Word count assignment

ASSIGNMENTSWORDS
COUNT
Ashish Pithadiya
[Email address]

ASSIGNMENTS WORDS COUNT
Contents
Analysis of Poetry In The Early Twentieth Century & the New Poetry............................................... 2
What is early 20th century ........................................................................................................2
Poetry in the Early Twentieth Century .................................................................................... 3
Analysis of Characters In “The Scarlet Letter”................................................................................. 6
Introduction:-........................................................................................................................... 6
CHARACTER ANALYSES ..........................................................................................................7
Analysis of Philosophy And Poetry In Commonwealth Literature ................................................... 11
What Is Commonwealth literature? ......................................................................................... 11
COMMONWEALTH LITERATURE: PHILOSOPHY AND POETRY .................................................. 12
Analysis of Thinking & Imagining ................................................................................................. 15
Introduction:.......................................................................................................................... 16
The Art of Thinking.............................................................................................................. 17
American Literature:- Character Analysis In "The Scarlet Letter"Assignment.................................. 19
Introduction:-......................................................................................................................... 20
Characters in "Scarlett Letter".............................................................................................. 21
Analysis of Culture and Rasa Theory ............................................................................................ 24
Introduction:-......................................................................................................................... 24
Analysis of Characteristics of Romantic Literature......................................................................... 31
Introduction :- ........................................................................................................................ 31
Analysis Of VictorianAge ............................................................................................................ 37
Historical Background:- ........................................................................................................... 37
Analysis of Rabindranath Tagore as Dramatist.............................................................................. 42
Rabindranath Tagore as Dramatist........................................................................................... 42
Analysis of six parts of tragedy .................................................................................................... 48
Six Parts of Tragedy................................................................................................................. 48
ANALYSIS FEMALE CHARACTERS IN TOMJONES ........................................................................... 53
LIST OF WOMEN CHARACTERS:-.................................................................................... 53
ANALYSIS OF THE ELIZABETHAN AGE........................................................................................... 57
ANALYSIS OF THE ELIZABETHAN AGE....................................................................................... 57
Ben Jonson (1572–1637)..................................................................................................... 60
Blank Verse:-...................................................................................................................... 63

Analysis of Poetry In The Early Twentieth Century & the New Poetry
NAME: - ASHISH B. PITHADIYA
ROLL NUMBER:-2
TOPIC NAME: - Poetry in the Early Twentieth Century and The
new poetry
PAPER NAME: - The Modern Literature
SUBMITTED TO: - DEPARTMENT OF ENGLISH
Enrollment no: -2069108420190037
What is early 20th century
The 20th twentieth century was a century that began on January 1,
1901[1] and ended on December 31, 2000.[2] It was the tenth and
final century of the 2nd millennium. It is distinct from the century
known as the 1900s which began on January 1, 1900 and ended on
December 31, 1999.
The 20th century was dominated by a chain of events that heralded
significant changes in world history as to redefine the era: flu
pandemic, World War I and World War II, nuclear power and space
exploration, nationalism and decolonization, the Cold War and
post-Cold War conflicts; intergovernmental
organizations and cultural homogenization through developments
in emerging transportation and communications
technology; poverty reduction and world population growth,
awareness of environmental degradation, ecological
extinction; and the birth of the Digital Revolution, enabled by the
wide adoption of MOS transistors and integrated circuits. It saw
great advances in communication and medical technology that by

the late 1980s allowed for near-instantaneous worldwide
computer communication and genetic modification of life.
Poetry in the Early Twentieth Century
Hardy-Yeats-Synge-Housman-de la Mare- the Georgians-Great War poets
THE THREE GREATEST modern English poets are widely agreed to Hardy,
Yeats, and Eliot. Of these Thomas Hardy (1840-1928) was t only Englishman.
Hardy was the last great Victorian novelist, He gab up novel-writing before
Queen Victoria died. His first volume poem was not published till 1898. But
Hardy had been Writing poet since the 1860s, and he often borrowed scenes
and situations from it f his novels. Hardy the poet is continuous with Hardy the
novelist. What is alive in the poems is what is alive in the novels. But he wrote
the poems solely to please himself: while in the novels he was concerned t
entertain his public
Hardy's novels are old-fashioned in form and style. They depend o sensational
incidents, astonishing coincidences, surprising twists of plot Hardy is a story-
teller in the tradition of Scott. But he had learned for George Eliot, and from
Shakespeare, how to depict the country people he loved in a convention oflight
caricature. And in his early books h recounts the joys and sorrows, the charm
and the hum our, of the locrural life that in his day was vanishing from England.
But from The Return of the Native (1878) onwards his books become more
sombre and philosophically preoccupied. Hardy, like George Eliot, was a pro-
gressivist, or, to use her word, a meliorate, but he was a half-hearted one. Again
and again he showshuman fulfillment and happiness thwarted by stupidity and
selfishness, or by conventionality and ignore dance. He did not rule out the
possibility of human improvement, but he was painfully conscious of all the
forces, within and without human beings, that made against it. His tone in his
later novels is often peevish and irritable. But at times it takes on a more tragic
dignity, when Hardy implies that people are up against not only stupidity and
ignorance, but something in the scheme of things.
Hardy's greatness appears in his poems. Here he was able to dies- encumber
himself from the conventions of Victorian fiction and write as he pleased.
Hardy's output was very large, about nine hundred poems. Naturally they are
mixed, both in subject-matter and quality, but they have some things in
common. Hardy liked to experiment with rhythm and meter. Sometimes a tune
came into his headbefore he had thought ofthe words to accompany it. He tried

to find the right music for different moods. And his moods do vary. We think of
Hardy as melancholy, even morbid; but many of the poems are really light
verse.
The strangest feature of Hardy's poetry is his diction. Fundament- ally, it is
traditional. Hardy never abandoned his first masters, the great poets of the
romantic period. But he introduced into this diction strange mixture of
elements. Sometimes he uses provincial words, Dorset dialect. Sometimes he is
very colloquial, even slangy Sometimes he is magniloquent, with Latinate
polysyllables. Hardy loves to coin new words. Often he uses awkward
inversions, or falls into grammatical tangles. Sometimes he sings effortlessly
and simply; sometimes he sounds jangling and cacophonous.
Ford Maddox Ford said that Hardy's poetic style seemed to have been
borrowed from a country newspaper. Much of his subject-matter might have
appeared there too. Unlike most great poets, Hardy wrote about a wide range
of ordinary events. He liked to dwell on 'life's little ironies the sad or strange or
funny incidents that we hear about every day. But he also wrote about the
routine of day-to-day incidents. the fine mornings and the overcast afternoons,
the localgossip and scandals,theirths, the marriages,and, aboveall, the deaths.
Many of the poems reflect Hardy's philosophical ideas. Intellectually, Hardy did
not believe that nature revealed any signs of conscious pure-pose. Organic
sentience was a mere accident, and the reflective self- consciousness of man
was the cruelest accident of all. But emotionally arty was convinced that the
amount of suffering and misfortune in he world exceeded what could be
reasonably expected from mere hence. He could not help imagining the
presence of malign and mocking spirits in the universe, even if their influence
upon the blind, unconscious Immanent Will remains unclear. Opposed to them
he imagines compassionate spirits, whose influence, if it exists, is small. This
half-fanciful mythology provides the framework for the principal work Hardy
produced during the Edwardian age, the epic drama of The Dynasts (1904-8).
The new poetry
The New Poetry
Eliot-Pound Hopkins
FOR MANY READERS of our time the name of T. S. ELIOT (1888- 1965) is
virtually synonymous with modern poetry. During the 1920s Eliot was an
avant-garde figure, a centre ofcontroversy, a party leader. By the 1940s he had
conquered theliterary establishmentand was generallyaccepted as the leading

writer of the age. Many of his critical dicta achieved a world-wide fame. His
taste for Dante, for the metaphysical poets, for French symbolist poetry, his
comparative disaster for Milton and for much nineteenth-century poetry,
shaped the opinions of a whole generation, and left a lasting mark on school
curricula and university syllabuses. In his later years Eliot became somewhat
remote from the world ofliterary movements and fashions. And since his death
his reputation has been in a sort of critical limbo.
Thomas Stearns Eliot came of an old-established American family with
ancestral English connections. He was born at St. Louis, Missouri. From 1906 to
1915 he studied literature and philosophy at Harvard, the Sorbonne, and
Oxford. He made personal contact with French poets of the symbolist school,
and with the Anglo-American movement known as Imagism, which included
such writers as Ezra Pound, T. E. Holmes, and 'H.D.. Eliot was employed in
Lloyds Bank in 1916. He was assist- ant editor of the Egoist from 1917 to 1919
and founded the Criterion in 1922. Shortly afterwards he was made a director
of Faber, the publishers. A book of poems, Prufrock and Other Observations
(1917), was allowed by a volume of criticism, The Sacred Wood (1920). Eliot's
amour poem, The Waste Land, was published in 1922. During the 1930s Eliot
first reached a wide public with his play Murder in the horal (1935), which was
followed by another play, The Family Re- union (1939). Eliot published much
criticism and miscellaneous prose, mainly lectures and addresses, His standing
in the literary world reached its greatest height with the series of poems called
Pour Quartets (first published together in 1943, though the poems had
previous appeared separately, starting in 1936 with Burnt Norton' in Collected
Poems 1909 35.
Eliot as a young man abandoned America and sought to become a European
writer. For a while he even seems to have thought of becoming a French poet,
like his fellow-countrymanStuart Merrill.Some ofhis early poemswere written
in French. But it wassoonclearto Eliotthat his future asa poet layin the English
language. In London and Paris Eliot was drawn to the Imagist poets because,
like them, he wanted to correct the loose expression and woolly sentiment of
contemporary entry. He disliked the vague poeticism into which the romantic
tradition had degenerated. Eliot, like his friend Pound was preoccupied with
craftsmanship; He thought twentieth-century verse lacked standards. What
interested Eliot above all in these writers was their use ofthe spoken word, the
colloquial language and rhythm that had long been absent from serious poetry.
But French influence on the early Eliot was more immediate than these. And
deeper and more influence was Dante, the medieval poet who still grips
centuries because he is so graphic and unconventional. Dante was to remain
Eliot's master from the beginning to end.

