secondlanguage isintwodifferentways-
(I)Englishissecondlanguageafterone ormore Indianlanguages,whichare primaryandmore
significantly,
(ii) InSchool Education,the secondlanguage iswhatisintroducedafterthe primarystage andhas a
pedagogical aswell asa functional definition,particularlyinthe contextof the ‘three-language formula’.
The significance of EnglishasSecondlanguage canonlybe understoodinthe largerandinthe
historical perspective.Itisto be notedthatEnglishinIndiaisa symbol of linguisticCentolalismwhereas
the numerousIndianlanguage are seentorepresentlinguisticregionalismfromMacaulayto Murayama
Singh,we have seennowinIndianthe movementfromone tothe other.Followingthe withdrawal of
the BritishfromIndia,the language questionnaturallycame tothe fare,inwhichthe central issue was
the role and statusto Englishvis-à-visIndianlanguage,bothwere vernacularandclassical.This
Conceptual structure hasthree parts:
What isFirst Language?
Firstlanguage meansmothertongue .Primarylanguage thatthe childwouldlearn.Firstlanguage hasan
importance influence onthe secondlanguage acquisition.Firstlanguage isouridentity.
What issecondlanguage?
“A person’ssecondlanguage orL2 isa language thatisnot the native language of the speaker,butthat
isusedfor communicationwiththe people of anotherlanguage.”
Englishlanguage isGlobal language.Englishisnotourmothertongue.It’slanguage of England.Englishis
necessarythingbecause eachandeveryrequiresEnglish.EnglishisLanguage of power.Tosurvive inthis
modernerait isnecessarytorequire basicknowledgeof Englishlanguage. SecondLanguage acquisition

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(SLA) isalsocloselyrelatedtocognitivepsychology,andeducation. AccordingtoKreshan,the
Acquisitionof alanguage isnaturalisticprocess,where as learningalanguage isa consciousone.
1) The First Language broadlyisthe language introducedinthe School asa subjectfromgrade I to X
and itis commonlyusedasthe mediumof instructionatthe school level andasthe mediumof
expressionbythe Lernerinhissocial Communication.Itisusuallythe mother-tongueorthe regional
language of the child.
2) The SecondLanguage,i-e,L2 isthat language whichisintroducedcompulsorilyeitherof the endof
primarystage or in the beginningof the lowersecondarystage afterthe attainmentof sufficient
proficiencyinthe firstlanguage bythe learner.The mainobjectiveof the secondlanguage istoenable
the speakerforwiderparticipationinsociety,andthe nationleadingtoSecondarysocialization.
3) The Third Language:L3 isintroducedsimultaneouslyorafterthe initiationof secondlanguage.
Generallyingrade VIII.The mainobjective of introducingthe thirdlanguage istoprepare the learnerfor
all-Indiamobilityleadingtoternarysocializationandgive the learner aworkingknowledge of the
language sothat the learnermayread,comprehendandexpresscorrectlyinthatlanguage.
4) Notice thatas definedabove,Englishfunctionally,isL3;the third language-itcannotbe L2.But
Englishisallowedtobe introducedandstudiesasthe secondlanguage.
5) Here ishow the reportof the workingGroupon the studyof Language (NCERT,1986) presentsthe
chronological distributionof the three languages,throughthe school systeminthe contextof the three
language formula:
Conclusion
It isthe absence of grammarcenteredteachingthataccountsfor so muchstresson methodology,
‘Method”and ‘methodology’are dharmainwesterntraditionitisassumedthatitthe methodisright,
the god will be automaticallyachieved,if the factsare correct , withthe rightmethod, we are boundto
reach the rightconclusion.Thisassumptionhascreatedawidespreadconcernforselectingandrefining
the right methods.The classical simplicityanddemocracyof learning/teachinginwhichthe blackboard
the woodenslate ,the ink-pen,the inkpot, and a primeror bookwere all that was needed,isnow
perhapsinstrievablylost maybe it is notright to abandontechnology,maybe technological gadgets
have a properuse,but surelyacountry witha huge bodyof learnersneedstoexamineall these rather
closelyfor,there isno doubtthat justas ritualsor karma kanda killed–before ititself wasdisastrously
killed=the sprite of a whole wayof life,the ritualsof language teachingtakesthe enthusiasmandthe
intellectual challenge outof language teaching,whichisreducedtoa mechanical routine andprocessin
which“How” become more importantthe both“What” and“Why”.
6. Edgar Allan Poe Short story

20. Assignment book
Papered By Nasim Gaha Page
Topic: Edgar Allan Poe Short story
Name: Nasim Gaha
Roll no:22
Email id: gahanasim786@gmail.com
Enrollment no: 2069108420190014
Sem-3
Submitted to Department of English MKUBU.
About: Edgar Alone Poe
He was born in 19 January 1809 and died 7 October 1849. He was American short-story writer,
poet, critic and editor. He was famous for his cultivation of mystery and the macabre.
Famous work
“The Cask of Amontillado”
“The Masque of the Red Death”
“The Tell-Tale Heart”
“The Murders in the Rue Morgue”
The Fall of the House of Usher”
" The Purloined Letter”
"The Gold Bug"
“The Black cat”
“The Fall of House” use In them
The Fall of the House of Usher, supernatural horror story by Edgar Poe published in Burton’s
Gentleman’s Magazine in 1839 and issued in Poe’s Tales of the Grotesque and Arabesque
(1840).
Fear, Imagination, and Madness
Fear is a pervasive theme throughout “The Fall of the House of Usher,” playing a prominent role
in the lives of the characters. The story shows that fear and imagination feed off one another. The
narrator is afraid of the old mansion, even though there is no specific threat. He recognizes that
the individual aspects of the mansion are normal, but when put together, they convey an ominous
presence. He is more terrified by the house’s reflection in the tarn, a distorted and ultimately
imaginary image, than by the actual house.
The narrator sees Roderick losing his sanity and grip on reality, and while there is no obvious
cause, the narrator admits he feels the same terror and madness setting on him. Roderick lives in
a constant state of fear, which soon infects the narrator, making him superstitious as well.
Roderick’s imagination makes him believe that the house is sentient, and this belief makes him
fearful of his surroundings. Roderick states that he will eventually “abandon life and reason
together,” and in doing so he will completely lose touch with reality and give in to his delusions.
“The Purloined Letter” use in theme
Logic
The hallmark of "The Purloined Letter" is its use of abstract logic by C. August Dupin. The story
is one of what Poe called his "tales of ratiocination," which employed reason—rather than
horror, as in many other Poe stories—as a narrative tool. Dupin, who also solves the cases in

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some of Poe's other tales of ratiocination, is a detective who uses deductive reasoning to solve
the case of the stolen letter.
In the story, Dupin relies on what he knows of the situation to deduce the correct hiding spot of
the letter. Pupin’s reasoning is based on three factors: what he knows of the Prefect's behavior
and thought processes; what he knows of the Minister's behavior and thought processes; and
what he knows of human nature in general.
As Dupin explains to the narrator, he knows, both from recent conversations with the Prefect and
from past knowledge, that the Prefect follows "principles of search, which are based upon the
one set of notions regarding human ingenuity" to which the Prefect was accustomed. Dupin notes
that the Prefect has "taken it for granted that all men proceed to conceal a letter.... in some out-
of-the-way hole." In the Prefect's experience, when somebody wants to hide...
“The gold BUG” USE IN MYTH
A mystery story need not necessarily involve an intellectual theme in the ordinary sense of the
term. The gradual unraveling of the mystery and the suspense created are usually sufficient to
hold the reader’s interest. The reader receives pleasure from matching his wits with the character
attempting to solve the mystery and the character who created the mystery. In Edgar Allan Poe’s
detective and mystery stories such as “The Purloined Letter” and “The Gold-Bug,” the main
characters themselves, such as Dupin and Legrand, receive this kind of pleasure, as well as
expectations of monetary reward. At the same time, in their explanations of their procedures,
they often make comments on human nature that serve as themes.
One such theme is expressed by Legrand as he tells the narrator how he decoded Kidd’s cipher.
Legrand has the skills in logic and the past experiences with such codes to succeed at the task.
Yet more fundamentally, he bases his attempt on the conviction, he says, that any mystery that
one human intelligence can construct, another human can solve if the person applies his or her
intellect properly and persistently. Thus armed, Legrand cracks the code with little difficulty, to
the amazement of the narrator.
“The Tell-Tell-Tell Heart” use theme
Two major themes in Edgar Allen Poe’s “The Tell-Tale Heart” are guilt and madness. The
narrator is seemingly unable to cope with his guilt and eventually confesses everything to the
police, ruining his “perfect crime.” The narrator’s sanity is also in question. His justifications for
killing the old man and his actions throughout the story suggest that the narrator has, in fact,
descended into madness.
“The cask of Amontillado” use in myth
e Cask of Amontillado" is a powerful tale of revenge. Montresor, the sinister narrator of this tale,
pledges revenge upon Fortuna to for an insult. Montresor intends to seek vengeance in support of
his family motto: "Nemo me impune lacessit. No one assails me with impunity.
“The black cat” use myth
"The Black Cat," one of Edgar Alone Poe 's most memorable stories, is a classic example of the
gothic literature genre that debuted in the Saturday Evening Post on August 19, 1843. Written in
the form of a first-person narrative, Poe employed multiple themes of insanity, superstition, and

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alcoholism to impart a palpable sense of horror and foreboding to this tale, while at the same
time, deftly advancing his plot and building his characters. It's no surprise that "The Black Cat"
is often linked with "The Tell-Tale Heart," since both of Poe's stories share several disturbing
plot devices including murder and damning messages from the grave—real or imagined.
Love and hate are two key themes in the story. The narrator at first loves his pets and his wife,
but as madness takes hold of him, he comes to loathe or dismiss everything that should be of the
utmost importance to him. Other major themes include:
Justice and truth: The narrator tries to hide the truth by walling up his wife's body but the voice
of the black cat helps bring him to justice.
Superstition: The black cat is an omen of bad luck, a theme that runs throughout literature.
Murder and death: Death is the central focus of the entire story. The question is what causes the
narrator to become a killer.
Illusion versus reality: Does the alcohol release the narrator's inner demons, or is it merely an
excuse for his horrendous acts of violence? Is the black cat merely a cat or something imbued
with a greater power to bring about justice or exact revenge?
Loyalty perverted: A pet is often seen as a loyal and faithful partner in life but the escalating
hallucinations the narrator experiences propel him into murderous rages, first with Pluto and then
with the cat the replaces him. The pets he once held in highest affection become the thing he
most loathes. As the man's sanity unravels, his wife, whom he also purports to love, becomes
someone who merely inhabits his home rather than shares his life. She ceases to be a real person,
and when she does, she is expendable. When she dies, rather than feel the horror of killing
someone he cares for, the man's first response is to hide the evidence of his crime.
Conclusion
ho was Edgar Allan Poe? When I look back at my literary studies, I have a recurring memory of
the fascination I and my fellow students felt when we started reading Poe’s short stories and
narrative poems. Not only did we feel intrigued by the horror in his stories, but we also enjoyed
the deductive reasoning and creative imagianation of Dupin, the famous detective who first
appeared in his The Murders in the Rue Morgue. Poe’s writing is often associated with his tales
of mystery and macabre, and he is also seen as an important figure in the birth of detective
fiction.
7.The modernist literature p-9
Assailment The modernist literature p-9
Topic name: Character analysis of “The Birthday party”
Name: Nasim Gaha.
Roll No: 22
Email id : gahanasim786@gmail.com
Enrollment no : 2069108420190014
Sem-3
Submitted to Department of English MKUBU.