Analysis of Characters In “The Scarlet Letter”
ROLL NUMBER:-2
TOPIC NAME: - Analysis Characters In “The Scarlet Letter”
PAPER NAME: - The American Literature
G-MAIL ID: - ashvribhay@gmail.com
Enrollment no:-2069108420190037
Introduction:-
Summary At the end of Dimmesdale's Election Day sermon, the
crowd emerges from the church; they are extremely enthusiastic
about the inspired and powerful words which they have just heard
from a man whom they feel is soon to die. Seemingly, this is the
most brilliantand triumphant moment in Dimmesdale's publiclife.
As the procession of dignitaries which has formed to march to a
banquet at the town hall approaches the marketplace, the feelings
of the crowd are expressed in a spontaneous shout of tribute.
"Never, on New England soil, has stood the man so honored by his
mortal breth- ren, as the preacher!" They are speaking, of course,
about Dimmesdale. But the shout dies to a murmur as the people
see Dimmesdale tottering feebly and nervously in the procession.
His face has taken deathly pallor, and he can scarcely walk. The
Reverend Mr. e uo Wilson attempts to give some support to
Dimmesdale, but the minister repels him and struggles on until he
comes to the scaffold, where Hester stands holding Pearl by the
hand. There, Dimmesdale pauses. Governor Bellingham leaves his
place in the procession to help Dimmesdale, but he is strangely
repelled by a certain "something" in the minister's appearance.

Dimmesdale tells Hester that he is dying and must acknowledge his
shame. Then he turns to the crowd and cries out his guilt. Hester
lifts Dimmesdale's head and cradles it against her bosom.
Chillingworth, meanwhile, kneels down and, in a tone of defeat,
keeps repeating, "Thou hast escaped me!" Dimmesdale asks God's
forgiveness
Characters in "Scarlett Letter"
1. Hester Prynne
2. Arthur Dimmesdale
3. Roger Chillingworth
4. Pearl
CHARACTER ANALYSES
Hester Prynne
Hester Prynne Hester is introduced as being young, tall, and
beautiful, with an elegant figure, abundant glossy dark hair, a rich
complexion, and deep- set black eyes
She comes from an impoverished but genteel English family,
poverty-stricken having lived in a "decayed house of gray stone,
with a aspect, but retaining a half-obliterated shield of arms over
the portal, in token of antique gentility." But even without that
specific indication of her high birth, the reader would know that
Hester is a lady from her bearing and pride, especially in Chapter
2, when she bravely faces the humiliation of the scaffold: "And
never had Hester Prynne appeared more lady-like, in the antique
interpretation of the term, than as she issued from the prison."
Hester's sin (committed about a year before the novel begins) is
the sin which gives the book its title and around which the action
of the book revolves. Adultery, prohibited by the Seventh

Command ment, was so seriously condemned by the Puritans of
seventeenth century Massachusetts that it was often punished by
death.
But the most important facts to note about Hester's sin of adultery
are, first, that her sin was a sin of passion-rather than a sin of in-
tellect. This fact distinguishes her from Chillingworth. He deliber-
ately, with his intellect, sets out to destroy Dimmesdale. In addition
Hester's sin is openly acknowledged, rather than concealed in her
heart. This fact distinguishes her from Dimmesdale, who chooses
to hide his sin.
Arthur Dimmesdale
Arthur Dimmesdale Dimmesdale is young, pale, and physically
delicate. He has large melancholy eyes and a tremulous mouth,
suggesting great sensitivity He also has that fresh and childlike
quality which undoubtedly brings out the "mother instinct" in his
female parishioners.
Why does Dimmesdale conceal his sin during seven long years of
torment-both by Chillingworth and by his own conscience? In
Chapter 10, Dimmesdale himself offers two possible explanations,
he says: "It may be that they are kept silent by the very constitution
of their nature. Or-can we not suppose it-guilty as they may be,
retaining, nevertheless, a zeal for God's glory and man's welfare,
they shrink from displaying themselves black and filthy in the view
of men; because, thenceforward, no good can be achieved by them;
no evil of the past be redeemed by better service."
Chillingworth's remarks show the importance of Dimmesdale's
confession: "Hadst thou sought the whole earth over, there was no
no place so secret-no high place or lowly place where thou couldsi
have escaped me-save on this very scaffold!" In fact, Hawthorne
himself in his "Conclusion” In many ways, The Scarlet Letter is
Dimmesdale's story. The central struggle is his. Whereas the other

characters occupy relatively fixed positions, the minister must-in
one dramatic decision-reverse his actions of seven years' time.
Roger Chillingworth
Roger Chillingworth When Chillingworth first appears, having just
ended over a year's captivity by the Indians, his appearance is
hideous, partly because of his strange mixture of "civilized and
savage costume." But even when he is better dressed, he is far from
attractive. He is small, thin, and slightly deformed, with one
shoulder higher than the other. Al- though he "could hardly be
termed aged," he has a wrinkled face and appears "well stricken in
years." He has, however, a look of calm intelligence, and his eyes,
though they have a "strange, penetrating power, are dim and
bleared, and testifying to long hours of study under lamplight.
Ignorance, however, does not excuse Chillingworth's selfish desire
to have a lovely young wife. And one should remember that
Chillingworth was largely ignorant about other people. He hadn't
been around them; he had immersed himself in his studies. But he
knows now that he was wrong to marry a woman who did not love
him. He did sin, and he knows it: "Mine was the first wrong, when I
betrayed thy budding youth into a false and unnatural relation with
my decay."
But far worse than that offense is the sin which begins to take
possession of Chillingworth when he first appears at the scaffold
scene. Briefly defined, this sin is the subordination of the heart to
the intellect. It occurs when one is willing to sacrifice his fellow
man to gratify his own selfish interests. As displayed in
Chillingworth, it involves a violation of two biblical injunctions: (1)
"Judge not, that ye be not judged" and (2) "Vengeance is mine, saith
the Lord."
This particular point is made specifically in Chapter 17, when
Dimmesdale says to Hester: "We are not, Hester, the worst sinners

in the world. There is one worse than even the polluted priest [a
reference to Dimmesdale himself! That old man's revenge
[Chilling- worth's] has been blacker than my sin. He has violated,
in cold blood the sanctity of a human heart. Thou and I, Hester,
never did so!"
Pearl
Pearl rearl appears first as an infant, then at the age of three, and
finally at the age of seven. The fullest description of her comes in
Chapter 6. There, we see her at the age of three. We learn that she
possesses a rich and luxuriant beauty; a beauty that shone with
deep and vivid tints; a bright complexion, eyes possessing intensity
both of depth and glow, and hair already of a deep, glossy brown
and which, in after ears, would be nearly akin to black. Was
imbibing her soul from the spiritual world, and her bodily frame
from its material of earth. The mother's impassioned state had
been the medium through which were transmitted to the unborn
infant the rays of its moral life; and, however white and clear
originally, they had taken the deep stains of crimson and gold, the
fiery lustre, the black shadow, and the untempered light of the
intervening sub- stance. Above all, the warfare of Hester's spirit, at
that epoch, was perpetuated in Pearl."
As Pearl grows older, her actions and her questions are matters of
increasing torment to Hester. Pearl pelts the scarlet letter with
flowers, "covering the mother's breast with hurts for which she
could find no balm in this world," and then she adds to Hester's
pain by demanding to know where she "came from," and by
refusing to accept Hester's biblical explanation that Pearl's
Heavenly Father sent her (Chapter 6).

Analysis of Philosophy And Poetry In Commonwealth Literature
ROLL NUMBER:-2
TOPIC NAME: - PHILOSOPHY AND POETRY in
COMMONWEALTH LITERATURE
PAPER NAME: - Post Colonial Study
Enrollment no:-2069108420190037
What Is Commonwealth literature?
Commonwealth Literature, Post-Colonial Literature in English,
New Literature in English, World Writing in English – these are just
some of the terms being used to describe the writings of ‘members’
of the former British Empire.
The number of titles, however, reflects the growing international
importance of such writings as evidenced this month at the London
Festival of Commonwealth Literature, with writers coming from
around the globe. They tentatively include Michael Ondaatje, the
Sri Lankan- Canadian author of ‘The English Patient’, the book that
inspired the movie that swept the board at the latest Academy
Awards ceremony.
The nine-day festival, sponsored by the Commonwealth
Foundation and the University of London among others, will
celebrate the 10th anniversary of the Commonwealth Writers
Prize and mark the Year of the Commonwealth in Britain.
It is an important milestone because many universities around the
world now have courses in Commonwealth Literature, or some
similar nomenclature, and academics are churning out books
seemingly at the same pace as the fiction writers, poets and
dramatists. Professors who teach the subject say that students who
want to study English Literature are increasingly interested in the

works coming from the English-speaking Caribbean, Africa, Canada
and South-East Asia.
But what IS Commonwealth Literature? Many years after the term
came into being, it still causes disagreement, according to
Professor Henna Maes-Jelinek, a Belgian expert on the writing from
Britain’s former colonies.
The Journal of Commonwealth Literature is a quarterly peer-
reviewed academic journal that covers the field of literature,
especially Commonwealth and postcolonial literature, including
colonial discourse and transnational studies. The journal's editors-in-
chief are Claire Chambers (University of York) and Rachael Gilmour
(Queen Mary University of London). It was established in 1966 and is
currently published by SAGE Publications.
COMMONWEALTH LITERATURE: PHILOSOPHY AND POETRY
Although Commonwealth literature (from the Commonwealth Nations,
hence written in English) and postcolonial literature (translated into
English) are taught in many English departments, they remain
problematic for at least two reasons. First, taxonomically the
designations never escape their flawed origins. Thus Jacana Clerk and
Ruth Siegel, editors of a recent anthology (1995), virtually apologize
for their title, Modern Literatures of the Non-Western World, saying
that they "faced the dilemma of using a negative term that derives from
a Western perception" (xvii). Similarly, the rationale for grouping
works and the related supposition for survey courses is a sense of an
underlying cultural history (e.g., American literature), which also
informs other courses of genres that derive from that history. Lacking
any comparable unity, postcolonial literature is presented as a
hodgepodge assembly and is often associated with minority studies. By
definition, minority views are supplemental. Frequently, minority
views arise in reaction to majority views. Since they do not voice
majority experience, they must remain secondary and somewhat exotic.