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About Harold Pinter
Harold Pinter was born on Oct. 10, 1930, the only son of a Jewish tailor, in Hackney, East
London. He won a scholarship to the local school, Hackney Downs Grammar School. In 1948 he
entered the Royal Academy of Dramatic Arts and then joined a repertory company as an actor
and toured England and Ireland. After marrying actress Vivien Merchant in 1956, he began
writing plays, giving up the poetry, short stories, monologues, and an autobiographical novel.
Here fames work:
The Room (1957)
The Birthday Party (1957)
The Dumb Waiter (1957)
A Slight Ache (1958)
The Hothouse (1958)
The Caretaker (1959)
A Night Out (1959)
Night School (1960)
Birthday party(1957)
Birthday party is the second full-length play by Pinter first published in London by Encore
Publishing in 1959. It is one of his best-known and most frequently performed plays.
About all character
Stanley Webber
Meg Boles
Petey
Lulu
Goldberg
Dermont McCann
Stanley Webber:
A man who has been living for the past year in Meg and Petey Boles’ boarding house. Stanley is
reclusive and unkempt, wearing filthy old pants and a pajama top. If Meg didn’t go out of her
way each morning to make sure he ate breakfast and drank his tea, it seems he would never leave
the comfort of his bedroom. This is perhaps because he has come to this seaside town in order to
hide from his past life, although Pinter never clarifies what Stanley is running from. All the
same, he leads an isolated existence, refusing to venture beyond the boarding house and claiming
that he’d have “nowhere” to go even if he did leave. Having become accustomed to this kind of
solitude, Stanley is distraught when Goldberg and McCann come to the boarding house and start
interrogating him, making him feel guilty despite the fact that they never actually reveal what

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he’s done. Unfortunately, Meg and Petey hardly notice the effect these newcomers have on
Stanley, even when he finally has a mental breakdown as a result of their tormenting. At the
same time, the darkness Goldberg and McCann bring out in Stanley is shocking, as he eventually
tries to strangle Meg and rape Lulu (one of his acquaintances). As such, Pinter portrays him as
someone who has either always been dangerous, or who has been pushed to the edge by
Goldberg and McCann’s psychological games. Indeed, by the end the play, Stanley is completely
unhinged, finding himself incapable of communicating or standing up for himself, which is why
he allows Goldberg and McCann to escort him out of the boarding house and away from his
sequestered life.
Meg Boles
She is wife of Petey. Along with her husband, Petey, Meg is one of proprietors of the boarding
house in which Stanly lives. What Meg lacks in intelligence, she tries to make up for in
fastidiousness, constantly trying to please her guests and establish routines that will impose order
on the boarding house. Her connection to Stanley is particularly bizarre, as she treats him
maternally and romantically, forever scolding him to eat his breakfast while also making
potentially sexual remarks about their relationship. What’s most interesting about Meg, though,
is that she devotes herself to order and routine even when it doesn’t make sense to enforce these
everyday practices. For example, when she runs out of cornflakes one morning, she still insists
that Stanley should come downstairs to eat breakfast, caring more about going through her
habitual motions than acting in accordance with reality. This is the same kind of naïveté that
makes it hard for her to see that Goldberg and McCann when they arrive are intent upon
psychologically torturing Stanley. Instead of recognizing their malicious motives, she simply
focuses on throwing Stanley a birthday party (though he tells her it’s not his birthday). What’s
more, on the morning after the party, she acts as if nothing extraordinary has happened, even
though Stanley tried to strangleherand then tried to rape Lulu. Knowing how important it is to
her to maintain order and routine, Petey tells her at the end of the play that Stanley is still
upstairs sleeping when—in reality—Goldberg and McCann have taken him away for good.
Petey Boles
Meg’s husband, and the co-proprietor of the boarding house in which Stanly lives. Petey is an
affable man whose presence is rather minor in his own home, since he spends most of his time
working at the nearby beach, where he puts out chairs for the public. Attuned to his wife’s
eccentricities, Petey has no problem indulging Meg’s obsession with order and routine. When,
for example, she talks about the same topics every morning, he simply goes along, agreeing that
Stanley should come downstairs so that he isn’t late for breakfast. In fact, he even has this
conversation with Meg at the end of the play, when Stanley is no longer in the house because
McCann and Goldberg have taken him away. Despite the fact that he’s not very present, Petey is
perhaps the only character in The Birthday Party who worries about Stanley after McCann and
Goldberg psychologically torment him. In fact, he’s the only person who notices a change in
Stanley at all, as made evident by the fact that he tries to stand up for him and, when this fails,
yells, “Stan, don’t let them tell you what to do!”
Lulu
A young woman who visits Meg and Petey’s boarding house. Before McCann and Goldberg
arrive, she tells Stanly that he ought to go outside for some air, prompting him to invite her to

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run away with him. When she asks where they’d go, though, he simply says, “Nowhere,” and
then declines her invitation to go on a walk. Later, Lulu comes to Stanley’s birthday party and
flirts with Goldberg, telling him that she has always liked older men and that he looks like the
first man she ever loved. During the game of “blind man’s bluff,” she and Goldberg continue
flirting and fondling one another. When Stanley plays the blind man, though, the party takes a
dark turn and, when the lights cut out, he approaches Lulu and attempts to rape her. Thankfully,
Goldberg and McCann stop him, and Lulu and Goldberg presumably continue their romantic
evening, as made evident by the conversation they have the following morning, when she
accuses him of having sex with her without having any intention of starting a relationship. “You
taught me things a girl shouldn’t know before she’s been married at least three times!” she
laments, but Goldberg only says that now she’s “a jump ahead.” With this, McCann enters and
tries to get her to confess her sins, an attempt that drives her out of the boarding house.
Goldberg
A charming, swift-talking man who arrives at Meg and petey’s boarding house with his
associate, McCann, with the intention of locating Stanley Webber. Goldberg introduces himself
as Nat, but he frequently refers to himself as “Simey” while telling stories. Confusingly, he also
calls himself “Benny” at one point, suggesting that his past is just as jumbled and inscrutable as
Stanley’s. In fact, these two men seem to know one another, though when Stanley asks McCann
if either he or Goldberg have spent time in Maidenhead, McCann upholds that they haven’t.
Nonetheless, Goldberg later references the same Maidenhead tea shop that Stanley has already
talked about, suggesting that he is indeed from the same town. Regardless of whether or not they
hail from the same place, though, talking about the past is something Goldberg does quite often,
speaking wistfully about old acquaintances and relatives and telling his listeners about the life
advice he received from these people. This, it seems, is what Goldberg wants most: to be the
kind of person who’s full of wisdom. Unfortunately, though, he himself has very little to offer in
the way of life advice, and this is something that upsets him. Still, he’s smooth and socially
confident, as made evident by the fact that he easily wins over Meg by complimenting her dress.
He also gains the affection of Lulu, with whom he flirts during Stanley’s birthday party. The next
morning, they have a frank conversation in which she lampoons him for having sex with her
without intending to begin a relationship. However, Goldberg has other matters on his mind,
focusing first and foremost on psychologically disturbing Stanley and taking him away from the
boarding house.
Dermont McCann
Goldberg’s associate. An Irishman who takes orders from Goldberg, McCann doesn’t know why
he has been assigned to locate Stanley Webber and remove him from Meg and Petey’s boarding
house. Nonetheless, he carries out his duties, acting as Goldberg’s muscle and helping him to
psychologically unhinge Stanley. Like the other characters in The Birthday Party, McCann has a
confusing past, such that it’s difficult to know what kind of life he has actually led until now.
Nonetheless, Goldberg tells Lulu in Act III that McCann is a recently unfrocked priest,
prompting McCann to pressure her into confessing her sins (though she runs away before doing
so). And yet, McCann is perhaps more sensitive than he appears, considering that he seems
troubled by his final interactions with Stanley. Indeed, when Goldberg asks for an update on

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Stanley’s mental state the day after the calamitous birthday party, McCann says, “I’m not going
up there again,” insisting that he won’t return to Stanley’s room because of the fact that he
(Stanley) has gone completely quiet—a fact that seems to unnerve him. Still, whether or not he
empathizes with Stanley, McCann doesn’t hesitate to help Goldberg remove him from the house
at the end of the scene, carting him away despite Petey’s protests.
8.write about the salient features of the
romantic age
Topic:write aboutthe salientfeaturesof the romanticage
Name:Nasim.RGaha
Roll no:22
Email ID: gahanasim786@gmail.com
Enrollment:2069108420190014
Submittedto:smt.S.BGardi departmentof Englishmaharajakrishanakumarsihji bhavnagaruniversity
Romanticage
Romanticperiodhasstartedwiththe publicationof Lyrical BalladsbyWilliamWordsworthandSamuel
TaylorColeridge,bothwere the prominentpoetsof the age and theyhave provedthatitwas
“The secondcreative periodof Englishliterature”
Majorityof writerswere notreadyto accepttheiridentityasa romanticwriterbutafterthe lectures
of AugustSchlegel aboutromanticismhe hasdepictedclassicismas‘plastic’andmaterialisticand
romanticage as ‘organic’,andbecause of thispoint of view Romanticismhasstartedinitsflaw.

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The importantmovementhasbeenstartedfromBerlin,inBerlinthere werealotof space for writers
and all artists.Theyencouragedwriters,paintersandsingerstoestablishtheirworks.
In thisage there were several movementswere goingon,itwasa time whentwobooksabout
Englandhave beenpublished,
search
Top of Form
Bottomof Form
Romanticismwasa literaryandintellectual movementthatlastedfromthe late eighteenthcentury
throughthe mid-nineteenthcentury.Classicexamplesof Romanticnovelsare NathanielHawthorne's
The ScarletLetter andMary Shelley'sFrankenstein.ThoughacademicsconsiderRomanticismdifficultto
define—themovementdevelopeddifferentlyinEuropeancountries thanitdidinthe US—there are a
fewkeyfeatureswe cantalkabout.
The firstis important:Romanticismwasreactionary.The movementwas,atleastinpart, a response to
the Industrial Revolutionandthe Age of Enlightenment.Ratherthanfocusingonscience,logic,or
reason,as wasthe zeitgeistonbothsidesof the Atlantic,Romanticwriterswerenostalgic,lookingtoa
simplerpastforinspiration.Muchaswe,as contemporaryreaders,maylookbackto the pre-internet
era withsome sentimentality(rememberwhenwe lookedthingsupinanactual encyclopediainsteadof
Googlingeverything?),Romanticwritersfondlyrememberedapre-industrialera.
Whichbringsus to our secondpoint.Romanticwritersexpressedemotionandimagination,engaging
withaestheticsandthe beautyof the natural world.Inthe poetryand novelsof the era,emotionwas
more importantthanreasonor science.Itstandstoreasonthat Romanticwritersalsorejectedsome of
the structure or rulesthat had previouslygovernedbothnovel
Romanticismisa movementinartandliterature inthe eighteenthandnineteenthcenturyinrevolt
againstthe neo-classicismof the previouscenturies.Itisthe directoutcome of FrenchRevolution.The
FrenchRevolutiondirectlyinspiredbyRousseauism, haditsinfluence onthe RomanticPoets,bothinits
revolutionaryidealsandinitsexcessof terror.Thisimaginative literatureof the earlynineteenth
centuryfounditscreative impulseinthe sociological ideal.
Romanticismisa contraryto the neo-classicism.Neo-classicismcanbe characterizedbyemotional
resistant,orderandlogicwhile romanticismgivesemphasisoverimagination.The romanticswrite what
theygetfrom theirimagination.The romanticstriedtosee life withnewsensibilitiesandfreshvisions.
Theyare deeplyaware of theirsocial obligations,butthe burdenof anexceptionvisionof lifedrives
themintobeingalmostfugitivesfromtheirfellow-men.The romanticpoetsleadthe readerstothe
strange areas of humanexperience,butseldomwelcome himinthe language of ordinaryconversations,
or evenwithcurrencyof normality.

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RomanticismstarteditsjourneyinEnglishLiterature witthe publicationof Lyrical Ballads,ajointworkof
WordsworthandColeridge in1798. Itscommunionwithnature,interestinsimplehumanlife,profound
impulsiveness,imaginative propensityandlyrical subjectivityetc.are itssalientfeatures.
Romanticage isessentiallyanage of verse.The spiritof romanticismisfoundprimarilystruckinpoetry
inthe liberationof poeticinspirationandimpulses.Thisdominantof poetryisfoundechoedinwords
worth’sfamoussaying,“Poetryisthe breathandfinerspiritof all knowledge.
Romanticpoetshada strongpowerof imagination.All the poetsof thisperiodpossessthisimaginative
powerwhichmade theirworksdifferentfromtheirpredecessors.We see the use of thisimaginationin
“KublaKhan”and “The AncientMariner”of Coleridge.
The imaginative powerof the romanticpoetsleadsthemtomysticism.The poetsof romanticage found
interestedinthe mysticism.The poetsof romanticage foundinterestedinthe mysteriousunknown
worldthat livesonthe otherside of life.Wordsworthviewednature fromamysticangle,Coleridge’s
mysticismfoundinhisfascinatingtreatmentof the supernaturalworldinhispoems,Keats,Shellyand
otherpoetsalsodeal withmysticism.
Love for beautyandnature is anotherfeature of romanticism.Allthe romanticpoetshada deep
interestinnature notas a centerof beautiful science butasan informingandspiritualinfluence onlife.
The common elementsof nature i.e.the risingsun,the bloomingfloweranddeepblue skyare like living
soul-mightyandgigantictothe romanticpoets.The romanticpoetsalsofoundeverythinglovelyand
beautiful innature andman.“Beautyistruth and truthbeauty”isthe poeticphilosophyof the age of
romanticism.
The romantic poetsare foundto deal withhumanlife initsessential traits,inliberty,simplicityand
purity,childhoodandprimitive simplicityare idealizedbyWordsworthwhereasByronandShellyremain
the assertive poetsof humanity.Otherpoetsandprose writersalsodeal withhumanity.
Hellenismisfinelyincorporatedandechoedinthe poetryof romanticage,mainlyinthe poemsof
ShelleyandKeats.The romanticpoetslookeduponGreekLiterature.Theydidnotborrow the elements
but the contentof GreekLiterature andshapeditwiththeirowngeniusaslike asShelleydidin
“PrometheusUnbound”
The romantic poetsgave emphasisuponcontentratherthanformandstructure.The contentof a
literaryworkisthe measure bywhichthe romanticsmeasuredaliterarywork.The romanticpoetsdeny
the notionthat poetryhasitsown exceptional wordstock.Theyusedsimpledictionratherthan
elevateddiction.Theyusedthe wordof rusticanddailylife intheirpoetry.Wordsworth,inthe later
editionsof Lyrical Balladssaidthatthe Language of poetryoughtto be the same as the language of a
simple farm-worker.