Yet the views presented by Commonwealth writers are not minority
views, though one would hardly know this from the
Poetry scolding of critics such as Graham Parry who takes the most
prominent Indian novelist, R. K. Narayan, to task for "the odd
psychology of some of his characters whose emotional responses are
often bizarre to a Western reader" (79). Anglo American readers cannot
understand the actions of Narayan’s characters until they know
something of the Hindu social psychology that defines normal behavior
in Indian society. This, then, is the second problem: to understand
something of a profoundly alien society requires a deeper shift in
outlook than can be accomplished by an examination of an isolated text
or even a collection of works.
Commonwealth writers are native to the regions and cultures they write
about: the Caribbean, India, China and parts of Africa. In some measure
an Anglo-American audience must appreciate the exotic element of
such writing: how different the fictional characters and their situations
are from what is ordinary and important in our experience. When this
is ignored, critics often bluster, scorning the unfamiliar, or preach,
asking for tolerance of the unfamiliar. Jayana Clerk and Ruth Siegel
hope that their anthology "helps cultivate an awareness that honors
different cultural perspectives," as though assuming that it was the
professed intent of each author to pitch his culture to an audience of
North American undergraduates (xviii). We do not expect great works
from our own tradition to be so transparent and pandering. William
Walsh illustrates the bluster approach, concluding that Narayan's Mr.
Sampath "doesn't quite succeed" because of "an insufficiency of
composition. Exasperated because he cannot explain the accomplished
work Walsh proclaims, "The novel's shape is oddly hump-backed, and
repeated readings fail to convince me that I have missed some deeper
and more structurally implicit unifying influence". What Walsh could
not feel was the Hindu atmosphere, which provides motives for the
characters in the novel and themes for readers.
Criticism has recently become sensitive to the presumptive of male
narrative voices, to racially white voices and to colonial voices. Critical
explanations proceeding from such sensitivities, however, remain
dialectically two dimensional, assuming that truth can be discovered by

stretching the text between two poles: male/ female, white/black,
majority/minority, America/the world. Moving from one such
movement in a protagonist's understanding and his/her subsequent
moral growth provides the model for many Western novels.
Nonetheless, the change is measured by distance from the initial pole,
which continues to broadcast paradigm assumptions that postcolonial
writers do not hear, because they the cultural programs which shaped
their child-hoods. The non- Western cultures, in which postcolonial and
Commonwealth writers typically spend their child-hoods, construe
identity and motives that often lack Western counterparts. In some
cases there is no second pole, either similar to or opposite from the first.
To read postcolonial literature with insight, Anglo-Americans must
recognize that cultures are discrete and incommensurable. Indian
Hindus are not bizarre British Christians. Readers must accept that
there are not Kantian categories of logic or a grammar that will explain
everything. In principle, the notion that critical tools should emerge
from the culture they seek to explain sounds unproblematic. Objections
arise on two counts. First, the legacy from Plato through Kant,
paralleled by theology, claims a transcendental logic capable of giving
the true picture. Postmodernism opposes this belief by stressing that
any specific claim to the truth is necessarily grounded in a concrete
language and historic culture. Second, as Bishop Berkeley might say,
we only know what we know. Most readers of postcolonial and
Commonwealth literature know only English and its associated culture.
The implicit assumption is not exactly that Anglo-American culture is
normative, but that readers partially escape or suspend it with difficulty,
inevitably smuggling along implicit assumptions. The second point
tends to reinforce the first point. Knowing only one view, it would be
difficult to imagine exactly where it diverges from the truth.
Two points can now be made in regard to postcolonial literature. The
first point is that there is not a neutral or obvious place to begin, place
where truth is bare and universal, which consequently becomes a
standard. This should not forestall critical effort, but should work
recurrently to qualify judgments as cultural instead of true. The second
point is that criticism must have a foot in both the

culture of the reader and that of the writer. Because postcolonial novels
offer exotic material, the critical enterprise is closer to anthropology,
which studies alien cultures, than sociology, which studies one's own
culture. A theoretical basis for anthropological criticism is provided by
the prolific and readable work of the McGill philosophy professor,
Charles Taylor. Midway between such theory and postcolonial
literature, the studies of comparative religion and comparative
philosophy provide useful critical terms. Pioneered by Huston Smith,
William Cant well Smith and Joseph Campbell, the discipline of
comparative religions opposes the presumption of Christian
apologetics to be the true religion. Comparative philosophy is an even
younger field. The works of Roger Ames and David Hall on comparing
Confucian China to ancient Greece are exemplary. Although I did not
discover it until after I had explicated the Confucian dimension in two
of Timothy Mo's novels, Hall and Ames's Thinking through Confucius
is perhaps the best critical tool for understanding the Anglo-Chinese
novelist's work. I believe that the critical method illustrated in this
paper parallels the methods they use in regard to philosophical texts.
Bernard Faure's The Rhetoric of Immediacy offers a postmodern
reading of Zen Buddhism. The collection, Japan in Traditional and
Postmodern Perspectives (1995), offers additional critical tools for
readers of Asian postcolonial literature.
Analysis of Thinking & Imagining
ROLL NUMBER :-2
TOPIC NAME :- Thinking and Imagining in ELT 1
PAPER NAME :- English Language Teaching -1
SUBMITTED TO :- DEPARTMENT OF ENGLISH
Enrollment no :-2069108420190037

Introduction:
English Language Teaching (ELT) is based on the idea that the goal
of language acquisition is communicative competence. It adopts
concepts, techniques and methods in classroom for recognizing
and managing the communicative needs of the language learners.
English language teaching may refer to either
English Language Teaching in India The introduction of English
language in India dates back to the beginning of the seventeenth
century. English language in India was introduced by the
Missionaries "their effort started in 1614 and became marked after
1659, when they were allowed to use the ships of the East India
Company for propagating their religious and cultural ideas''.^ At
that time English was just an alien language in India.
While earlier in the century students who had specialized in
English joined either teaching or the civil services, now a whole
new spectrum of job opportunities has opened up. There are now
call centers that need trainers to equip their employees with
communication skills, there are multinationals who have been
recruiting marketing staff that need to be taught spoken English,
there are medical transcription centers which need efficient
translators and reporters. Those desirous of immigration to the
West need professional help for qualifying tests like the IELTS,
TOEFL etc. Hence, the avenues where English Language Teaching
(ELT) has come to be required in India are unlimited today.
Thinking and Imagining In previous chapters we have considered
several aspects of the process of learning-attending, imaging,
habit-forming and remembering. We have noted that learning is
generally a complex process with several facets. It is, however, a
unitary process for the human mind works as a whole and not in
separate faculty compartments. For example, the more we learn
about a subject the more easily we attend to new aspects of that
subject and the more readily we remember new facts connected
with it.

In this chapter we shall concentrate on another aspect of learning,
the process in which we use results of past experiences to meet a
new situation, to solve a problem. This kind of mental activity is
usually called thinking.
When teaching knowledge but also with training pupilsto think for
themselves, that is, to use the knowledge they have, in order to gain
further knowledge. As we saw in Chapter 4 their ability to think
depends to some extent on inborn intellectual, and perhaps
temperamental, qualities. Some children are by nature more we
are concerned not only with imparting likely to be good thinkers
than others, but all children can by wise training be helped to
develop their thinking powers fully, and to use their thinking for
worthy ends.
Let us first analyze the process of thinking. A very simple way of
doing this is to watch you solving a clue in a cross-word puzzle. You
may, or you may not, reach a successful conclusion, but while you
are trying to reach one you are thinking. You probably begin by
repeating the clue to yourself one or twice, perhaps aloud, certainly
rather deliberately. Then you dwell on each item, noticing what
ideas each one brings to mind. You look for relations of likeness,
difference and cause among the different sets of ideas. Perhaps you
perceive a relation, but you are not necessarily satisfied with the
solution it suggests. The word you have found may not fit the given
space or may not contain a required letter. If you are a cross-word
expert you will sometimes reject solutions that are otherwise
satisfactory because they do not show that particular neatness that
you expect in these puzzles; the solution fits butit does not fit "with
a click" and so you reject it. You continue to search. You repeat the
given clue and examine it carefully to see if there is any point you
have overlooked; you dwell on each item again; you examine the
ideas that come to mind and eventually there is a "flash" of insight
and you see the solution.
The Art of Thinking

After the above exercise in introspection you will be ready to
identify the following stages in the thinking process:
(a) Appreciation of a problem to be solved.
(b) Collection of adequate relevant data.
(C) Arriving at a conclusion.
(d) Testing the conclusion.
It will be convenient to consider each step separately to see how
help pupils to think. Appreciation of a Problem to be Solved-The
problems that we can we appreciate best are the ones that occur
directly to us, not the ones that are propounded to us by other
people. Our own problems arise out of our own experience and
activity, and they seem worthwhile. So it is with children. As we
have seen in Chapter 3, the first problems that they solve are
practical ones, concerned with concrete material; they are not
affairs of words and abstract ideas. For example, imagine a child
playing with taps in the bathroom, watching the water flow and
stop. After a time comes the question, "How does the water come?"
This is a real problem; it arouses his curiosity. He may need some
help before he solves it, but he has certainly appreciated it and
begun to think about it. When children do not think about the
problems we set are unableto thinkthem, we must not hastily infer
that they Failure may be due, not to their inability, but to our
unwise choice of problem. Our problem may make no it may not
seem worthwhile to them. We have already pointed out in Chapter
8 how important practical activity is for development of images
and ideas. We now see that it is also important as a source of
problems that children really appreciate as a means of stimulating
children to think
A problem that is appreciated in one setting may not be
appreciated in another. For example, the writers recorded some of
the problems about taps and pipes, propounded spontaneously
and followed up eagerly by a young boy during his active play. One
day, when he was sitting quietly by the fire in a room where there

were no taps, his own questions were put to him again. In this
setting the problems aroused no interest. With a little urging some
half-hearted but incorrect replies were obtained. The next day in
the bathroom the same questions were again put to him. This time
they turned, pipes examined, and eventually correct answers were
given. In the presence of the actual object the question meant
something, and started him thinking.
As children grow older they are less dependent on the presence of
concrete objects. Words become more situations can be imagined.
If, however, we ask pupils questions in words that are unfamiliar,
and if we suggest problems that deal with data outside their
experience, we must not besurprised if they are unable to solve the
problems. Most teachers have had experience of the importance of
choosing words and subject- appeal to their interests; were
welcomed and activity followed. Taps were meaningful and matter
wisely.
Collection of Relevant Data Having appreciated and grasped the
problem we begin to collect facts that may eventually help produce
a solution. We may first collect those facts that we already know. If
we have no definite line of investigation 01 follow we may just wait
and see what ideas are suggested by the problem. As we have seen,
the suggestions will not be quite free and random. They will be
controlled by our purpose. The more completely we appreciate the
purpose the more effective will it be it giving minds that mental set
that pre-disposes us to remember only relevant facts.
American Literature:- Character Analysis In "The Scarlet Letter"
Assignment
ROLL NUMBER:-2