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Every literaryperiodissharplyinspiredbythe social andpolitical conditionof itsowntime.But
romanticismisfree fromthiskindof inspiration.Itcriticizesthe growthof industryandtownthoughit
tookbirth inthe goldenperiodof industriousrevolution.The romanticpoetsturningtonature for
protectionalsocriticize the traditional religiousbelief of the time.
The romantic literature wasmarked,andisalwaysmarked,byastrange reactionandprotestagainstthe
bondage of rule and custominscience andtheology,aswell asliterature,generallytenttofetterthe
free humanspirit.Romanticpoetsare essentiallysubjective self-revelationacreedwiththem.Intheir
poetrymaybe foundmuchof theirmindandspirit.Theyseemtotake theirreadersintoconfidenceand
pour intotheirearsall theirpassionsandpains,all theirdreamsanddesires.It’sacardinal elementinall
romanticpoets.Asinthe prelude’swordsworthmade anepicof personal experience basedonhisown
life.
In general,these are the featuresof romanticism.Of course,romanticpoetryisnosuddenphenomenon
inthe literature of England.Itisratheran inevitablereactionof the artificial andcritical poetryof the
eighteenthcenturywithall the featuresThere are asmany definitionsof poetryasthere are poets.
Wordsworthdefinedpoetryas“the spontaneousoverflow of powerful feelings;”EmilyDickinsonsaid,
“If I reada book andit makesmybody socold nofire evercan warm me,I know thatis poetry;”and
DylanThomasdefinedpoetrythisway:“Poetryiswhatmakesme laughor cry or yawn,
There are as manydefinitionsof poetryasthere are poets.Wordsworthdefinedpoetryas“the
spontaneousoverflow of powerfulfeelings;”EmilyDickinsonsaid,“If Ireada bookand itmakesmy
bodyso coldno fire evercan warmme,I know that ispoetry;”and DylanThomas definedpoetrythis
way:“Poetryis whatmakesme laughor cry or yawn,whatmakesmy toenailstwinkle,whatmakesme
wantto do thisor that or nothing.”
Homer’sepic,The Odyssey,describedthe wanderingsof the adventurer,Odysseus,andhasbeencalled
the greateststoryevertold.Duringthe EnglishRenaissance,dramaticpoetslike JohnMilton,
ChristopherMarlowe,andof course Shakespeare gave usenoughtofill textbooks,lecture halls,and
universities.Poemsfromthe romanticperiodincludeGoethe’sFaust(1808),Coleridge’s“KublaKhan”
and JohnKeats’“Ode ona GrecianUrn.”
Shall I go on?Because inorderto do so, I wouldhave tocontinue through19th centuryJapanese poetry,
earlyAmericansthatinclude EmilyDickinsonandT.S.Eliot,postmodernism, experimentalists,slam…
So whatis poetry?
Perhapsthe characteristicmostcentral to the definitionof poetryisitsunwillingnesstobe defined,
labeled,ornaileddown.Butlet’snotletthatstop us,shall we?It’sabouttime someone wrestledpoetry
to the groundand slappedasignon its backreading,“I’mpoetry.Kickme here.”
Poetryisthe chiseledmarble of language;it’sapaint-spatteredcanvas –but the poetuseswords
insteadof paint,andthe canvas isyou. Poeticdefinitionsof poetrykindof spiral inonthemselves,
however,likeadogeatingitself fromthe tail up.Let’sgetnitty.Let’s,infact,get gritty.I believe we can
renderan accessible definitionof poetrybysimplylookingatitsformand its purpose:

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One of the mostdefinable characteristicsof the poeticformiseconomyof language.Poetsare miserly
and unrelentinglycritical inthe waytheydole outwordstoa page.Carefullyselectingwordsfor
concisenessandclarityisstandard,evenforwritersof prose,butpoetsgowell beyondthis,considering
a word’semotive qualities,itsmusical value,itsspacing,andyes,evenitsspacial relationshiptothe
page.The poet,throughinnovationinbothwordchoice andform, seeminglyrendssignificance from
thinair.
How am I doingsofar? On to purpose:
One may use prose to narrate,describe,argue,ordefine.There are equallynumerousreasonsfor
writingpoetry.Butpoetry,unlikeprose,oftenhasanunderlyingandover-archingpurpose thatgoes
beyondthe literal.Poetryisevocative.Ittypicallyevokesinthe readeranintense emotion:joy,sorrow,
anger,catharsis,love…Alternatively,poetryhasthe abilitytosurprise the reader withanAhHa!
Experience — revelation,insight,furtherunderstandingof elemental truthandbeauty.Like Keatssaid:
“Beautyistruth. Truth,beauty.That isall ye know onEarth andall ye needtoknow.”
How’sthat? Do we have a definitionyet?
Poetryisartisticallyrenderingwordsinsuchaway as to evoke intenseemotionoranAh Ha! experience
fromthe reader.
Prettyunsatisfying,huh?Kindof leavesyoufeelingcheap,dirty,all hollow andemptyinside like Chinese
food.
Don’tdo this.Don’tshackle poetrywithyourdefinitions.Poetryisnotafrail and cerebral oldwoman,
youknow.Poetryisstrongerthan youthink.Poetryisimaginationandwillbreakthose chainsfaster
than youcan say “HarlemRenaissance.”
To borrowa phrase,poetryisa riddle wrappedinanenigmaswathedinacardigansweater…or
somethinglikethat.Itdoesn’tlike yourdefinitionsandwill shirkthemateveryturn.If youreallywantto
knowwhatpoetryis,read it.Readit carefully.Payattention.Readitoutloud.Now readit again.
There’syourdefinitionof poetry.Becausedefiningpoetryislikegraspingatthe wind – once you catch
it,it’sno longerwind.
9.Write an essay on the ‘Novelists’ of the
Victorian age
Topic:Write an essayonthe ‘Novelists’of the Victorianage
Name:Nasim.RGaha
Roll no:22(Twentytwo)
Year: 2018-2020
EnrolmentNo:2069108420190014

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Papered By Nasim Gaha Page
M.A : Sem-2(Two)
Email-ID:gahanasin786@gmail.com
PaperNo : 6(The victorianliterature)
Submittedto:SMT.S.BGardi Departmentof Englishmaharaja krishnakumarsihji Bhavnagaruniversity.
Introduction
Everynationhas theirownhistory,assome Englandhastheirownhistory.We foundthere are so
manyperiodlike ‘The Elizabethanage’‘The age of Milton’‘The Romanticage’The victorianage’and at
last‘The modernage’etc.Here I wouldlike tointroduce The age of QueenVictoriaindetail. The
victorianage startedin1832 to 1887 duringthe reignof QueenVictoria.
The victorianage is one of the mostremarkable periodsinthe historyof England.Victorianwriter
put weightonlyonprose andnovel.We can see thatmany writerwrite novelsandotherbutwe rarely
founda personwrite dramaor play.
The Novelist
CharlesDickens
WilliamMakepeace Thackeray
George Eliot
Minor novelistsof The victorian
CharlesReade
AnthonyTrollope
Charlotte Bronte
BulwerLytton
Kingsley
Mrs. Gaskell
Richarddoddidge Blackmore
ThomasHardy

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RobertLouisStevenson
Charlesdickens
He was bornin 7 February1812 and died9 June 1870 wasan Englishwriterandsocial critic.He
createdsome of the world'sbest-knownfictionalcharactersandisregardedby manyas the greatest
novelistof the Victorianera.[1] Hisworksenjoyedunprecedentedpopularityduringhislifetime,andby
the 20th centurycriticsand scholarshad recognisedhimasa literarygenius.Hisnovelsandshortstories
are still widelyreadtoday.[2][3]
CharlesDickensmerupakanseorangpenulissekaligusnoveliskelahiranPortsmouth,Inggris.Nama
Dickensbegitupopulerdi eraVictoriaAbadke-19.Ia termasukorangyang sangatberpengaruhkalaitu.
Lewatkaryanya,selainberbagi ceritakisahkehidupannya,iajugamenyalurkanaspirasinyasebagai
kritikussosial.
Meski ia tidakmendapatkanpendidikanformal yangcukup,Dickensdecanalgeniusolehbeberapa
kritikusdanilmuwandi Abadke-20By1815, the Dickens familymovedtoLondonandlateron to
Chatham.At Chatham,CharlesreceivededucationatWilliamGillesSchool.Specialattentionwasgiven
to CharlesbyWilliamGiles,the schoolmaster.In1824, CharlesfatherJohnwasimprisonedinthe
debtor’sprisoninSouthwark,London. At thistime,Charleswastwelveyearsoldwho,alongwithhis
sisterFannywere permittedtospendadayinMarshalseawhere theirfatherhadbeenimprisoned.
Charleslivedinaboardingbutdue to the family’scondition,he beganworkingatWarrensBlacking
Warehouse,HungerfordMarket,London.
He wouldworkthere foraroundtenhours everydayandhis earningwassix-shillingaweek.The
workingconditionshadmade adeepimpactonCharleswholateron usedthis9experience toessayhis
characters.However,whenCharlesfatherwasinthe debtor’sprison,Johnsgrandmotherdiedleaving
some moneyforhim,some of whichwasusedto pay hisdebt.CharlesDickens’Schooling
From 1824-1827 CharlesstudiedatWellingtonHouse Academy, Londonandhismotherdidnotremove
himfromthe blackingfactoryimmediately.Itissaidthather failure toremove himfromthe factory
attributedtohisdemandinganddissatisfiedapproachtowardswomen.wasatMr. Dawsonsschool in
1827 and from1827 to 1828 he workedata law office asa clerk.Afterworkinginthe law office he was
a shorthandreporterat Doctors Commons.In1833 he beganhiscareer as a fictionwriterandA Dinner
at PoplarWalk washisfirstpublishedsketchinthe MonthlyMagazine.
His experience atthe lawoffice andbeingareporterwasusedbyCharlesto write hisworkslike Nicholas
Nickleby,DombeyandSonandin particularBleakHouse.CharlesDickens’Wife
In 1830, CharlesmetMaria Beadnell andfellinlove withher.However,herparentswere againstthis
relationshipandsotheysentMaria to a school inParis.In1836, hisfirstnovel The PickwickPaperswas
serialized.In1836 he became the editorof BentleysMiscellanyandremainedatthatpost forthree
years.

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In the same yearon 2nd April CharlesmarriedCatherineThomsonHogarthandtogethertheyhadten
children.Charleswasfondof Cathrine’ssisterMarywholivedwiththe Dickensfamily.He essayedher
deathinThe OldCuriosityShopasthe deathof Nell.
Charlesandhiswife visitedAmericain1842. There,Charlesgave lecturesinsupportof copyrightlaws.In
November1851, CharlesmovedintoTavistockHouse anditwas here thathe wrote BleakHouse,Hard
TimesandLittle Dorrit.Charles’secondvisittoAmericawasin1867.
Afterseparatingfromhiswife,Charlesin1858 undertookhisfirstseriesof publicreadingsinLondon.
Charlesmajorworkslike A Tale of Two CitiesandGreat Expectationswere publishedin1859 and 1861
respectively.Aroundthe same time,he wasthe publisherandeditorof journalssuchasHousehold
Words andAll the Year Round.
Charleswasinvolvedingivingfarewell readingsinEngland,ScotlandandIrelandbetween1868-1869. on
22nd April while givingone of hisreadings,Charlessuddenlyfell downatPreston,Lancashire.Hisfall
was an indicationof amildstroke andafterthisincidence,all hisremainingreadingswere cancelled.
It was thenthathe startedworkingonhislastnovel,The Mysteryof EdwinDrood.Charleshowever,
arrangedfor the partial,if notcomplete,readingof the seriesonce hishealthimproved.Charleslast
publicappearance wasat the Royal AcademyBanquet.CharlesDickens’Death
On 8th June 1870, Charlessufferedanotherstroke.He diedthe nextday,on9th June at Gads Hill Place.
Charleshadexpressedthathe shouldbe buriedatRochesterCathedral inaninexpensive,
unostentatious,andstrictlyprivate mannerbut,wasinsteadburiedatPoetsCornerof Westminster
Abbey.
WilliamMakepeace Thackeray
Today isthe bicentenaryof HenryMayhew (25 November1812 – 25 July1887).
“I thinkyouwill agree tobe one of the most beautiful recordsof the nobilityof the poor;of those whom
our jauntylegislatorsknownothing.Iamveryproudto say that these papersof Labour and the Poor
were projectedbyHenryMayhew,whomarriedmygirl.Forcomprehensivenessof purposeand
minutenessof detail theyhave neverbeenapproached.He will cuthisname deep.”
Thiswas writtenin1850 by DouglasJerrold,Mayhew’sfriend,collaboratorandfather-in-law ata time
whenHenryMayhewwouldhave beencollatingthe firsteditionof LondonLabourandthe LondonPoor
(1851). Jerroldwasmainlywrong,because todayMayhew isall butforgotten.Thisisagreat pity,
because the writerwashugelyinfluentialinhisowntime,notleastamonghisnear-exact
contemporaries,CharlesDickens(b1812) and WilliamMakepeace Thackeray(b1811).Mayhew,a
journalist(he andDickensbothworkedasreportersforthe radical MorningChronicle),novelist,
playwrightandcomicwriter,wasresponsible fortellinghistoriansagreatdeal – probablymost– of
whatwe knowaboutthe livesof the poorand destitute inLondoninthe mid-19thCentury.He notonly
providedheart-rending(albeitfarfromrelentlesslyunamusing) pen-portraitsof the poorestmen,
womenandchildrenekingoutanexistenceinthe streets:he providedhisownestimatesanddataas to
theirnumbers,earningsetc. –the curtain-raiserif youwill toCharlesBooth’sworkagenerationlater.

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That’s hisvalue tothe historian.ButMayhew’sgreatestachievement,one mightargue,wastoco-found
Punchmagazine in1841, withMark Lemonand StirlingCoyne.Althoughhe onlyremainedactively
involvedwiththe publicationforahandful of years,itthrivedandsurvivedrightdowntoourown times.
Works
Catherine
A shabbyGenteel story
Mrs. Perkins’s
The Book of snobs
Vanityfair
Pendennis
Vanityfair
The Rose andthe ring
The virginians
George Eliot
Althoughfemaleauthorswere publishedundertheir ownnamesduringherlifetime,she wantedto
escape the stereotype of women'swritingbeinglimitedtolightheartedromances.She alsowantedto
have herfictionjudgedseparatelyfromheralreadyextensiveandwidelyknownworkasaneditorand
critic. Anotherfactorin heruse of a penname may have beena desire toshieldherprivate life from
publicscrutiny,thusavoidingthe scandal thatwouldhave arisenbecauseof herrelationshipwiththe
marriedMary Ann Evanswas bornin Nuneaton,Warwickshire, England.She wasthe thirdchildof
RobertEvans (1773–1849) andChristianaEvans(née Pearson,1788–1836), the daughterof a local mill-
owner.Mary Ann'sname was sometimesshortenedtoMarian.[4]Herfull siblingswere Christiana,
knownas Chrissey(1814–59), Isaac (1816–1890), and twinbrotherswhodiedafew daysafterbirth in
March 1821. She alsohad a half-brother,Robert(1802–64), andhalf-sister,Fanny(1805–82), fromher
father'spreviousWomenwriterswere commonatthe time,butEvans'srole as the female editorof a
literarymagazine wasquite unusual.Duringthisperiod,she formedanumberof unreciprocated
emotional attachments,includingone withChapman(whowasmarried,butlivedwithbothhiswife and
hismistress),andanotherwith
Works
Adambade
The mill onthe floss

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Silasmanner
Romany
10.Three part of “Individual talent” by T.S
Eliot
Topic:Three part of “Individual talent”byT.SEliot
Name: Nasim.R .Gaha
Roll No:22 ( Twentytwo)
Year: 2018-2020
InrollmentNo:2069108420190014
M.A : sem-2( two)
Email.id:gahanasim786@gmail.com
PaperNo: 7((seven)literaryTheoryandcriticismThe 20thwesternandIndianpoetics)
Submittedto:Smt.S.BGardi Departmentof Englishmharajakrishanakumarsihji bhavnagaruniversity
He wasborn 1888 and died1965
He wasa greatcritic,poet,playwrightandjournalist.
Eliotcome withnewideasincriticism`sworldin19th century.
Eliot`scriticismbecame revolutionaryatthat time.
he was verypractical man.
20th centurygot 'metaphysical'revival becauseof Eliot.
Because he wasthe firstpersonwhorecognizedora acceptedthe uniquenessof metaphysical of 17th
century.
Eliotplanned numerouscritical conceptsthatabroad influence oncriticism.
Objective co-relative,Dissociation,of sensibility,unificationof sensibility,theoryof Denationalization
etc.

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TRADITION INDIVIDUALTALENTESSAY:
The essaywas firstpublishedinThe Egoist.
The Egoistwas a literarymagazine.whichisconsideredtodayasEngland'smostmodernist
periodical.ThisessaywaslaterpublishinThe sacredwoodWhichisEliot`sfirstbookof criticism. Eliot’s
ideaof traditionascriticsand theoristshave beendoingof late,fromamore impartial perspective.we
are notin the positionof earliercritics,whooftenworkedwithEliot’spremissesandassumption;onthe
otherhand,as Eliotmighthave written,We cannotknow where we are now without knowinghow we
got here:highmodernism, and Eliot’sessential contributiontoitleadstowhere we are today-or,ashe
didwrite in‘Traditionandthe individualTalent,
Moreover’Traditionandthe IndividualTalent’isstillpotentiallyaremarkablyfertileessay:it
exhilaratinglycourtsthe dangersof self-contradiction,andatsome level it knowsit.Itisself –conscious
as a critical performance andand anticipatesanydeconstructive reading.Thesequalitiesinhere inits
elliptical style,Where cornersare cut,logic isslippery,andthe progressionfromone sentence tothe
nextcan be mercurial.
1) conceptionof tradition:He saysaboutEnglishmen`sattitude towardsfrenchliterature.Englishmen
have a habitto feel proudonthemselves.Thatisthe proudfor theircreativityandmore lesspracticality.
In frenchthere isa mass of critical writing.EliotcomparesEnglishwithfrenchthattheyhave habitof
critical methodandEnglishhave a habitof conclusion.ForEliot,the term"tradition"isimbuedwitha
special andcomplex character.Itrepresentsa"simultaneousorder,"bywhichEliot meansahistorical
timelessness –a fusionof past andpresent – and,at the same time,a sense of presenttemporality.A
poetmustembody"the whole of the literature of Europe fromHomer,"while,simultaneously,
expressingtheircontemporaryenvironment.Eliotchallengesthe commonperceptionthata poet's
greatnessandindividualitylieintheirdeparture fromtheirpredecessors;he arguesthat"the most
individualpartsof his
We onlyconclude thatthe frenchare more critical than we and sometimesevenplume ourselves
a little withthe factas if the frenchwere lessspontaneous.
Eliotsaycriticismisas inevitable asbreathing
He admire those aspectswhichare differentfromthe poetspredecessors
Theywantuniqueness.Thealwaysfindisolationof the poetfromhisimmediate processor.
such resemblanceismostlyseeninthe periodof maturityof the poet,notinthe periodof adolescence.
so,bythishe assertsthat traditionandindividualitygotogether.
The historical sense isinevitable foranypoet.ThenEliottalksabouttraditionandhistorical senseHe
saysthat if the fromof traditionremainedonlyinblindadherenceof deadpeople orancestors,thenit

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wouldbe lostor such traditionshouldbe destroyed.AccordingtoEliotineverytraditionsalsothere isa
bitof novelty.Traditionisamatterof much widersignificance.Itcannot be inherited,andif youwantit
youmust obtainitby greatlab our.Itinvolvesinthe firstplace,the historical sense. The historical sense
forcesa man to write notonlyby the owngeneration,butwiththe whole age of Englishlitterateur.It
harmonizestwodifferentthingstimelessandtemporarilyinpoet`swork.Nopoetnoartistof anyart has
hiscomplete meaningalone.Hissignificance,hisappreciationisthe appreciationof hisrelationof the
deadpoetsand artists.youcan not value himalone,youmustsethim,forcontrastandcomparison
amongthe dead.Conformitybetweenthe oldthe new.The wholeorderof existingmomentis
readjustedwithadditionof newwork.so,bythisunchangeable.The pastshouldbe alteredbythe present
as much as the presentisdirectedbythe past.A poetcan notuse past as a saplessmass.The dead
writersare remote fromua because we know so muchmore thane theydid.He talksaboutnecessary
of knowledge forpoets.He rejectsthatbelief thatapoetrequiresahuge amountof learning.He
believesthatmuchlearningdeadensorpervertspoeticsensibility.He isnotin favourof confiningthe
knowledge forexamination,libraryorpublicity.Theprogressof anartistisa continual self sacrifice,a
continual extinctionof personality.
2)Theory of impersonal of poetry:Honestcriticismandsensitive appreciationisdirectednotuponthe
poetbut uponthe poetry.Eliotcomparescriticismwithscience.There are twogasesneeded:oxygen
and sulfurdioxide.andalsotheymusthave the presence of filamentplatinum.He comparesthis
palpationwiththe poet.Inthiswhole processthe filamentof platinum playsvital andinevitable role.But
yetthat role isindirect.Inthat processplatinumremainsinertandunchanged.Itshouldgive itstotal
contributionincreatingpoetry,alsoitshouldremainunaffectedandseparate when poetryhascome
out.AccordingtohimThe poet`smindis like autensil inwhichnumerousfeeling,phrasesandimagescan
be storedor seized.Whenapoetwantsthemhe unitesthem.Itdoesnot meanthat the poemcreated
by the poetshowshispersonalityornature.Thisbalance of constructeddemotionisinthe dramatic
situationtowhichthe speechispertinent,butthatsituationalone isinadequate it.Everytimepoet`sown
emotioncannot be takenplace inthe poem.A poethas to use ordinaryemotions.Poetryisagreat
deal.Whenapoetbecomespersonal whilewritingpoetry,he will be consideredasa badpoet.Because,
he becomesunconscious,where he shouldbe concision.Whenapoetescapesfromhispersonality,then
the great Thisfidelitytotradition,however,doesnotrequire the greatpoettoforfeitnoveltyinanact
of surrendertorepetition.Rather,Eliothasamuch more dynamicandprogressive conceptionof the
poeticprocess:noveltyispossibleonlythroughtappingintotradition.Whenapoetengagesinthe
creationof newwork,theyrealise anaesthetic"idealorder,"asithas beenestablishedbythe literary
traditionthathas come before them.Assuch,the act of artisticcreationdoesnottake place in a
vacuum.The introductionof anewworkaltersthe cohesionof thisexistingorder,andcausesa
readjustmentof the oldtoaccommodate the new.The inclusionof the new workaltersthe wayin
whichthe past isseen;elementsof the pastthat are notedand realised.InEliot’sownwords,"What
happenswhenanewworkof art is createdissomethingthathappenssimultaneouslytoall the worksof
art that precededit."Eliotreferstothisorganictradition,thisdevelopingcanon,asthe "mindof
Europe."The private mindissubsumedbythismore massive one.comes.He says;poetry isnota turning
loose of emotion,butanescape fromemotion,itisnotthe expressionof personality.
3)Conclusion: Itis veryhard thingto take interestinpoetrytokeepapoetaside.we usuallyreadpoem
withthe name and fame of the poet.We can not separate fromeachother.A poemmustknow thatto
reach the level of impersonation,he firsthastoscarifieshimself andhasto surrenderhimself totallyto
that work.The implicationshere separate Eliot'sideaof talentfromthe conventional definition(justas

38. Assignment book
Papered By Nasim Gaha Page
hisideaof Traditionisseparate fromthe conventional definition),one sofarfromit, perhaps,thathe
choosesnevertodirectlylabel itastalent.Whereasthe conventionaldefinitionof talent,especiallyin
the arts, isa geniusthatone isborn with.Notso forEliot.Instead,talentisacquiredthroughacareful
studyof poetry,claimingthatTradition,"cannotbe inherited,andif youwantit,you mustobtainitby
great labour."Eliotassertsthatitis absolutelynecessaryforthe poet tostudy,tohave an understanding
of the poetsbefore them,andtobe well versedenoughthattheycan understandandincorporate the
"mindof Europe"intotheirpoetry.Butthe poet'sstudyisunique –it isknowledge that"doesnot
encroach,"and that doesnot"deadenorpervertpoeticsensibility."Itis,toput itmost simply,apoetic
knowledge –knowledge observedthroughapoeticlens.Thisideal impliesthatknowledge gleanedbya
poetisnot knowledge of facts,butknowledge whichleadstoagreater
11.Cultural studies scope, Aim, methods
Topic:cultural studies scope, Aim, methods
Name: Nasim.R Gaha
Roll No:22
Paper No: 8
Email-ID: gahanasim786@gmail.com
Sem- 2
Submitted to: Smt.s.B Gardi Department of English mharaja krishnakumar sihji bhavnagar
university
What is Cultural Studies?
Cultural studies is an academic field of critical theory and literary criticism initially
introduced by British academies in 1964 and subsequently adopted by allied academies
throughout the world.
Cultural studies combines feminist theory, political theory, history philosophy, literary
theory, media theory, film/video studies, communication studies, political economy, translation
studies, museum studies and art history criticism to study cultural phenomena in various
societies.
Popular Culture:
In Popular culture is entirely about ideas, perspectives, attitudes, image and other
phenomena that are come within the culture. Popular culture is connected with our society and
our everyday lives. Culture means which is something that make by the elite class people of the