TOPIC NAME: - ANALYSIS CHARACTERS IN “The Scarlet
Letter”
PAPER NAME: - The American Literature
G-MAIL ID: - ashvribhay@gmail.com
Enrollment no:-2069108420190037
Introduction:-
Summary At the end of Dimmesdale's Election Day sermon, the
crowd emerges from the church; they are extremely enthusiastic
about the inspired and powerful words which they have just heard
from a man whom they feel is soon to die. Seemingly, this is the
most brilliantand triumphant moment in Dimmesdale's publiclife.
As the procession of dignitaries which has formed to march to a
banquet at the town hall approaches the marketplace, the feelings
of the crowd are expressed in a spontaneous shout of tribute.
"Never, on New England soil, has stood the man so honored by his
mortal breth- ren, as the preacher!" They are speaking, of course,
about Dimmesdale. But the shout dies to a murmur as the people
see Dimmesdale tottering feebly and nervously in the procession.
His face has taken deathly pallor, and he can scarcely walk. The
Reverend Mr. e uo Wilson attempts to give some support to
Dimmesdale, but the minister repels him and struggles on until he
comes to the scaffold, where Hester stands holding Pearl by the
hand. There, Dimmesdale pauses. Governor Bellingham leaves his
place in the procession to help Dimmesdale, but he is strangely
repelled by a certain "something" in the minister's appearance.
Dimmesdale tells Hester that he is dying and must acknowledge his
shame. Then he turns to the crowd and cries out his guilt. Hester
lifts Dimmesdale's head and cradles it against her bosom.
Chillingworth, meanwhile, kneels down and, in a tone of defeat,
keeps repeating, "Thou hast escaped me!" Dimmesdale asks God's
forgiveness

Characters in "Scarlett Letter"
1. Hester Prynne
2. Arthur Dimmesdale
3. Roger Chillingworth
4. Pearl
CHARACTER ANALYSES
Hester Prynne
Hester Prynne Hester is introduced as being young, tall, and
beautiful, with an elegant figure, abundant glossy dark hair, a rich
complexion, and deep- set black eyes
She comes from an impoverished but genteel English family,
poverty-stricken having lived in a "decayed house of gray stone,
with a aspect, but retaining a half-obliterated shield of arms over
the portal, in token of antique gentility." But even without that
specific indication of her high birth, the reader would know that
Hester is a lady from her bearing and pride, especially in Chapter
2, when she bravely faces the humiliation of the scaffold: "And
never had Hester Prynne appeared more lady-like, in the antique
interpretation of the term, than as she issued from the prison."
Hester's sin (committed about a year before the novel begins) is
the sin which gives the book its title and around which the action
of the book revolves. Adultery, prohibited by the Seventh
Command ment, was so seriously condemned by the Puritans of
seventeenth century Massachusetts that it was often punished by
death.
But the most important facts to note about Hester's sin of adultery
are, first, that her sin was a sin of passion-rather than a sin of in-
tellect. This fact distinguishes her from Chillingworth. He deliber-

ately, with his intellect, sets out to destroy Dimmesdale. In addition
Hester's sin is openly acknowledged, rather than concealed in her
heart. This fact distinguishes her from Dimmesdale, who chooses
to hide his sin.
Arthur Dimmesdale
Arthur Dimmesdale Dimmesdale is young, pale, and physically
delicate. He has large melancholy eyes and a tremulous mouth,
suggesting great sensitivity He also has that fresh and childlike
quality which undoubtedly brings out the "mother instinct" in his
female parishioners.
Why does Dimmesdale conceal his sin during seven long years of
torment-both by Chillingworth and by his own conscience? In
Chapter 10, Dimmesdale himself offers two possible explanations,
he says: "It may be that they are kept silent by the very constitution
of their nature. Or-can we not suppose it-guilty as they may be,
retaining, nevertheless, a zeal for God's glory and man's welfare,
they shrink from displaying themselves black and filthy in the view
of men; because, thenceforward, no good can be achieved by them;
no evil of the past be redeemed by better service."
Chillingworth's remarks show the importance of Dimmesdale's
confession: "Hadst thou sought the whole earth over, there was no
no place so secret-no high place or lowly place where thou couldsi
have escaped me-save on this very scaffold!" In fact, Hawthorne
himself in his "Conclusion” In many ways, The Scarlet Letter is
Dimmesdale's story. The central struggle is his. Whereas the other
characters occupy relatively fixed positions, the minister must-in
one dramatic decision-reverse his actions of seven years' time.
Roger Chillingworth

Roger Chillingworth When Chillingworth first appears, having just
ended over a year's captivity by the Indians, his appearance is
hideous, partly because of his strange mixture of "civilized and
savage costume." But even when he is better dressed, he is far from
attractive. He is small, thin, and slightly deformed, with one
shoulder higher than the other. Al- though he "could hardly be
termed aged," he has a wrinkled face and appears "well stricken in
years." He has, however, a look of calm intelligence, and his eyes,
though they have a "strange, penetrating power, are dim and
bleared, and testifying to long hours of study under lamplight.
Ignorance, however, does not excuse Chillingworth's selfish desire
to have a lovely young wife. And one should remember that
Chillingworth was largely ignorant about other people. He hadn't
been around them; he had immersed himself in his studies. But he
knows now that he was wrong to marry a woman who did not love
him. He did sin, and he knows it: "Mine was the first wrong, when I
betrayed thy budding youth into a false and unnatural relation with
my decay."
But far worse than that offense is the sin which begins to take
possession of Chillingworth when he first appears at the scaffold
scene. Briefly defined, this sin is the subordination of the heart to
the intellect. It occurs when one is willing to sacrifice his fellow
man to gratify his own selfish interests. As displayed in
Chillingworth, it involves a violation of two biblical injunctions: (1)
"Judge not, that ye be not judged" and (2) "Vengeance is mine, saith
the Lord."
This particular point is made specifically in Chapter 17, when
Dimmesdale says to Hester: "We are not, Hester, the worst sinners
in the world. There is one worse than even the polluted priest [a
reference to Dimmesdale himself! That old man's revenge
[Chilling- worth's] has been blacker than my sin. He has violated,
in cold blood the sanctity of a human heart. Thou and I, Hester,
never did so!"

Pearl
Pearl rearl appears first as an infant, then at the age of three, and
finally at the age of seven. The fullest description of her comes in
Chapter 6. There, we see her at the age of three. We learn that she
possesses a rich and luxuriant beauty; a beauty that shone with
deep and vivid tints; a bright complexion, eyes possessing intensity
both of depth and glow, and hair already of a deep, glossy brown
and which, in after ears, would be nearly akin to black. Was
imbibing her soul from the spiritual world, and her bodily frame
from its material of earth. The mother's impassioned state had
been the medium through which were transmitted to the unborn
infant the rays of its moral life; and, however white and clear
originally, they had taken the deep stains of crimson and gold, the
fiery lustre, the black shadow, and the untempered light of the
intervening sub- stance. Above all, the warfare of Hester's spirit, at
that epoch, was perpetuated in Pearl."
As Pearl grows older, her actions and her questions are matters of
increasing torment to Hester. Pearl pelts the scarlet letter with
flowers, "covering the mother's breast with hurts for which she
could find no balm in this world," and then she adds to Hester's
pain by demanding to know where she "came from," and by
refusing to accept Hester's biblical explanation that Pearl's
Heavenly Father sent her (Chapter 6).
Analysis of Culture and Rasa Theory
Introduction:-
Drinks, o you connoisseurs (rasika) on earth who have
a taste for the beautiful who have a poetic taste, a taste for

a language full of feelings, drinks again & again this
Bhagavatam, this storehouse of aesthetic moods (rasas)
1 These persuasive words are found in the invocationverse
at the very beginning of the Bhagavata Parana (ninth
century AD). This great Sanskrit works of emotional Kṛiṣņa
devotionals (bhakti) enjoyed exceeding popularity troughs
the centuries. The initial phrase appeals to the reader for
example recite or orator & the listeners to relish the
religious texts aesthetically & to participate in it almost
corporally, to “drinks its saps & enjoy the flavour of the
nectar-like stories.
2 Metaphors of food & drink also abound elsewhere in
bhakti literatures. The reader response of the pious is often
to drinks, eats ups, devours, chews,& digest the sacred
texts, to taste the sweetness of the divines name & immerse
themselves in singing & listening to God’s gloried. The
Bhagavatamnarrating Kṛiṣņa’s lifeonearth becamea script
for close relationship to God & for achieving intensity of
feelings by perceivingmanhim as a Childs,masters, friends,
lovers, or even hated enemys. Most of all, the works was
supposed to incite a deep & affectionate love of God means
bhakti. the tenth book narrating Kṛiṣņa’s love game with
the gopis = cowherdesses inspired an Indian bridal
mysticism. The very diction & rhetoric of the sources not
forgetting its audible dimension in actual performance
feeds the recipients’ imaginations & evokes strong images
& emotions. The quote speaks of “aesthetic rasa” (mood),
which in the case of religious literature and work is
primarily the sentiment of devotion means bhakti rasa,
peace of mind means santa rasa, & sweetness means
madhuraya rasa .the aesthetic experiencego beyond notice
content. Very much in consonance with European

conception of aesthetic Baumgartner’s sensory cognitions
& Kant’s synthesizing intuitive knowledge’s, for example
the rasa refers to pre-reflexive, sensory affective, non
notional experience trigger by sensory mediations. In the
bhakti traditions, & the Hindu context at large and the
spoken & sounding word, songs, & musics are invariably
important sensory mediators used to produce aesthetic
immersion. We repeatedly advised to drink the religious
text with the cups of the ears.
3 Merely hearing its held to be auspicious, purifying &
liberating. rasa is about the reader’s response & also about
the text’s own agency & performance it is power to bring &
to evoke & channel emotions. Moreover, it is important to
notes that not only the religious idea behind call for
emotional & aesthetic identification and but also the very
standards of literary theory’s dealing with “worldly,”
profane literature demand & that truly artistic literature
means kavya. should not only produce meaning but also
embody emotions &makeit perceptible.Rasainthe literary
discourse is first of all the linguistic production of an
emotions in the texts,
4 but this production aesthetics :- which was never lost
from sight in the actual writings of literature & poetries
shifted it is major focus to receptions aesthetics & reader
response around the time the Bhagavatam was compose.
These religious texts adopt the literary paradigm; it
proudly intrudes into the space of worldly literature &
breaks the genre’s boundaries by demanding to be enjoy
not only as a Parana ancient story with religious content
mythical lore but also as a kavya, artistic literature and
poetrys.

Indian performance culture & rasa(juice) aesthetics as
embodied rhetoric The corporal trope of drinking the
sacred text with the cups of the ears is animportant hint sof
the contextual frame of this chapter’s contents. The wider
background is a culturals matrix in which texts, rituals, &
sounds belong together. Since ancient times & even after
the introduction of writing,the vast loreof sacred literature
in Hindus India—& even profane texts—have always been
embodied in the voices: they are performed, memorized,
declaimed, taught faces/to/faces from teacher to student,
preached in publics, recited, sings, staged, & danced, but
hardly ever silentlyread. The spoke’s & the sounding words
are highly esteemed in the cultural system sof symbols.9
This feature persists even todays, particularly in the
religious field. Morality & literacy have never been
mutually exclusive; texts are there to be heard & they are
composed with that in mind. Readings are thus
performances & texts are aesthetic events. This cultural
fabric of common conditions for aesthetic/aesthetic &
religious experience gave ways to manifold relations & to a
dovetailing between r ran arts/poetry & religion/sacred
literature.It is noteworthy, Howe r river, that inthe past the
sensory/aesthetic dimensions in the production &
receptionof texts was not restricted to the religioussphere.
Even mathematicians made use of sonic codes, the most
complex meters, & doubles encoding (lea). They chose the
diction of the poets & of liturgical literature to convince &
persuade the readers. In India too, & perhaps most
pronouncedly in this cultural area, this book’s overarching
question abouts religious texts, rhetorical theory, &
aesthetic response must be tackled from the standpoint of
aesthetics. Remarkably, within the highly per formative

culturals framework, which also includes sophisticated
hermeneutics, early scientificlinguistics, & a long culture of
debate, no exact equivalent to Europeans rhetoric was
developed. Instead we r r find at a very early age an
aesthetic theory of affects & effects & their means of
expression & stimulation, which may be termed (perhaps)
“embodied rhetoric.” This theory of sensory (non/verbal)
rhetoric& emotive persuasion& its keys/termsrasa(juice),
“aesthetic sentiment,” appear for the first time in the
Naṭyasastra ascribed to Bharata, the famous textbook for
the theatres, which was compiled from the second/ third
century BC to fourth/fifth century’s AD. The Naṭyasastra
remained the foundational work for classical Indian
aesthetics due to rasa(juice) retaining its role as the most
important element. It had a deeps & longs/terms impact on
poetics, musicology’s, religions, & the culture at large. It is
important for the argument of embodied rhetoric to see the
rasa(juice) aesthetics as both rooted in & spilling over to
India’s pronounced performance cultures & its predilection
for morality. It is likewise vital to keep in mind stat
literature was functionally aligned to memorizing,
oral/aural performance, publics staging, &
sensory/affective effectiveness & persuasion beyond the
semantic meaning aspects, rational arguments or mere
delivery of information. Theatre, aesthetics, performance,
morality, & emotion may thus be seen as a larger unity
whose common denominator is an embodied rhetoric
aiming at sensory/affective persuasion. This chapter’s aim
is to understand the rasa(juice) aesthetics’ history of
success & the processes of symbiosis attached to different
forms of modality in their own right & context. But I also
wish to occasionally draw attention to the structural

resemblances (beyond obvious divergences) with
European rhetoric & aesthetic theories, startling with
Greco/Roman rhetoric’s prime model of face/to/face
oration rather than textual rhetoric. In some ways similar
to Indian theatre, European Greco/Roman rhetoric—
understood as the orators’ arts of persuasion—included a
theory of affects which inturn also becamefundamental for
poetics. Like European rhetoric, Indian rasa(juice)
aesthetics includes questions of style & figures of speech,
although these we r never its basic elements. From the
European perspective, rasa(juice) aesthetics only partly
overlap with European rhetoric, in so far as it shares the
important theoretical realm of classifying emotions. As
already outlined, it is strictly speaking more a theory of
affect & effect & less a theory of intellectual persuasion,
style, 53 CLASSICAL INDIAN AESTHETICS & RASA(JUICE)
THEORY clarity of speech, or of convincing & logical
argument, as it developed in Europe (let alone the charge of
moralcorruptness).10 Rasa(juice) aesthetics does not refer
to politics, (i.e. to public speech to attain political power r
err) or toeducationinthe first place,but instead to complex
poetical systems of drama & literary theory, which of
course infiltrated many other cultural segments—from the
them of poetry & polity11 & theatre’s educational
programmed (see below section 2)to everyday speech &,
most profoundly, religion.What makes it still meaningful to
speak of rhetoric is not merely that oral & public
performance & the arts of brilliant speech belong to the
rasa (juice) aesthetics, just as they do to the European
concept of rhetoric, it is the very centre of rasa(juice)
aesthetics—the emotional flavor & atmospheric mood—
which makes it an excellent climate for the arts of

persuading & convincing. Good speech (like good story)
happens only when the orator manages to touch the
emotions of the audience. One might even suggest that
these emotions are the very engines of persuasion &
efficacy. Thus, emotions are fundamental particularly
where persuasion is pursued, & this is what rasa (juice) is
all about. Indian thinkers pondered very deeply the verbal
& non/verbal means of evokingemotional response. Unlike
European rhetoric, rasa (juice) aesthetics surmount the
linguistic framework. Rasa(juice) is about atmospheres,
that which touches in & beyond the language, & also about
the rasa(juice)’s media of expression which include not
only figures of speech, but also modeling the voice, bodily
gestures, etc. This is why I speak of embodied rhetoric.
Aesthetic/aesthetic expressions enhance & cooler effective
speech beyond the verbal message & have strongly
emotionalizing effects. Since human underrating &
knowledge production is more encompassing & pervasive
than intellectualconviction, there is also something akin to
emotional & body knowledge12 or emotional intelligence.
Indeed, the discussion of rasa (juice) in various Indian
contexts amounts to underrating feelingas its owncategory
of knowledge. Indian theatre studies probably rightly
proclaim that nothing exists outside the realm of rasa
(juice), & in this sense, embodied rhetoric indicates a
concept of rhetoric which surpasses mere intellectual
persuasiveness & conviction but includes body, mind, &
intellect in a holistic manner. Rasa (juice) aesthetics as
embodied rhetoric & the arts of sensuous & emotional.
Conclusion :-
Aesthetics inIndia have a long & colorfulhistory’s. We have
coined the term “embodied rhetoric,” & it can be extended

beyond the theatre where its seen in the dramatics gesture
of the actor.embodied rhetoricis alsofound inthe phrasing
of verse, in sound & meanings figure in suggestive
languages picture & metaphor, in melodies & songs, & in
religious readings that is in declaiming, reciting, chanting,
singing, staging & dancing religious texts, & in other forms
of ritual acts, which were understood by theologians as
gestures of devotions. The fundamental category of
aesthetics is the dramatic effects & moods stimulated &
enhanced by these gestures the rasas, or invisible
emotionalflavors’ that transcend the body & sense whileat
the same time is made manifest by them & thus remains
part of themes’. In Indians art theory’s & rasa aesthetics we
can discern a move away from the aesthetics of production
foe example a theory so affect & aesthetic sentiment & the
devices of their dramatic expression towards the poetic
arts of suggestions & the creativity of the artist which
involve an Indian theorys of aesthetic response.
Analysis of Characteristics of Romantic Literature
Introduction :-
During the second half of the 18th century economic &
social changes took place in England&. The countries we
are through the so-called Industrial Revolution when new
industries sprang up & new processes weare applied to the
manufacture of traditional products. During the reign of
King GeorgeIII (1760-1820) the face of England & changed.
The factories we are built, the industrial development is

marked by an increase inthe export of finished cloth rather
than of raw material, coal & iron industries developed.
Internal communications we are largely funded. The
population increased from 7 million to 14 million people.
Much money is invested in road- & canal-building.The first
railway line which is launched in 1830 from Liverpool to
Manchester allow we are arid many people inspired by
poets of Romanticism to discover the beauty of their own
country. Just as we are undress& the tremendous
energizing influence of Puritanism in the matter of English
libertyby rememberingthat the commonpeoplehad begun
to read, & that their book is the bible, so we are may
undress& this age of popular government by remembering
that the chief subject of romantic literature is the essential
nobleness of commonmen & the value of the individual. As
we are read now that brief portion of history which lies
between are arena arena the Declaration of
Independence in 1776 & the English Reform Bill of 1832,
we are is in the presence of such mighty politicalupheavals
that “the age of revolution” is the only name by which we
are can adequately characterize it. Its great historic
movements become intelligible only when we are read
what is written in this period; for the French Revolution &
the American Commonweal are areal realty, as we are aril
as the establishment of a true democracy in England & & by
the Reform Bill,we are the inevitableresults of ideas which
literature had spread rapidly through the civilized world.
Liberty is fundamentally an ideal; & that ideal beautiful
inspiring, compellingis kept steadily before men’s minds by
a multitude of books & pamphlets as far apart as Burn’s
Poems & Thomas Paine Rights of Man all read eagerly by
the common people, all proclaimingthe dignity of common