39. Assignment book
Papered By Nasim Gaha Page
society they makes new rules and regulation which are the connected with the our society and
it’s create many differences and make use of new thing and idea to the society.
The term “Popular culture” was coined in the 19th century or earlier. This term has
denoted the education and general “culturedness” of the lower classes, as opposed to the lower
classes, as opposed to the “official culture” and higher or the education emanated by the
dominant classes.
Popular culture is which include our everyday life use of the things. There are four
main types of popular culture analysis they are:
1. Production analysis
2. Textual analysis
3. Audience analysis
4. Historical analysis
These analyses seek to get beneath the surface meaning and examine more implicit
social meanings.
Such forms of arts as comic strips or the detective novel are made by the people for
themselves, as Raymond Williams pointed out popular culture is, for cultural studies, the set of
beliefs, values and practices that are widely shared.
The Production and Consumption of Culture:
The production and consumption of culture it means that culture is not a natural thing
but it produced. Culture is produced by the elite people of the society. Cultural studies is very
much interested in the production and consumption of culture, it’s linked to:
∙ Matters of class
∙ Matters of economy
∙ Matters of representation
This production and consumption of culture says about the different classes and
economy. Culture can only produced by the powerful class and who has identity. It’s defines
one’s identity but it depends on the ability to do so and the way in which these artifacts have
been marketed and sold culture is a product that is: made, marketed and consumed.
Birmingham centre for contemporary cultural studies and Stuart Hall:
This centre for contemporary cultural studies was a research centre at the University
of Birmingham in England. It was founded in 1964 by Richard Hoggart, its first director; its
object of study was the then new field of cultural studies.
Stuart Hall was a cultural theorist and socialist and along with Richard Hoggart and
Raymond Williams, was one of the founding figures of the school of thought that is now known
as British of cultural studies or the Birmingham school of cultural studies. Hall has joined the
BCCS in 1964. Hall is credited with playing a role in expanding the scope of cultural studies to
deal with race and gender.
Stuart Hall has written one essay in 1980 ‘Cultural studies: Two Paradigms’ set the
tone for the interrogation of the concept of culture. Hall suggested that subjects were not
expressions are both determined by structure of social signification. This structure is hegemony
the ideological structure that enables the dominant classes to legitimize, naturalize and retain
power.
Method, Methodology:

40. Assignment book
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In Cultural studies there are various methods and it adapts method of analysis from
various disciplines: media studies, cultural anthropology, discourse analysis, popular culture
studies and audience studies.
Method is the technique employed by the researcher to frame questions, collect and
organize data. Thus ‘method’ refers to the actual fieldwork, questionnaires, databases,
identifying sources.
Methodology refers to the political position and the interpretive strategies used by the
researcher. This refers to the epistemological approach, and concerns the philosophical, political
approach of the researcher, where soutinizes her/his own location. Methodology is the critical
approach used to interpret the data collection.
The Circuit of Culture:
“The Circuit of Culture is a theory or framework used in the area of cultural studies. It
was devised in 1997 by a group of theorists when studying the walkman cassette player.”
This theory suggests that in studying a cultural text or artifacts it has five elements:
1. Representation . n
These elements present is a process through which every cultural artifacts, object or
event must pass. The elements work in tandem, and are closely linked with each other and this
process had been called ‘articulation’.
To understand the ‘Circuit of Culture’ there is an example of television and through
this example it can be easily to understand the concept.
∙ Television and Representation
∙ Television and Identity
∙ Television and Production
∙ Television and Consumption
∙ Television and Regulation
The ‘Circuit of Culture’ includes within it several smaller components and modes of
analysis; it adopts certain key areas and method to understand the modes of meaning production.
∙ Language, discourse
∙ Identity
∙ Everyday life
∙ Ethnography
∙ Media studies
∙ Reception/audience studies
∙ Cultural intermediaries
Identity:
The identity of any person based on their behavior. Identity is very important thing for
every person. In cultural studies its judge the person’s identity.
Identity is constituted through experience, and representation is a significant part of
experience. Experience includes the consumption of signs, the making of meaning from signs,
the making of meaning from signs and the knowledge of meaning.
Cultural studies believe that experience also masks the connections between different
structures in society. Identity is thus socially produced closely related to the theme of identity in

41. Assignment book
Papered By Nasim Gaha Page
cultural studies is the question of agency. Agency the capacity and power to determine one’s
actions and life is also socially produced.
Representation is the generation of meaning and constitutes identity. Identity
determines the degree of agency one possesses or does not possess. Agency is therefore the
consequence of representation too.
Everyday life:
In cultural studies and contemporary cultural studies takes everyday life very
seriously. Everyday life, especially in metropolises and unfortunately cultural studies seems to be
interested mainly in metropolitan culture.
Cultural studies interest in everyday life proceeds from what Raymond Williams
called ‘lived cultures’, where culture is produced through everyday living. Culture is not some
distinct realm produced elsewhere to be consumed by the people. It is the consequences of
experience and responses it is in the everyday that culture is made. Cultural studies investigate
this process of making culture.
Everyday life today is a hybrid of the local and the global no pure local culture exists
in metropolises any more even where local ethnic chic is marketed. It is part of a global
consumer market. Everyday life is fiercely contested where the meaning of global cultural
artifacts are re-invented, re-inscribed by native cultures.
Post colonialism and cultural studies:
Globalization has a sustained engagement with and influence on local cultures some
of the critics have argued that we need to address the role of globalization through the post
colonial lens.
Contemporary globalization is also a mode of cultural exchange, appropriation and
marketing. Contemporary cultural studies therefore examines the role of globalizing finances and
markets in the formation of cultures, shared economics in globalization influence cultural modes,
and this is what cultural studies is interested in.
Even though globalization produces ‘hybrid’ products and cultural value, the
question of economics gain must under write our analysis of even these products. This analysis
therefore is firmly rooted in a post colonial perspective.
Cultural Intermediaries:
The term ‘Culture Intermediaries’ was introduced by French cultural theorist Pierre
Bourdieu in his work on the sociology of taste and distinction cultural intermediaries are those
that mediate between the production of a cultural product and its consumer.
It is also possible that cultural intermediaries have little knowledge of the actual
processes of cultural production. A film magazine columnist does not need to know the process
of production. The film’s advertising agency does not need to know the financial, social,
structural backgrounds to the film.
Cultural studies is interested in the role played and make representation of the
product. Media and advertising are one of the profitable businesses today. Now-a-days media is
on the top because of the various news and provide it to the people. Media has got fame because
it has provided so many things to people and through media culture became popular.
Media Culture and Cultural Studies:
Media culture is means which is something related with the communication,
language, discourse and representation. Media is one of the important thing and its increases the
cultural value. Many of the films, daily soaps and advertisements which are represent our
culture. Through the media any type of reality can be expressed.

42. Assignment book
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Media is one of the large economies because now-a-days money is the everything,
everywhere money is the first then the other. In the section on cultural intermediaries we have
seen how marketing and advertising generate a desire for cultural objects and are thus central to
the production – consumption patterns of culture.
Cultural studies of the media with the assumption that media culture and here we are
speaking of media from print to the internet is political and ideological.
Media culture is provocative because it sometimes asks us to rethink what we know,
or reinforce what we believe in. some of the films which has some negative or positive effect on
the people and they sometimes takes it positive or in a negative way.
A contemporary cultural study of media culture explores what is being called ‘media
ecologies’. Media is the intersection of information and communication of information and
communications technologies organizational behavior and human interaction.
Audience/Reception studies:
Cultural studies is interested in the way in which audiences receive the message how
they respond to it, and the effect the message generates. A major component of cultural studies is
therefore audience studies or reception studies.
The audience study means that any of the advertisement, serials or any news it says
that how we respond to all this media program and it is effect on our mind or not. ‘Audience
includes readers, listeners, viewer’s kinds of image and representations.
Reception is the use of meditated cultural texts by the audience. That is, reception is
the way in which we react to, internalize representations. Some of the advertisements, films and
other things present some wrong image of society or anything its effect to the people and society
and effected in our culture.
One of the audience studies example is what David Morley’s path-breaking work on
television audiences in Britain is an one of the example that how people responses to television,
serials, films and sports. It is about the audience and reception studies.
So, there are the many way of cultural studies it has many different points to study
the culture. Cultural studies is one of the important subject through which we can get know about
the media, communication and so many things.
Cultural studies is the study of culture through which people can much aware about
their surroundings. It is teach us that how elite class of people governed rule over to the middle
class people. It has a many way to study the culture.
12.Metaphysical poetry
Name : Nasimr. Gaha
Roll no:30
Enrollmentno:2069108420190014
M. A:sem-1
Year :2018-2020

43. Assignment book
Papered By Nasim Gaha Page
Email -id: gahanasim786@gmail.com
Paperno : 1(The renaissance literature)
Submitted to.: Smt.S. B. Gardi Departmentof Englishmharajakusnakumarsihji bhavnagaruniversity
Introduction:
JohnDonne was bornin 1572 inLondon,England.He is knownasthe founderof the Metaphysical
Poets,a termcreatedby Samuel Johnson,aneighteenth-centuryEnglishessayist,poet,andphilosopher.
The looselyassociatedgroupalsoincludesGeorge Herbert,RichardCrashaw,Andrew Marvell,andJohn
Cleveland.The Metaphysical Poetsare knownfortheirabilitytostartle the readerandcoax new
perspective throughparadoxical images,subtle argument,inventivesyntax,andimageryfromart,
philosophy,andreligionusinganextendedmetaphorknownasaconceit.Donne reachedbeyondthe
rational andhierarchical structuresof the seventeenthcenturywithhisexactingandingeniousconceits,
advancingthe exploratoryspiritof histime.
Donne enteredthe worldduringaperiodof theological andpolitical unrestforbothEnglandandFrance;
a Protestantmassacre occurredon SaintBartholomew'sdayinFrance;while inEngland,the Catholics
were the persecutedminority.BornintoaRomanCatholicfamily,Donne'spersonalrelationshipwith
religionwastumultuousandpassionate,andatthe centerof much of hispoetry.He studiedatboth
OxfordandCambridge Universitiesinhisearlyteenyears.He didnottake a degree at eitherschool,
because todo so wouldhave meantsubscribingtothe Thirty-nine Articles,the doctrine thatdefined
Anglicanism.Atage twentyhe studiedlaw atLincoln'sInn.Twoyearslaterhe succumbedtoreligious
pressure andjoinedthe AnglicanChurchafterhisyoungerbrother,convictedforhisCatholicloyalties,

44. Assignment book
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diedinprison.Donne wrote mostof hislove lyrics,eroticverse,andsome sacredpoemsinthe 1590s,
creatingtwomajor volumesof work:SatiresandSongsandSonnets.
In 1598, after returningfromatwo-yearnaval expeditionagainstSpain,Donne wasappointedprivate
secretaryto SirThomas Egerton.While sittinginQueenElizabeth'slastParliamentin1601, Donne
secretlymarriedAnne More,the sixteen-year-oldniece of LadyEgerton.Donne'sfather-in-law
disapprovedof the marriage.Aspunishment,he didnotprovide adowryforthe couple andhad Donne
brieflyimprisoned.
Metaphysical poems:
Definitionof metaphysical poetry
: highlyintellectualizedpoetrymarkedbyboldandingeniousconceits, incongruousimagery,complexity
and subtletyof thought,frequentuse of paradox,andoftenbydeliberate harshnessorrigidityof
expression
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The Flea
BY JOHN DONNE
Mark butthisflea,andmark in this,
How little thatwhichthoudeniestme is;
It suckedme first,andnow sucksthee,
Andin thisfleaourtwo bloodsmingledbe;
Thou know’stthatthiscannotbe said
A sin,norshame,nor lossof maidenhead,
Yet thisenjoysbefore itwoo,
Andpamperedswellswithone bloodmade of two,
Andthis,alas,is more than we woulddo.
Oh stay,three livesinone fleaspare,
Where we almost,naymore than marriedare.
Thisfleaisyou andI, and this
Our marriage bed,andmarriage temple is;

49. Assignment book
Papered By Nasim Gaha Page
Thoughparentsgrudge,and you, w'are met,
Andcloisteredinthese livingwallsof jet.
Though use make youapt to kill me,
Let not to that,self-murderaddedbe,
Andsacrilege,three sinsinkillingthree.
Cruel andsudden,hastthousince
Purpledthynail,inblood of innocence?
Whereincouldthisfleaguiltybe,
Exceptinthat drop whichitsuckedfromthee?
Yet thoutriumph’st,andsay'stthat thou
Find’stnotthyself,norme the weakernow;
’Tis true;thenlearnhowfalse,fearsbe:
Just somuch honor,whenthouyield’sttome,
Will waste,asthisflea’sdeathtooklife fromthee.
Metaphysical poets,totake the earlyEnglishpoetJohnDonne asan example,weave veryabstract
philosophical questionsintotheirpoetry.Thishascame tobe called 'metaphysical poetry.'Thatisnot to
say theirpoemsare notstill beautifulwhichiswhyJohnDonne issucha marvellousexample - he uses
rich symbolismandimageryinhispoemstoo,whichmakesthemexquisite.Itisthe marryingof the
metaphysical and the imageryforexampleinthe poem'The Flea'whichmakesitsostunning.
Metaphysical poetrydealswhichsubjectssuchasCause andEffect,the purpose of existence,searching
for truth,matterandtime.JohnDonne wasable tomake these subjectsinterestingthroughhisclever
ideasandwittywaysof sayingthings.he usedthe philosophical conceptstoturnan argument.
listCite linkLink
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13.Critical analysis of Gulliver travels by
swift (1726)
Topic: Critical analysisof gulivertravelsby swift (1726)