life, & all uttering the same passionate cry against every
form of class or caste oppression. First the dream, the ideal
in some human soul; then the written word which
proclaimsit, & impresses other mind with it truth & beauty;
then the united & determined effort of men to make the
dream a reality—that seems to be a fair estimate of the part
that literature plays in the political progress of a country.
The Concept of Romanticism
Throughout history certain philosophy or idea has helped
to shape the theme of literature,art, religion,& politics. The
concept of Romanticism was priced by the philosophy of
Neoclassicism. In the writings before this period humans
we are arête viewed are arid as being limited & imperfect.
A sense of reverence for order, reason, & rules we are
focused upon. There was distrust for innovation &
invention. Society was encouraged to view itself as a group
with generic characteristics. The idea of individualism was
looked upon with disfavor. Peoples we are encouraged
through literature, art, religions, & politics to follow the
traditionalrules of the church &governments. Howeare, by
the eighteenth & nineteenth centuries a great reaction
against this philosophy was noted. It was label as
Romanticism. The expressions Romantic gained currency
during its own times, roughly 1780-1850. Howe is, even
within its own period of existence, few Romantics would
have agreed on a general meaning. Perhaps this tells us
something. To speak of a Romantic era is too identify a
period in which certain ideas & attitudes arose, gained
currency & in most areas of intellectual endeavor, became
dominant. That is, they became the dominant mode of
expressions. Which tells us something else about the
Romantics: expression was perhaps everything to them - -

expression in art, music, poetry, drama, literature &
philosophy. Just the same, older ideas did not simply wither
away. Romantic ideas arose both as implicit & explicit
criticisms of 18th century Enlightenment thought. For the
most part, these ideas we are career generated by a senses
of inadequacy with the dominant ideals of the
Enlightenment & of the society that produced them. Thus,
Romanticism was an artistic, literary, & intellectual
movement that originated in Europe toward the end of the
18th century & in most areas was at its peak in the
approximate period from 1800 to 1850. Partlya reactionto
the Industrial Revolution, it was also a revolt against the
aristocratic social & political norms of the Age of
Enlightenment & a reactions against the scientific
rationalizationof nature. It was embodied most strongly in
the visual arts, music, & literature, but had a major impact
on historiography, education & the natural sciences. Its
effect on politics was considerable & complex; while for
much of the peak Romantic period it was associated with
liberalism & radicalism, its long- &term effect on the
growth of nationalism was probably more significant. The
movement validated intense emotions as an authentic
source of aesthetic experience, placing new emphasis on
such emotions as apprehension, horrors & terrors, & awe
are especially that which is experienced in confronting the
sublimity of untamed nature & its picturesque qualities:
both new aesthetic categories. It elevated folk arts &
ancient custom to a noble status, made spontaneity a
desirable characteristic (as in the musical impromptu), &
argued for a natural epistemology of humans activities, as
conditioned by natures in the form of language &
customary usage. Romanticism reached beyond the

rational & Classicist ideal models to raises a revived
medievalism & elements of art & narrative perceived to be
authentically medievalin an attempt to escape the confines
of population growth, urban sprawl, & industrialism.
Romanticism embraced the exotic, the unfamiliar, & the
distant, harnessing the power are are of the imaginationto
envisions & to escape.
Characteristics of Romantic Literature
Romanticism shows a shift from faith on reason to faith in
senses, feelings, & imagination. Shift from interest in urban
society to interest in the rural & natural, a shift from public,
impersonal poetry to subjective poetry,
& from concern with the scientific & mundane to interest in
the mysterious & infinite. Mainly they care about the
individual, intuition, & imagination.
1. Imagination & emotion are more important than reason
& formal rules; pagination is a gateway to transcendent
experience & truth.
2. Along the same lines: - intuition & a relianceon “natural”
feelings as a guide to conduct are valued over control,,
rationality/
3. Romantic literature tends to emphasize a love of nature
& a respect for primitivism, & a valuing of the common,
natural man. Romantics idealize country life & believe that
many of the ills of society are a result of urbanization.
natures for the Romantics becomes a means for divine
revelation -Wordsworth . It is also a metaphor for the
creative process.
NEOCLASSICAL VIEW OF NATURE: Ordered & controlled
Claude Lorraine, Landscape
ROMANTIC VIEW OF NATURE: Thomas Cole&Wild Scene

4. Romantics we are interested in the Medieval past,, the
supernatural the mystical & the gothic, & the exotic.
5. Romantics we are career attracted to rebellion &
revolution, especially concern with human right,
individualism, & freedom from oppression.
6. There is emphasis on introspection, psychology,
melancholy, & sadness. The art often dealt with death
transience & mankind feelings about this thing. The artist
is an extremelyindividualistic creatorwhose creativespirit
is more important than strict adherence to formal rule &
traditional procedures, The Byronic hero, Emphasis on the
individual & subjectivity,.
Conclusion:-
During the 20 century especially after World War I, We are
stern drama became mare I internationally unified & less
the product of separate national literary traditions.
Throughout the century realism
& naturalism& symbolism &various combinations of these,
continue to inform important plays. Among the many 20
century play is right those have written what can be
broadly term naturalist dramas are awe Gerhard
Hauptmann in German, John Galsworthy in English, John
MillingtonSynge & Sean O'Casey in Irish, & Eugene O'Neill,
CliffordOdets, &LillianHellman inAmerican. An important
movement on0 early 20 century drama is expressionism.
Expressionist playwright tried to convey the dehumanizing
aspects of 20 century technological society through such
devices as minimal scenery, telegraphic dialogue, talking
machines, & characters portrayed as type rather than
individuals.

Analysis Of Victorian Age
Historical Background:-
england was moving steadily in the direction or way of become
europe most stable and unstable and prosperous country, the
industrial revolution and the railway age, steam engine was being
use in mine, factories & ships. small town was beginning to into
smoky centre of manufacturing industry. all this was taking place
under a government & legislature that was still narrowly restricted
to the privileged few, who was wealthy by birth or becoming
wealthy on commerce, despite the industrial revolution and the
factories, mill, mine & workshops, of england was still and almost
entirely agricultural country, the english country side were part of
everyone existence and the industrial revolution however were
just beginning to bring dirt& squalor and ugliness & crime, into the
live of the poor and middle class whom circumstance force to live
and work on the mills factories of new towns and villages.
labourers was being unfairly treat without redresses, women’s
worker was also ill-treat & underpaid and while children’s was
often over worked on abominable conditions. society in this
country was still effectively feudal and a small agricultural
community was still more or less and less or more governed by
landlord or and lord of the manor to whom rents was paid by
tenants of farms or cottage. no one else on the rural life and rural
community had much authority except for local parson and or to a
lesser extent an apothecary and surgeon.
victorian literature/age is literature mainly written
in english during the reign of queen victoria (1837–1901)
(the victorian era). it was preceded by romanticism and followed
by the edwardian era (1901–1910). victorian era is name

after victoria queen who became a queen 1837 at the age of 18 &
ruled for 68 years until her death in 1901. so the period from 1837
to 1901 is called victorian era.
Victorian Literature Characteristics:-
· serialization, it can be daunting to pick up a victorian novel,
· industrialization, okay, so "industrialization" might sound more
like economic development than literary history,
· class, the victorians were super status conscious,
· science vs religion,
· progress,
· nostalgia
· the woman question,
· utilitarianism.
victorian age was the great era of the english novel and literature
realistic,, thickly plotted,. crowded with so many characters, & long.
it was ideal form too described present tine and life and to
entertain the middle class peoples. the novels of charles dickens,,
full to overflowing with drama, humor, and an endless variety of so
many vivid characters & plot complication, nonetheless spared
nothing on their portrayal of urban life was like for all classes
people. william makepeace ‘thackeray’ is the best known for vanity
fair (1848) wickedly satirize hypocrisy & greed.
emily bronte single novel, wuthering heights (1847) is unique
masterpiece propel by the vision on elemental passion but and but
control by aon uncompromising artistic sense and sensibility. the
fine novel of emily sisters charlotte bronte especially jane
eyre (1847) & villette (1853) both are more rooted in conventions
but daring on their own ways and selection. the novel of
george eliot mary ann evan appear during the 1861s & 70, a
woman of great edition & moral fervor. eliot was concerned with
ethical conflict & social problem, george meredith produce comic
novel note on their psychological perception and another novelist

of the late 19th century. he was the prolific anthony trollope
famous for sequences of relate novel that explore social
ecclesiastical & political life in this era.
thomas hardy pessimistic novel are all set iin the harsh punishing
midland county he called wessex. samuel butler produce novel
satirizing the victorian ethos & robert louis stevenson a master of
his craft and wrote arresting adventure and children's verse, the
mathematician charles lutwidge dodgson, wrote under the name
lewis carroll. produce the complex& sophisticate children
classics alice's adventures in wonderland in1865 &through the
looking glass in 1871, lesser novelist on considerable merry
include benjamin disraeli, george gissing, elizabeth gaskell, a&
wilkie collin. by the and of the period/era/age, the novels was
considere not only the premier form of entertainment and analysis
but also a primary meaning of analyzing and analytion offering
solution to social and political problem.
The Industrial Revolution:-
the industrial revolution is process that began on the middle of the
18 century & covers a wided era of more than a century. britain
became for the first time richest country in the world,.but at the
price of being human the first to encounter the immense social
problem that arise from the rapidly development on urban
industrys. transported and in the 16 century the rare of the road
was on charged of the country parishe,, under the supervision on
the magistrate, but work was neglected and in the second half of
the 17 century the turnpike systems swass introduce too transfed
the cost of road and road repair repairs on to the road
users. turnpike were barrier across the road at suitable place,
where traveller was compelled pay toll before they was allow to
proce. in the second half of the 18 century road wwa immensely
improved by the great engineers acadam, who invented the
method and pattern of building road surface front dsidefrom
broken stone &telford. who also the great bridge builders. by the

and of the century foreign observer acknowledge english road to
the best in europe in that time.
social & political changes through literature:-
britain had emerged from the long war with france in1793-1815 as
a great power & as the world´s predominant economy. this new
status as the world´s first urban & industrialized society, was
responsible for the extraordinary wealthy vitality & self confidence
of the period or era. the juxtaposition of this new industrial wealth
with a new kind of urban poverty is only one of the paradox that
characterize this long & diverse period. the biggest social change in
english history is the transfer between 1750 & 1850 of large and
masses of the population from the country side to the towns or we
can say that small villages the basic social class was transformed
from small farmers & rural craftsmen into an urban proletariat &
lower middle class of industrial employs and it affected the north
of england & part of the midlands far more than the south. the
north were push against the conservatism of the south.
Economic & Political Power Of The Middle Class:-
thanks to the industrialization the increasingly powerful middle
class became a large & a very rich class. in spite of this the
beginning the 19 century and politically speak they were a
underprivileged class people. the system of electoral
representation in parliament was an ancient one & favoured land
society. the middle class people fought hard & victoriously on the
first half of the 19 century to secure the political representation to
which they was entitle. they was the class portrayed in the novel &
to whom the novel were written and thus victorian novelists was
inclined to treat the predominance of money with angry satire and
we have the arrogant "nouveau rich" merchant such as
thackereay´s mr osborne in vanity fair in 1848 & in dickens´s
podsnap in our mutual friend in 1865 between the rich middle
classes & the worker a very large lower middle class existed, it is
member populate the novel of dickens & h.g. wells more than the
member of other class. it is bulkwas the large and number of small

trader brought into existence by the extensive consumer society
which the industrial revolution created and at one extreme the
lower middle class meet the new kind of skilled worker the
engineer & mechanic at the other it met the upper middle class in
the retail business on the teaching & medical professions & in
banking and the lower middle classes people tended therefore to
be the most fluid of all the class. it is were the most unstable on
political sympathies & consequently often the decisive section of
the society in election, better educated than the average work class
man and average working class people it is member help to
provided leadership in labour movements.
Change in women´s social role:-
In the middle of the 18 century. there was a fashionable circle of
women intellectuals known as the "Bluestockings" in London led
by Mrs. Montagu. At the and of the century so Mary Wollstonecraft
in 1759-97, made her well known appeal for women´s education
and a Vindication of the Rights and power of Woman in 1792, Right
not recognized until the State Education Acts of 1870 & 1902. Men
of letter often had a circle of close womens friend with whom they
corresponded Swift and Pope & Richardson & Samuel Johnson.
Boarding school for girls like Miss Pinkerton Academy in
Thackeray Vanity Fair was being open on increasing number. But
the change position of women in society was not altogether to their
advantage & this was particularly true of attitudes to the sexual
relationship with especially those of Puritanism. The Puritan
elevation of marriage & the family into something more sacred was
incompatible with a frank acknowledgement of sensuality. The
belief come into existence that good woman does not have sexual
desire. Since Puritanism was mainly middle class set of code there
tend to be cleavage between middle & upper classes in this matter
and this time. It is evident in the difference between the upper class
Fielding and whose women are natural & the idealized women in
Richarson´s novels and plays In the 19 century the predominance
of the middle classes cause the Puritan Richardson view to prevail
and Women of strong character began to open up profession

hitherto close to them and They became writers and journalist and
nurses. In industrial area the began to achievement economic
independence at a low level as workers and middle class people in
factories. The Married Women Property Act of 1882 & 1892
removed the husband´s control over his wife´s money. political
change did not take place until after “the First World” War when
the 1918 Act allowed women over 30 to votes and Women over 21
had to wait until 1939.
Analysis of Rabindranath Tagore as Dramatist
NAME :- ASHISH B. PITHADIYA
ROLL NUMBER :-2
TOPIC NAME :- Rabindranath Tagore as Dramatist
PAPER NAME :- INDIAN ENGLISH LITERATURE
G-MAIL ID :- ashvribhay@gmail.com
Enrolment no :-2069108420190037
To Evaluate My Assignment Click Here
:- http://dilipbarad.blogspot.com/2015/10/rubric-for-evaluation-of-written.html
Rabindranath Tagore as Dramatist
Introduction :-
Tagore, Rabindranath (1861-1941) poet, prose writer, composer,
painter, essayist, philosopher, educationist, social reformer. It is
basically as a poet that he gained fame all over the world. He was
awarded the Nobel Prize in 1913, the first Asian writer to have
been awarded this distinction.

Rabindranath's achievement as a writer can only be viewed
correctly in the context of his whole life since his philosophy
and his poetics changed as he moved from one phase of his life to
another. Through constant study and ceaseless experimentation he
mastered the transformations that had taken place in world
literature, culture, civilization, philosophy and knowledge over the
ages. Consequently, one can trace the content and form of his art
evolving ceaselessly.
The result can be seen in his countless poems, songs, short stories,
novels, essays, plays, musical dramas, dance dramas, travel
narratives, letters, and the innumerable speeches that he delivered
at home and abroad. Nevertheless, Rabindranath's philosophy of
life itself lay on solid foundations that were built on his own ideas
despite his openness to changes coming from the outside world.
Remarkably, his creativity always tended to flow into ever-new
channels. He was a poet not only of his age but also for all ages.
Certainly, his genius was a transcendent one. His arrival in Bangla
literature heralded a new era.
Rabindranath Tagore was born on 7 May 1861 (25 Baishakh, 1268
in the Bangla Calendar) into the affluent and culturally rich Tagore
family of Kolkata's Jorasanko. His grandfather was Prince
dwarkanath tagore and his father was Maharshi debendranath
tagore. His ancestors had moved to Kolkata from East Bengal to
serve their business interests. The efforts of Dwarkanath Tagore
led to an increase in the family's wealth as well as its landholdings.
Growing up in an atmosphere steeped in western learning and
culture, this self-made man not only prospered in business butalso
involved himself in many philanthropicmovements. The Jorasanko
Tagores played a major role in the Bengal Renaissance of the
nineteenth century and in the movement for reforms in religion
and society going on at that period. The leading reformer and
monotheist of the day, Raja rammohun roy was his close friend.
Rammohun's ideals had a profound influence on Dwarkanath, his
son Debendranath, and his grandson Rabindranath Tagore.
A pioneering figure in the awakening of the Bengalis Rabindranath
father Debendranath Tagore studied in Kolkatas famous hindu
college, When Dwarkanath was busy in extending his estates and

in business. his son Debendranath had been devoting himself to
cultivating the life of the spirit, Desire for God led him to a study of
european well as Indian philosophy. In the end his soul found peace
in the study of the upanisads Contemplating Truth in its purest
formed gave him inner strength and This aspect of Debendranath's
characters attracted his son Rabindranath and so his found the
meaning of figure.
His father influence can this be seen in Rabindranath cultivation of
the spiritual life as well as in his everyday conduct. In his father the
poet found a role modl someone that was focuss and yet detached
very logical and yet very emotional,
Dwarkanath Tagore was once legendary for his wealth and
expensive lifestyle, In fact. that is why he was known as Prince
Dwarkanath, However. on 1840 the prevailing economic
depression in the country made him suffer severe financial losses.
When Dwarkanath died in 1846 he left a heavy burden of debts on
his son Debendranath. The latter, however, was able to pay off his
father's debts on his own although this meant that Debendranath
had to practice financial austerity for a while. Indeed,
Debendranath had a unique reputation for honesty, spirituality,
saintliness, and liberal refinement. The father influenced the son's
taste in life as well as literature. In that age the Jorasanko Tagore
family was the locus of literature and culture, liberal thinking and
progressive ideas in the region. On the one hand, Debendranath's
pursuit of the religious life, on the other, the family's nationalistic
zeal, and an atmosphere where music, literature and the arts
flourished, and the many transformations taking place in the
country shaped Rabindranath's consciousness decisively.
Debendranath was involved in various philanthropic ventures in
his country. He had his own educational philosophy; he also went
steadily ahead in introducing religious and cultural reforms in his
circle. He would often retreat from the hustle and bustle of life to
the Himalayas for meditation and for pursuit of the holy life. In
1856 while on such a trip to Raipur from Bolpur he stopped in
Bhubandanga village to rest there for a while. This place was a part
of the Raipur estate. At that point he suddenly felt like establishing
an ashram (hermitage) here. In 1863 he purchased the land and

established Santiniketan asram on it. In 1888 he dedicated this
asram to the worship of Brahma through a trust deed. In
subsequent years Rabindranath built a study centre for Brahmos
here which eventually was transformed into Visva-Bharati.
Rabindranath was the youngest of Debendranath Tagore's
fourteen children. Rabindranath's oldest brother Dwijendranath
Tagore was a philosopher and a poet. Another brother,
satyendranath tagore, was the first Indian member of the ICS. Yet
another brother, jyotirindranath tagore, was a composer and a
playwright. Among his sisters, swarna kumari devi earned fame as
a novelist. The Tagore family home resounded with musical,
literary, and theatrical activities. Moreover, the family had close
links with the world outside. Male members of this large family
were brought up in an austere atmosphere under the supervision
of sympathetic servants. Rabindranath has recorded the story of
his boyhood superbly in his memoirs, Jivansmrti [translated by
Surendranath Tagore as My Reminiscences (1917)]. In the palatial
Tagore house in Jorasanko were water tanks, gardens, and all kinds
of enchanting spots that allured the young boy. However, the child
was not allowed to stray away from the servants who had been
assigned to look after him. As a result, the child's fertile
imagination constantly concocted images of the outside world that
he found so fascinating. In his subsequent life, his attraction for this
world isreflected in innumerable ways in his verse and in the songs
that he composed and the journeys he undertook.
Rabindranath's formal education began in Kolkata's Oriental
Seminary. Then, for a few years, he studied in Normal School, the
institution established by iswar chandra vidyasagar. Next he went
to St Xavier's School, but because he was irregular as a student he
was not able to continue with his studies here. However, he
continued to pursue his education at home.
By the time Rabindranath returned from the Himalayas, he seemed
to have left his childhood behind him. From this time onwards his
education and study of literature became free of institutional
bounds. He now had tutors to teach him Sanskrit, English
literature, Physics, Mathematics, History, Geography, Natural
Science, etc. In addition he studied drawing, music, and gymnastics.