52. Assignment book
Papered By Nasim Gaha Page
Name : Nasim r. Gaha
Roll no:30
Enrollmentno: 2069108420190014
M. A:sem-1
Year : 2018-2020
Email-id: gahanasim786@gmail.com
Paperno : 2 (The Neo- classical literature)
Submittedto:smt.S.B. Gardi Departmentof Englishmharajakrishankumarsihji bhavnagaruniversity.
Introduction
Jonathanswiftwasborn inDublinin1667. Though hisparentswere of Englishorigin,swiftlovedthe
landof hisbirthand foughtforthe Irishcause withgreatloyalty.EnglandhadinvadedIrelandand
conqueredit.Landhad beentakenawayfromthe Irishand Irisheconomywasat the mercy of the
EnglisharistocracywhoengorgedthemselvesandlefttheirIrishtenantsinastate of miserable poverty
and starvation.Itwasthis state of affairs that promptedswifttowrite afierce satire onthe English
landlordin A modestproposal.Inthispamphlet,he Swiftisrememberedforworkssuchas A Tale of a
Tub (1704), AnArgumentAgainstAbolishingChristianity(1712),Gulliver'sTravels(1726),andA Modest
Proposal (1729). He isregardedbythe EncyclopædiaBritannicaasthe foremostprose satiristinthe
Englishlanguage,[1] andislesswell knownforhispoetry.He originallypublishedall of hisworksunder
pseudonyms –suchas Lemuel Gulliver, IsaacBickerstaff,M.B.Drapier– or anonymously.He wasa
masterof twostylesof satire,the Horatianand Juvenalianstyles.
His deadpan,ironicwritingstyle,particularlyinA ModestProposal,hasledtosuchsatire being
subsequentlytermed "Swiftian".hewouldneverhave writtenGulliver'sTravels.Like all greatsatires,the
principle aimof Gulliver'sTraveristo instructandcorrect throughridicule,ironyandsarcasm.The book
exposeswithgreatintensitythe uglinessof humannature,the vicesof conceit,pride andcruelty,but
the underlyingtone isconsistentlyone of compassion -adesiretoinstructhumanityandputthemon
the right pathof Christianity.
JonathanSwift'sstory,Gulliver'sTravels,isaverycleverstory.Itrecountsthe fictitiousjourneyof a
fictitiousmannamedLemuel Gulliver,andhistravelstothe fantasylandsof Lilliput,Brobdinag,Laputa,
and Houyhnhmnland.Whenone firstreadshisaccountsineach of these lands,one maybelieve that
theyare readinghumorousaccountsof fairy-tale-like landsthatare intendedtoamuse children.When
one readsthisstory inthe lightof itbeinga satire,the storiesare still humorous,butone realizesthat
Swiftwasmakinga publicstatementaboutthe affairsof England andof the human race as a whole.
In the beginningof the story,Gulliverexplainstothe readera bitabouthis background,whyhe wason
these journeysGulliver'sTravels,orTravelsintoSeveral RemoteNationsof the World.InFourParts.By

53. Assignment book
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Lemuel Gulliver,FirstaSurgeon,andthena Captainof Several Ships(whichisthe full title),isaprose
satire[1][2] byIrishwriterandclergymanJonathanSwift,thatisbotha satire onhuman nature andthe
"travellers'tales"literarysubgenre.ItisSwift's bestknownfull-lengthwork,anda classicof English
literature.He himself claimedthathe wrote Gulliver'sTravels"tovex the worldratherthandivertit".
to beginwith,andwhere he findshimself atthe beginningof histale.The storybeginswithGulliver
recountinghowhe wasshipwreckedthe landof Lilliput.He awakenstofindhimself tieddownandheld
captive bya tinyrace of people.Tothe inhabitantsof Lilliput,Gulliverissomethingof agiant.He could
not move,because he wastieddown,buthe noticesaa race of tinypeople movingabouthim.These
people take all of hispossessionsforinspection,fortheyare inawe and fearof hisgreatsize.Theyfeed
him,and soonuntie himbutstill keephiminconfinement.While inhisconfinement, he isvisitedbythe
emperorwholikesGulliver.Gulliverlearnsthere languageandthe customsof the people of Lilliput.In
thisbookSwift,bydescribingthe ludicroussystemthatLilliput'sgovernmentfashionsin,issatirizingthe
Englishsystemof governing.He usesparallelsthatseemabsurdatfirstglance but make more senses
whenlooked
The term ‘utopia’hascome to be synonymouswithanideal worldoran ideal society.‘Dystopia’was
conceivedof asthe opposite of utopiaandobviouslydescribinganunpleasant,nightmarishworld.Bythe
endof the story,my impressionof the Lilliputianschangesforthe worse.Whenthe articlesof treason
were writtenandpresentedagainstGulliver,myopinionchanged.Gulliver’smaincrime wasthe means
by which he extinguishedthe fire inthe palace.Whileitwasa disgustingwaytodo it,Gulliverdidn’t
have manyoptionsandhad to thinkfast.He wasonlytryingto helpthe Lilliputiansandstill,theylooked
for reasonstoturn hisassistance againsthim.The LilliputiansalsowriteGulliveruponothercrimesfor
hisinteractionswiththe Blefuscudians,whenthe mainreasonGulliverinteractedwiththeminthe first
place was tohelpthe Lilliputiansgetanupperhandon theirrivalry.WhenGulliverholdsup the rational
as perfectandwhenhe cannot finda rational manto meethisideal,he concludesindisillusionment
that humanityistotallyanimalistic,like the uglyYahoos.Inadditiontobeingasatire and a parodyof
travel books,Gulliver’sTravelsis aninitiationnovel.AsGulliverdevelops,he changes,buthe failsto
learnan importantlessonof life,orhe learnsitwrong.His naïve optimismaboutprogressand
rationalityleadshimtobitterWhenGulliverholdsupthe rational asperfectandwhenhe cannotfinda
rational manto meethisideal,he concludesindisillusionmentthathumanityistotallyanimalistic,like
the uglyYahoos.In additiontobeinga satire anda parody of travel books,Gulliver’sTravelsisan
initiationnovel.AsGulliverdevelops,he changes,buthe failstolearnanimportantlessonof life,orhe
learnsitwrong.His naïve optimismaboutprogressandrationalityleadshimtobitterdisillusionment.
2) The Voyage toBrobdingnaginpart two
In thispart of the novel,Swiftshowsusthe people of immense stature.These peopleare gifted
witha soundand cool judgment,lookatthe principlesandpoliticsof Europe.Here,satire hasgeneral
nature.Some particularreferencestopolitical events:andnocircumstancesare mentioned.Whichare
not applicable toall places,while LilliputwasalandinhabitedbyPigmiesordwarfs,Brobdingnagisthe
landof giantsor personsof an immense stature.
3)The Voyage to Laputain Part-III:

54. Assignment book
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In thispart, the abusesof science are the aim of satire.Swift’stargethere are the projects – who
leavingtheircommonsense behindthem, wanderintothe vastregionsof speculative philosophy.Itis
noticeable here thatthe satire isnotaimedattrue science butitshazards.
4)The Voyage to the landof the Houyhnhnmsandthe yahoosinPart-IV:
In thispart the satire isintense.Thisvoyage representsmankindinasatire istoo exaggerated.The
author succeededinportrayingthe disgustingyahoos.The Houyhnhnmsare devoidof all those tender
passionsandaffectionswithoutwhichlife becomeaburden.The Houyhnhnmsdonotappeal tous as
modelsof perfection.● Swift– a masterof satire:
A satire manyroughlyandbrieflybe definedasahumorousor wittyexposure.A satire canbe
definedasameansby whichthe authorcan expose the realityof individualscommunities,orall
mankindbyemployingirony,mockery,ridicule,sarcasm, andeveninvective asthe weapon’sof attack.
Swiftusesall the above meanstosucceedinsatirizing.He usesironyindouble way.He isa masteror
corrosive aswell ascomic satire.Hiscomicsatire makesus laugh.Corrosive satire isseriousandcreates
hatred.Thiscorrosive type of satire isfullydevelopedinbook-IV of Gulliver’sTravels.The firstpartis
rich incomic fictional illusion.Swift –a masterof satire:
A satire manyroughlyandbrieflybe definedasahumorousor wittyexposure.A satire canbe
definedasameansby whichthe authorcan expose the realityof individualscommunities,orall
mankindbyemployingirony,mockery,ridicule,sarcasm, andeveninvective asthe weapon’sof attack.
Swiftusesall the above meanstosucceedinsatirizing.He usesironyindouble way.He isa masteror
corrosive aswell ascomic satire.Hiscomicsatire makesus laugh.Corrosive satire isseriousandcreates
hatred.Thiscorrosive type of satire isfullydevelopedinbook-IV of Gulliver’sTravels.The firstpartis
rich incomic fictional illusion.
Conclusion:
Gulliver’sTravelshasbeenanoutstandingbookbythe author.Thisnovel interweavesmany
aspects.It ispolitical Allegoryasitdealswithmanypolitical allegories.Itisthe novel Adventurousnovel.
The novel dealswithtravel.Frombeginningtoenditistravelogue.The noveldepictsfunnyorcomic
elementsandthuscanbe calledcomicnovel.The novel satirizesonhumanvicessoitcan be called
satirical workof art. It short, the novel isquietsuccessful inpresentingwhatthe authorwanted.A
readercan enjoythe novel readingevenfromanyone
14.Explain Aristotle 'S theory of catharsis
Topic:ExpainAristotal 'Stheoryof catharsis
Name :Nasimr. Gaha
Enrollmentno:2069108420190014
M. A: sem- 1

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Papered By Nasim Gaha Page
Yer :2018-2020
Email id: gahanasim786@gmail.com
Paperno: 3 ( literarytheoryandcriticismwestrn-1)
SubmittedTo:smt.S. B. Gardi Departmentof mharajakrishkumarshihji Bhavna.University
Introduction
Aristotle (/ˈærɪˌstɒtəl/;[3] Greek:Ἀριστοτέλης Aristotélēs,pronounced[aristotélɛːs];384–322 BC)[n1]
was an ancientGreekphilosopherandscientistborninthe cityof Stagira,Chalkidiki,inthe northof
Classical Greece.AlongwithPlato,he isconsideredthe "Fatherof WesternPhilosophy".Aristotle
providedacomplex andharmonioussynthesisof the variousexistingphilosophiespriortohim,
includingthose of SocratesandPlato,anditwas above all fromhisteachingsthatthe Westinheritedits
fundamental intellectual lexicon,aswell asproblemsandmethodsof inquiry.Asaresult,hisphilosophy
has exertedaunique influence onalmosteveryformof knowledge inthe Westanditcontinuestobe
central to the contemporaryphilosophical discussion.
Like many importantdocumentsinthe history of philosophyandliterarytheory,Aristotle'sPoetics,
composedaround330 BCE, was mostlikelypreservedinthe formof students'lecture notes.Thisbrief
text,throughitsvariousinterpretationsandapplicationsfromthe Renaissance onward,hashada
profoundimpactonWesternaestheticphilosophyandartisticproduction.
The Poeticsisinpart Aristotle'sresponsetohisteacher,Plato,whoarguesinThe Republicthatpoetryis
representationof mere appearancesandisthusmisleadingandmorallysuspect.Aristotle'sapproachto
the phenomenonof poetryisquite differentfromPlato's.Fascinatedbythe intellectualchallenge of
formingcategoriesandorganizingthemintocoherentsystems,Aristotleapproachesliterarytextsasa
natural scientist,carefullyaccountingforthe featuresof each"species"of text.Ratherthanconcluding

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that poetsshouldbe banishedfromthe perfectsociety,asdoesPlato,Aristotleattemptstodescribe the
social function,andthe ethical utility,of art.
It isimportantto rememberthatAristotle,andthe Greekworldasa whole,viewedartas essentially
representational.Althoughwe certainlyhave examplesof Greekpatternsanddecorationsthatare
"abstract,"nothingindicatesthatthe Greeksrecognizedsuchacategoryas "abstract art."
One of the mostdifficultconceptsintroducedinthe Poeticsiscatharsis,aword whichhascome into
everydaylanguage eventhoughscholarsare still debatingitsactual meaninginAristotle'stext.Catharsis
ismost oftendefinedasthe "purging"of the emotionsof pityandfearthat occurs whenwe watcha
tragedy.What isactuallyinvolvedinthispurgingisnotclear.It isnot as simple asgettinganobject
lessoninhowto behave;the tragiceventdoesnot"teachusa lesson"as docertainpublic-information
campaignsondrunk drivingordrug abuse.Hans-GeorgGadamer'sattempttodescribe catharsisinhis
studyTruth and Methodcan serve bothas a workingdefinitionandanintroductionintothe problemof
establishinganydeterminate definitionof thiselusive concept:
What isexperiencedinsuchanexcessof tragic sufferingissomethingtrulycommon.The spectator
recognizeshimself [orherself] andhis[orher] finitenessinthe face of the powerof fate.What happens
to the great onesof the earth has exemplarysignificance....To see that"thisis how it is"isa kindof
self-knowledge forthe spectator,whoemergeswithnew insightfromthe illusionsinwhichhe [orshe],
like everyone else,lives.(132)
The practical and formal concernsthatoccupy Aristotle inthe Poeticsneedtobe understoodinrelation
to a largerconcern withthe psychological andsocial purpose of literature.Criticism, accordingto
Aristotle,shouldnotbe simplythe applicationof unexaminedaestheticprinciples,butshouldpay
careful attentiontothe overall functionof aanyfeature of a work of art initscontextwithinthe work,
and shouldneverlose sightof the functionof the workof art inits social context.
The guide providedhere takes youthrougheachof the twenty-sixbooksof the Poeticsandattemptsto
give a summaryof Aristotle'sarguments.Thisresource shouldnotbe usedasa substitute foracareful
readingof Aristotle'stext,butmighthelpyoutoreview andclarifyyourunderstandingof the terms,
concepts,categories,andinterrelationshipsthatAristotle introduces.
Textsquotedinthisresource:
Forster,E. M. Aspectsof the Novel.New York:Harcourt,Brace,Jovanovich,1955.
Gadamer,Hans-Georg.Truth andMethod.Revised translationJoel WeinsheimerandDonaldG.
Marshall.NewYork:Continuu
Catharsisisthe Greekword forcleansingandisusedinpsychologytoexplainthe processof rapidly
releasingnegative emotions.Inthislesson,youwill learnaboutcatharsistheoryandtake a quiz.
Definitionof Catharsis

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Catharsisisthe processof ventingaggressionasawayto release orget ridof emotions.Have youever
beensoangry that youwentoutside andyelledorhita pillow?Psychologistscall thismethodcatharsis.
You may have heardsomeone saysomethingwas'cathartic,'meaningitreleasedemotion.Forexample,
if you are angry youmighthit somethingorscream, andthat mightmake youfeel better.
Theory
The thoughtbehindcatharsistheoryisthatfeelingsbuildup andcreate pressure if notvented,inthe
same way airbuildsupina balloonuntil itbursts.Releasingemotionsdecreasesthe pressureortension
inthe personsotheyhave fewernegativeemotionsandare lessaggressive.
SigmundFreudwasthe firstto use catharsistheoryinpsychological therapy,althoughhe gave upon
cathartic therapyandspentmore time on psychoanalysis.The theorystatesthatexpressingorgetting
out one'saggressionandangershouldreduce the feelingof aggression.
The bulk of researchoncatharsis theoryhasn'tdone muchto back it up.Ventingaggressiondoesnot
appearto reduce future aggression.Infact,itmightactuallymake a personangrier.Studieshave
demonstratedthatexpressingangercreatedmore angeror hostilitywhencomparedtogroupsthat
were notpermittedtoexpressanger.Despite the opposingevidence,manypeoplestill dobelieve
aggressionreducesfrustrationandfuture aggression.
In therapysettings,catharsisismore thanjustventinganger.Instead, it'sare-experiencingof a
traumaticeventandexpressingthe strongemotionsthatare associatedwiththem.Therapiesthat
emphasize emotions,suchasGestalttherapy,create role-playsimulationstofacilitatesafe expressionof
emotions.
Examplesof Catharsis
Thoughlittle researchhassupportedthe efficacyof catharsis,here are some examplesof itbeingput
intopractice,some of whichyoumightevenfindfamiliar:
Aristotle writesthatthe functionof tragedyisto arouse the emotionsof pityandfear,andto affectthe
Katharsisof these emotions.Aristotle hasusedthe termKatharsisonlyonce,butnophrase has been
handledsofrequentlybycritics,andpoets.Aristotlehasnotexplainedwhatexactlyhe meantbythe
word,nor do we getany helpfromthe Poetics.Forthisreason,helpandguidance hasto be takenfrom
hisotherworks.Further,Katharsishasthree meaning.Itmeans‘purgation’,‘purification’,and
‘clarification’,andeachcritichas usedthe wordin one or the othersenses.All agree thatTragedy
arousesfearand pity,butthere are sharp differencesastothe process,the way bywhichthe rousingof
these emotionsgivespleasure.
Katharsishasbeentakenas a medical metaphor,‘purgation’,denotingapathological effectonthe soul
similartothe effectof medicine onthe body.Thisview isborne outbya passage inthe Politicswhere
Aristotle referstoreligiousfrenzybeingcuredbycertaintuneswhichexcitereligiousfrenzy.InTragedy:

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“…pityand fear,artificiallystirredthe latentpityandfearwhichwe bringwithusfromreal life.”
In the Neo-Classical era,Catharsiswastakentobe an allopathictreatmentwiththe unlike curingunlike.
The arousingof pityandfear wassupposedtobringaboutthe purgationor‘evacuation’of other
emotions,likeanger,pride etc.AsThomasTaylorholds:
“We learnfromthe terrible fatesof evil mentoavoidthe vicestheymanifest.”
F. L. Lucas rejectsthe ideathatKatharsisisa medical metaphor,andsaysthat:
“The theatre isnot a hospital.”
Both Lucas and HerbertReedregarditas a kindof safetyvalve.Pityandfearare aroused,we give free
playto these emotionswhichisfollowedbyemotionalrelief.I.A.Richards’approachto the processis
alsopsychological.Fearisthe impulsetowithdraw andpityisthe impulse toapproach.Boththese
impulsesare harmonizedandblendedintragedyandthisbalance bringsrelief andrepose.
The ethical interpretationisthatthe tragic processisa kindof lustrationof the soul,aninner
illuminationresultinginamore balancedattitude tolife anditssuffering.ThusJohnGassnersaysthat a
clearunderstandingof whatwasinvolvedinthe struggle,of cause andeffect,ajudgmentonwhatwe
have witnessed,canresultina state of mental equilibriumandrest,andcanensure complete aesthetic
pleasure.Tragedymakesusrealize thatdivine law operatesinthe universe,shapingeverythingforthe
best.
Duringthe Renaissance,anothersetof criticssuggestedthatTragedyhelpedtohardenor‘temper’the
emotions.Spectatorsare hardenedtothe pitiable andfearful eventsof life bywitnessingthemin
tragedies.
HumphreyHouse rejectsthe ideaof ‘purgation’andforcefullyadvocatesthe ‘purification’theorywhich
involvesmoral instructionandlearning.Itisa kindof ‘moral conditioning’.He pointsoutthat,‘purgation
meanscleansing’.
Accordingto ‘the purification’theory,Katharsisimpliesthatouremotionsare purifiedof excessand
defect,are reducedtointermediate state, trainedanddirectedtowardsthe rightobjectsatthe right
time.The spectatorlearnsthe properuse of pity,fearand similaremotionsbywitnessingtragedy.
Butcherwrites:
“The tragicKatharsisinvolvesnotonlythe ideaof emotional relief,butthe furtherideaof purifyingthe
emotionssorelieved.”

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The basic defectof ‘purgation’theoryand‘purification’theoryisthattheyare too muchoccupiedwith
the psychologyof the audience.Aristotlewaswritingatreatise notonpsychologybutonthe art of
poetry.He relates‘Catharsis’nottothe emotionsof the spectatorsbutto the incidentswhichformthe
plotof the tragedy.Andthe resultisthe “clarification”theory.
The paradox of pleasure beingarousedbythe uglyandthe repellentisalsothe paradox involvedin
tragedy.Tragic incidentsare pitiable andfearful.
Theyinclude horrible eventsasa man blindinghimself,awife murderingherhusbandoramother
slayingherchildrenandinsteadof repellingusproduce pleasure.Aristotleclearlytellsusthatwe should
not seekforeverypleasure fromtragedy,“butonlythe pleasure propertoit”.‘Catharsis’referstothe
tragic varietyof pleasure.The Catharsisclause isthusadefinitionof the functionof tragedy,andnotof
itsemotional effectsonthe audience.
Imitationdoesnotproduce pleasure ingeneral,butonlythe pleasure thatcomesfromlearning,andso
alsothe peculiarpleasure of tragedy.Learningcomesfromdiscoveringthe relationbetweenthe action
and the universal elementsembodiedinit.The poetmighttake hismaterial fromhistoryortradition,
but he selectsandordersitin termsof probabilityandnecessity,andrepresentswhat,“mightbe”.He
risesfromthe particularto the general andso ismore universal andmore philosophical.The eventsare
presentedfree of chance andaccidentswhichobscure theirreal meaning.Tragedyenhances
understandingandleavesthe spectator‘face toface withthe universal law’.
Thus accordingto thisinterpretation,‘Catharsis’meansclarificationof the essential anduniversal
significance of the incidentsdepicted,leadingtoanenhancedunderstandingof the universal law which
governshumanlife anddestiny,andsuchanunderstatingleadstopleasure of tragedy.Inthisview,
Catharsisisneitheramedical,nora religiousormoral term, butan intellectual term.The termrefersto
the incidentsdepictedinthe tragedyandthe wayin whichthe poetrevealstheiruniversalsignificance.
The clarificationtheoryhasmanymerits.Firstly, itisatechnique of the tragedyandnotto the
psychologyof the audience.Secondly,the theoryisbasedonwhatAristotle saysinthe Poetics,and
needsnohelpandsupportof whatAristotle hassaidinPoliticsandEthics.Thirdly,itrelatesCatharsis
bothto the theoryof imitationandtothe discussionof probabilityandnecessity.Fourthly,the theoryis
perfectlyinaccordwithcurrentaesthetictheories.
Accordingto Aristotle the basictragicemotionsare pityandfearand are painful.If tragedyistogive
pleasure,the pityandfearmustsomehow be eliminated.Fearisarousedwhenwe see someone
sufferingandthinkthatsimilarfate mightbefall us.Pityisafeelingof paincausedbythe sightof
underservedsufferingof others.The spectator seesthatitisthe tragic erroror Hamartiaof the hero
whichresultsinsufferingandsohe learnssomethingaboutthe universalrelationbetweencharacter
and destiny.

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To conclude,Aristotle'sconceptionof Catharsisismainlyintellectual.Itisneitherdidacticnor
theoretical,thoughitmayhave a residual theological element.Aristotle'sCatharsisisnotamoral
doctrine requiringthe tragicpoettoshow that bad mencome to bad ends,nora kindof theological
relief arisingfromdiscoverythatGod’slawsoperate invisiblytomake all thingswork
Aristotle’sconceptionof ‘Catharsis’ispurelyintellectual.Itisneitherdidacticnortheological norisita
moral doctrine.ReadMore CriticismAristotle laysitdownthatTragedyat all timesmakesitsappeal
throughemotions- throughpityandfear.Itcan succeedonlywhenitarousesthe pityandfearproperto
it.The doctrine of Catharsishasbeeninterpretedinmanyways.Since ‘Catharsis’isaGreekword,and
everylanguage hasitsownnature,its ownGrammar, and since everywordof everylanguage hasits
ownsyntax and meaning,the debate overthe meaningof ‘Catharsis’will continue.‘Catharsis’isaGreek
word.It means“purgation”,“purification”and“clarification”.Ithasbeenusedonlyonce byAristotle in
his‘Poetics’whiledefiningTragedy,“Tragedythenisanimitationof anactionthat isserious,complete,
and of a certainmagnitude throughpityandfeareffectingthe proper‘Catharsis’of these emotions”
Basedon the three meaningsof the word,‘Catharsis’differenttheorieshave beenevolvedtoexplain
Aristotle’sconceptionof tragic‘Catharsis.ReadMore Criticism
Catharsis"before tragedy Edit
Catharsisbefore the sixth-centuryrise of tragedyis,forthe WesternWorld, essentiallyahistorical
footnote tothe Aristotelianconception.The practice of purificationhadnotyetappearedinHomer,as
laterGreekcommentatorsnoted:[17] the Aithiopis,anepicsetinthe Trojan War cycle,narratesthe
purificationof Achillesafterhismurderof Thersites.Catharsisdescribesthe resultof measurestakento
cleanse awayblood-guilt—"bloodispurifiedthroughblood",[18] aprocessinthe developmentof
Hellenisticculture inwhichthe oracle of Delphi tookaprominentrole.The classicexample—Orestes—
belongstotragedy,butthe procedure givenbyAeschylusisancient:the bloodof asacrificedpigletis
allowedtowashoverthe blood-pollutedman,andrunningwaterwashesawaythe blood.[19] The
identical ritual isrepresented,Burkertinformsus,ona kraterfoundat Canicattini,whereinitisshown
beingemployedtocure the daughtersof Proetusfromtheirmadness,causedbysome ritual
transgression.[20] Tothe questionof whetherthe ritual obtainsatonementforthe subject,orjust
healing,Burkertanswers:"Toraise the questionistosee the irrelevance of thisdistinction".[20]
Social catharsis
Emotional situationscanelicitphysiological,behavioral,cognitive,expressive,andsubjective changesin
individuals.Affected individualsoftenuse social sharingasa catharticrelease of emotions.BernardRimé
studiesthe patternsof social sharingafteremotionalexperiences.Hisworkssuggestthatindividuals
seeksocial outletsinanattempttomodifythe situationandrestore personal homeostaticbalance.
Rimé foundthat80–95% of emotional episodesare shared.The affectedindividualstalkaboutthe
emotional experience recurrentlytopeoplearoundthemthroughoutthe followinghours,days,or
weeks.These resultsindicate thatthisresponse isirrespective of emotionalvalence,gender,education,
and culture.Hisstudiesalsofoundthatsocial sharingof emotionincreasesasthe intensityof the
emotionincreases.
1) Positive emotion