Although he had stopped going to school, he continued to study
literature. Rabindranath published his first poem, 'Abhilas' in the
tattvabodhini patrika in Agrahayan 1281 (1874), although some
believe that the first poem that he was able to publish was
'Bharatbhumi' in the bangadarshan in 1874.
At this point of time Rabindranath gave himself fully to general
studies. But he was also writing creatively regularly. Some of his
literary works were published serially at this time in some
periodicals. Thus in the bharati he published Kavi Kahini (1878)
and in Jnanankur and Pratibimba he published Banaphul (1880). It
may be mentioned here that Bharati was edited by Dwijendranath
and published by the Tagores while Jnanankur was a magazine
where famous writers of the period used to publish their works.
Rabindranath's poem 'Hindu Melar Upahar', read before the hindu
mela, and bearing the mark of the nationalistic spirit of
Debendranath's family, earned him early fame and made it
possible for him to publish his work in such a distinguished
magazine.
Noticing Rabindranath's disdain for established methods of
education in Bengal, his brother Satyendranath proposed to
Debendranath that his brother be sent to England to become a
barrister. And so in 1878 Rabindranath sailed for England with his
brother. At first he studied in a public school in Brighton. Later, he
was admitted to London's University College. However, he did not
complete his education here and left England after being in the
country for over a year. Nevertheless, in the time he spent in
England he was able to observe the life and culture of the country
with an acute eye proof of which is his Europe-Prabasir Patra
(1881). Although Rabindranath was not awarded any degree in
England he was stimulated creatively by his stay in the country in
important ways. Thus his immense interest in music made him
study its manifestations in England in his own way. One result of
this was the musical drama Valmiki Pratibha that he composed in
1881 on his return to India. In it he set some of hislyrics to western
tunes. The play was performed for 'Bidvajjan Samagam' in the
Tagore home. Rabindranath himself performed the role of Valmiki.
His niece Pratibha acted the role of Saraswati. Rabindranath

mentioned the performance in his autobiography. However, he had
acted previously in a role in a play by his brother Jyotirindranath.
From this period Rabindranath concentrated his creative energies
on composing poems and songs. He soon published Sandhya Sangit
(1882) and Prabhat Sangit (1883).
At this time a remarkable event occurred in the poet's life that he
has described vividly in his autobiography. He was then staying
with his brother Jyotirindranath in a house in Kolkata's Sudder
Street. One evening as the sun was
Most of his finest short stories and which examine humble
more and their small miseries date from the 1895s and have a
poignancy, laced with gentle irony, that is unique to him though
admirably captur by the director Satyajit Ray in later film
adaptations. Tagore came to love the Bengali countryside, most of
all the Padma River, an often-repeated image in his verse. During
these years he published several poetry collections, notably Sonar
Tari (1894; The Golden Boat plays,
notably Chitrangada (1892; Chitra). Tagore’s poems are virtually
untranslatable, as are his more than 2,000 songs, which achieved
considerable popularity among all classes of Bengali society. he
was a musician and a painter; he was an educationist, a practical
idealist who turned his dreams into reality at Shantiniketan; he
was a reformer, philosopher, prophet he was a novelist and short
story wrote and a critic of life & literature he even made occasional
incursions into nationalist politics although he was essentially
and internationalist. He wrote many plays like, Chitra, The Post
Office, Sacrifice, Red Oleanders, Chandalika, Mukta Dhara, Natir
Puja, and The king of the Dark Chamber.
So let’s have a look on one by one on his plays and dramas.
Conciusion:-
In short, Rabindranath Tagore was a man of a versatile genius
who achieved eminence in almost all the literary genres. His
literary works were rendered into English by diverse hands, with

himself also contributing to this procedure to some extent.
Tagore’s drama is realistic drama; but the realism in his
plays is a realism of the mind, not so much of external physical
action as of emotional or spiritual action. Infact, he achieves his
most intense realism when his symbolism is most complex.
Analysis of six parts of tragedy
NAME :- ASHISH B. PITHADIYA
ROLL NUMBER :-2
TOPIC NAME :- six parts of tragedy
PAPER NAME :- Literary Theory & Criticism
G-MAIL ID :- ashvribhay@gmail.com
Enrolment no :-2069108420190037
To Evaluate My Assignment Click Here
:- http://dilipbarad.blogspot.com/2015/10/rubric-for-evaluation-of-written.html
Six Parts of Tragedy
Introduction
Aristotle was born at Stagira in chat dice in 384 BC. He taught
Alexander for about three years. He found a school called Lyceum.
He devoted his life on teaching and lecturing to scholars on a
variety of subjects. He treated his last breather in 322 BC.
The classic discussion of Greek tragedy is Aristotle's Poetics. He
defines tragedyas "the imitation of an action that is serious and

also as having magnitude, complete in itself." He continues,
"Tragedy is a form of drama exciting the emotions of pity and fear.
The most important of his works are 1) Dialogues, 2) On Monarchy,
3)Natural History, 4) Organon, or The Instrument of correct
Thinking, 5) Rhetoric, 6) Logic, 7)Educational Ethics, 8)
Nicomachean Ethics, 9) Physics, 10) Meta physics, 11) Politics, 12)
The Poetics.
Six Formative Elements of Tragedy. After discuss the definition of
tragedy. Aristotle give important parts of tragedy. He divided into
six in parts. They are: Plot, Character, Thought, Diction, Song
and Spectacle
After considering various differences parts epic and tragedy
one question plot arises of superiority. It 'Epic' better and or
'Tragedy' and . Aristotle favored. In 'Poetics' he discussed that
question at last length. he saw it his own words, and own life and
own rules ' If the and more more refined art and artist is higher
and the mor0 and better refined in every and every well case isthat
and this which appeals to the save better way and see the main
character sort of audiences. The art which imitates anything and
everything is manifestly most unrefined. Tragic art stands to epic
in the same and relation relation as the younger to the older
actors. So we are told the epic poetry is addressed to a and bc 322
he love this works and work and he love she love the chracter main
character and Alexander pope and his introduction with his father
and mother and we saw see the peoples. who does not want
gesture and helps tragedy to an inferior public ans society so being
then unrefined. it is lower of the two and three. Tragedy like
comedy plays produced its effect even without Acton and without
any action ; it releveals its power by me reading. Then in all other
respects tragedy is superior if this fault is not inherent in it.
(1)plot
Aristotle argues that, among the six formative elements, the plot is
the most important element. He writes in The Poetics. The plot is
the underlying principle of tragedy'. By plot Aristotle means the
arrangement of incidents. Incidents mean action, and tragedy is an
imitation of actions, both internal and external.

Aristotle PLOT is abstract concept of Aristotle which refers
too "the arrangement of the incidents".and The incidents is the
arrow materials a& make the STORY. The other way this
highlight is structur into whole on known as the plot. So if the
original order and arrangement of arostotle the same incident
is altered a new and different plot will result.
A little in the same chapter. Aristotle asserts that "the first
principle, then, and to speak figuratively, the soul of tragedy is the
plot; and second in importance is character."
This is cause for Aristotle CHARACTERISATION more meant
adding type characteristics to the dramatic agent: "by character
that element in accordance with which we say that agents are of a
certain type"
He refilm his critical level by remarking that "poets do not,
therefore, create action in order to imitate character; but character
is included on account of the action"
Aristotle go to describe the elements of plot, which include
completeness, magnitude, unity, determinate structure, and
universality. Completeness refers to the necessity of a tragedy to
have lost of middle. & end. A 'beginning' is defined as an origin, by
which something naturally comes to be. An 'end,' meanwhile,
follows another incident by necessity, but has nothing necessarily
following it. The 'middle' follows something justas something must
follow it.
'Magnitude' refers simply to length the character and thistradition
of fakir of jungheera tragedy most of a 'length which can be easily
understand to raders by the memory, That say to works Aristotle
believe that the longer a tragedy, the more beautiful it can be,
provided it maintains its beginning, middle, and end. And in
the of three acts, the tragedywas present a change and
middele 'from bad fortune to good, or from good fortune to
bad.Unity reference to the of all the plot of action around a
common theme or idea and works.
plot refers to the fact that the plot all come on a line by line of
becausal, imitative events, soo if 1 was to move even one part of
the plot, the entire tragedy shall be dointed & disturbed.' More
simply every part of a good plot is necessary.plot refers to the neck

of a give character to act or speak according to how all& most
peoples would react in a given situation and my time to the law of
probability or necessity.'
The character :-
Aristotle thinks that we can take a person's pleasures and pains to
be a sign of his state of character. To explain what the virtuous
person's pleasures are like, Aristotle returns to the idea that virtue
is an excellent state of the person The word “Character”, Home
emphasises can be used in two plot(1) Dramatic personages or(2)
The bent or tendency, o or and or and or r habit of mind. which
shall be read only in whatis the meaning of the sentimental comedy
the dramatic plot sayand does. Character gone nn on subsidiary to
the action, and the incidents and the plot is the end of a tragedy
and the end on the main thing of all. like Aristotle may meaning of
two things let see the two things first the characters must be life
like and they must be true bty plot of actual human nature and
human meaning and second them be liked the traditional and or
and or the historical personage in they are modeled and whose
name the bearc .dThesr most been not suddenly and un
accountable change on characters and on whatever the character
say an or does nit not the demands of necessary and probability
must be satisfied
3. The Thought:
Thought is third in importance and is found where
something is prove to be, or a general maxim is enunciated.
Aristotle say about thought, that & mast and what his has to say
are associat with how speeche could reveal characters, However:”
“they most assumed that this category they would include what
ythey miscall the themes of a play and so now the main part of
tragic thought that is that the faculty of say what are possible &
pertinent on gibe circumstances” th thought are the intellectual
element in a tragedy and it is expressed through the speech of a
character.

Word count assignment

Recommended

Recommended

More Related Content

What's hot

What's hot (20)

Similar to Word count assignment

Similar to Word count assignment (20)

More from ashvribhay

More from ashvribhay (18)

Recently uploaded

Recently uploaded (20)

Word count assignment