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A studyby Langston[32] foundthatindividualsshare positiveeventstocapitalize onthe positive
emotionstheyelicit.Reminiscingthe positive experience augmentspositiveaffectslike temporarymood
and longer-termwell-being.A studybyGable etal.[33] confirmedLangston's"capitalization"theoryby
demonstratingthatrelationshipqualityisenhancedwhenpartnersare responsive topositive
recollections.The responsivenessincreasedlevelsof intimacyandsatisfactionwithinthe relationship.In
general,the motivesbehindsocial sharingof positive eventsare torecall the positiveemotions,inform
others,andgain attentionfromothers.All three motivesare representativesof capitalization.
(2) Negative emotion
Rimé studiessuggestthatthe motivesbehindsocialsharingof negativeemotionsare tovent,
understand,bond,andgainsocial support.Negativelyaffectedindividualsoftenseeklife meaningand
emotional supporttocombatfeelingsof lonelinessafteratragic event.
Collectivecatharsis
Collectiveemotional eventsshare similarresponses.Whencommunitiesare affectedbyanemotional
event,membersrepetitivelyshare emotionalexperiences.Afterthe 2001 New Yorkand the 2004
Madrid terroristattacks,more than 80% of respondentssharedtheiremotional experience with
others.[34] AccordingtoRimé,everysharingroundelicitsemotional reactivationinthe senderandthe
receiver.Thisthenreactivatesthe needtoshare inboth.Social sharingthroughoutthe communityleads
to highamountsof emotional recollectionand"emotional overheating".
PennebakerandHarber[35] definedthree stagesof collective responsestoemotionalevents.
In the firststage,a state of "emergency"takesplace inthe firstmonthafterthe emotionalevent.Inthis
stage,there isan abundance of thoughts,talks,mediacoverage,andsocial integrationbasedonthe
event.
In the secondstage,the "plateau"occursinthe secondmonth.Abundantthoughtsremain,butthe
amountof talks,mediacoverage,and social integrationdecreases.
In the thirdstage,the "extinction"occursafterthe secondmonth.There isa returnto normalcy.
15.Novel

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Topic: Novel
Name:Nasimr gaha
Roll no:30
Year: 2018- 2020
Inrollmentno:20691084201914
M. A:sem-1
Email id:gahanasim786@gmail.com
Paperno: 4 ( IndianwritinginEnglish)
ubmittedto: smt .S.B.gardi departmentof English,mharajakusnakumarsihji bhavnagaruniversity
v Introduction
The Novel isa type of litreture thatThat we know. Thisnovel isa new trendto India.Novel isverynew
and recentformof literature.Allotherform of literature like,epics,shortstories,poem, dramas,lyris,
balladsandEtc......are veryoldandrespectedformsamongartsAnd litetrature lovers.These all formoff
literature are veryoldandintroducedbeformanycenturiesinIndia.Butnovel isverynew formof
literature forIndiaanditis onlyduringa periodof little more thenacentury.Ithas occurredand taken
root inIndianowwe have a small questionthatwe are takingaboutnovel butwhatisthe novel ?we all
knowaboutthe novel formof literature butveryfew amongusknow the properdefinitionof novel so
we will beginwithdefinitionof novel
" Novel meansthe longsustainedpiece of prope fiction"

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Nowwe are going to discussaboutIndiasliterature of novel.We all know thatnovel isverynew formof
literature anditisIntroduced inIndiainnear periodof time.Butsome scholarsdenyto itand theyput
some examplesof Sanskritworkslike.
" Bana's kadambari "
" Subandhu'svasavadutta"
" Theyall use to say that these worksof Sanskrit are alsonovelsandI thinktheyare rightat some
extentbutat the same time I believe thatdescriptiongiveninall thatworksare not appropriate. These
workare proudof our regional literature itislike amarble stone orwe can say it benchmarkof
our literature butwe can call it novel because it'sformattingdiffersfrom formattingof novel these.
These workshaslongnarration and store and plotand evensub - plot toobut thenevenitisnot pure
formof novel inIndianliterature.We have towaitfornovel till half of the 19th century.
In our Indiafirstnovel iswritteninBengali anditwasnamedas'AlalerGhare Dulal. Thisnovel is
publishedin1858 Afterwards itwastranslatedinenglishas"spoiletSona richfamily"thisnovel isalso
notedbyJack willtoninthe historyof the novel inIndia.Thisnovel isnotedasa pioneerwork.
1) Bankimchandrachatterjee :
We have to note thatreal beginningswere withthe workof the gratbankimchandra chatterjee. His
firstnovel waspublishedin1864 inenglishanditwasnamedas''Rajmohan'swife"andin1864 he wrote
anothernovel inBengali named"Durgeshnandine "but afterwardit wastranslatedinenglishin1890
hismany othersnovelsappearedbetwen1866 and 1886 . Theyall are as under
- v kapalkundala
- v vishvriksha (The poisonTree A Tale of HinduLife Bengali)
-V krishnakantaruyil (krishnakantar well)
-V Anandmath
- v Devi chaudhurani
2) RabinranathTagore :
RabinranathTagore isknow as man of religion.He isalwaysmemorable forhiswork"Gitanjali"in
Gitanjali poettriestoincarnatingthe spiritof Indiaaprophetof the religionof man.ButTagor is very
noticeable novelistalso. Tgore achievedhisfirstsuccedwith"chokesBali"anditwaspublishedin1902.
That novel wastranslatedinenglishas'Binodini'byKrishnakriplani.
" Here for the firsttime inIndianlitreture the actionsandreactionsarisingoutof the impactof the
external happening"

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- Dr. SukumarSen.
'Binodini'isalsostoryof a youngwidowtooButTagor isdifferentthanBankimandhe wasmore
convincinginstorytellingandinpsychological studyof characterof novel.Sohisskillsgive himnew
heightasa novelistinIndianwritinginenglish.Tagor's otherwork named'yogayog'isalsonoticeable
work.Its maincharacter kumudini givesusremembrance of character,NorainIbsen's'A Doll'SHouse '
like thisTagorwas verygreatfigure at that time andeveninnow days also.
3) Sarahchandra chatterjee :
Carat chandra was alsofamousduringthat era.He alsostartedwithimitatingTagore andBankimbut
afterthat he also showshisreal knowledge.He mostlywrote inlastdecketof 19thcenturyand fitstwo
dacetof 20th centurySarah also passedfromthe stage of Tagore andBankimand hisexperiencesgive
himreal identifyof writer.Hisdone famose bestandnoticeableworksare
V shrikanta
V Grihadaha
V.Patherdabi
V. Bipradas
V. See prasna
He wrote all hisworksinregional languagesbutmostof hisworksare translatedbyotherscholarsin
englishlikeshrikantawastranslatedbyK.CSenand TheodosiaThompson.Sarahchandratriesto
portray tearsand sweatof lowerclassand poorclass andevenpeople whohasnoclasswithhisliterary
worksfor sarat chandra we can easilysaythathe wascomplete novelistwhouse hisartsimultaneously
as a camera as a surgeon'sknife andalso as a chalice of hope manyotherwritersalsowrote novelsin
that meantime like
V Raj Lakshmi Devi'sThe Hinduwife in1876
V Tori Datt 's Biancain 1878
V khetrapal Chakravarti'ssarataand Hingana in 1895
The all novelswere writteninenglish have forustodaynomore thanan antiquarianorhistorical
interest. This trioBankim- Tagore sarat was knownas' triune glory' or that time butsome other
outstandingnovelistswere alsothere inthattime of era.Theirnamesare onlyhave beenscouringthe
oceanof everydaylifeinBengal.Theirnamesare
Tarasankar Bandyopadhyaya
Manik Bandyopadhyaya
Nani Bhaumik
Gajendrakunarmitra

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Manoj Basu
Nowa daysnovel islivingandinvolvingformof litreture Itisthe onlyformwhichisknownas reader
friendlyformof literatureandnowinour Indianovel becomesmore andmore popularamongthe
readersforour convenience we dividednovelsinsome schools.These schoolsare basedontheme of
novel manynovelshave commontheme butdiffrentaspects.Sothistype of schoolinghelpsusto
understandabouthistorytime settingsandetc.abouthistorytime settingsandetc.aboutnovels
aenovel'sbackgroundinIndianwritinginenglish
:Rival novel
Our Indiaisknowas countryof religionwe are considering riverasourlife line andwe all know thatour
life isgiftfromourmotherso we alwayspray riveras ourmotherand all riverof Indiaare verypeasand
holeyforus.Riverislike a part of our life andwe cannot imagine ourlife withoutriversothis very
importantpart of our life becomespartof ourliterature manynovelshave themeof river. In many
novelsriverplaysvital role asitisalsoan importantcharacter of novel sothat type of all novelsisknown
as RIVER NOVELinthistype of novel action.takesplace bythe side of a riverAnExample.
v In RajanikantaBaradoloi'snovelmirijiyari, the riversubansri isaparticipantinthe action.
v K. S.vankataramani'smurugan:The Tiller, evokingthe villageonthe cauvery.
v Humanyunkabir's menand river'sactiontakesplace on the bankof the padma
v R. K Nalayan'smostof the novel take place inmalgudi onthe bankof the sarayu
v Raja Rao's Kanthapurathe riverHemavathyisa personandin novel The serpentandthe rope the
Gangesis almosta goddess.
All these ascharacter showfemininepowerandpersonalityof India.
Ø AssamNovel:
Assam'steagardensand estate are veryfamousfortheirbeautyand some novelsare takesplace in
Assam.Those all novelsdescribebeautyandsituationof Assamsoall those novelsare knownsas
ASSAMNOVEL.Assam'slife of plantationisshownbythe authorsinthistype of novels.Asanexample
v BeenaBarua's senji patarkahni the theme of novel islife inteagardensof Assam
v Mulk Raj Anand'sTwo Leavesandthe a Bud is a strongstudyof life intea -estate of ASSAM.
v Raja rao's Kanthapura' takesplace inestate of coffee
v Manohar malgonkar'scombat of shadow alsoplacesinAssamtea - estate.

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In all these novelsmain pointispoliticsandhumanemotionsandthistheme isshowninmore
sophisticatedstyle
Ø HistoryNovel:
Our Indiahas powerful pastourhistoryportionisquietgoodandenough.Soour manywriterswere
fascinatedtowardsourhistoryand. take some pointor part of our historyandelaborate informof
novel.Historygivesthemchallengetoshow theircreativityinlimitationsandthatis the real charm of
writingsohistoryisthe most favorite partof our literature whichwriterswanttoretell innovel sothis
type of novelsknownas" HISTORY NOVEL"Asanexample
v Hari Narayan Apte describeshistoryof Maratha innovel ushakal.
v T. Ramkrishna'spadmini isshows romance of 16th centuryand leadingustowardsbattle of talikote
v RameshchanderDutt 's the slave Girl of Agra ishistorical romance.
v Sir jogendarSingh'sNurjahanalsobasedon romanticstoryof history
v VimalaRaina'sAMbapali takesusback indays of Ajat sharuand tellsusstoryof dancer.
v A. S. P. Atyar 's Baladityaandchanakya and chadragupta
These all novelstakesbake usinancienttime andplace. These novelsgiveusknowledge of
historywithnewoperationandnewsignificanceandalsonew visiontobooktowardshistoryandour
past.
Ø Modern Novel:
Some novelsare shownpolitical issuesandtime situationof thatera.Those novelstake part
to bringrevolutioninsocietyforthe sake of society.Those novelsare knownasMODERN NOVEL.Some
noticeable modernnovels are
v RabindranathTagore'sThe home andthe worldandfour chapters
v Mulk Raj Anand'sThe swordand the sickel

67. Assignment book
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v K. A. Abbas'sInqilab.
v K. S venkataramani'skandanThe patriot.
v Raja Rao's Kanthapura
v N. S phadke'sLeaves
v Bhabani Bhattacharya's somany hungers
v R. K Narayan'swaitingforthe mahatma.
Ø PartitionNovel:
OurIndiais partedwithPakistanin1947 and afterwardspartitionbecomesthe mainthemefornovel
because partitioncreatesverystrong image onmindof people.People hadtosufferalot duringthe
time of partitionmanyfamilieswere ruinedbecause of itpartitioncreatesahorroron mindof people so
that time isalsoknownas partitionhorrorour writerstryto draw real picture of partitionwiththe help
of literature.Those novelsare knownasPARTITION NOVEL:some examplesare
v BalachandraRaman's The Dark Dancer.
v Manohar malgonkar'sA Bend in the Ganges.
v Khushwantsigh'Strainto Pakistanwe canfindhorror inthis novel butgoodpointis thatwe can find
humanityalso.Thisworkisperfectbalance of both.
These all novelsshowhorrorof partitionduringthantime.We cannotevenimagine the situationof
that time " DEvendrasatyarthi " quotedthat" NO literature basedonhate andprejudice can. Really
be great. It.Was a drama of degradationandshame a drama of humandecayshowinghow the minds
of the twocommunitieswere poisonedbythe dogmaof two -nationtheory.
AndpersonallyIthinkthathe is right.
Ø Novel of social critism:
We all knowthat literature isjustamirror of the society.We can findall those thingsin
literature whichwe canfeel aroundus.We alsocan say that.
Ø "Literature iscriticismof the society"
Because ourauthorscriticize oursocietywiththeirwritings.Novelisveryfamousformof literature
so to reachto more people.Writerschoosestocriticize society.Those novelsare knowsas.
Ø Novelsof social criticism

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Let's see some examplesof it
v RameshchunderDuty'sThe lake of palms,isa critical studyof social life inbengal
v T. Ramkrishna'sThe give of death, takesplace around superstitionandwhichmakespeoplecowards.
v S. K ghost'The prince of destinythe new Krishnaportraysutopianeastandwest.
vIntroduction