Wordsworth

Introduction

:

The basic difference between poetic creed of classicism and Romanticism :
 •  Classical writers were believed in intellectual but the Romantics writers were believed in  imagination.
  •  Romantic writers Were not believed any kind of restrictions but they believed in liberty and Freedom of emotions and imagination but classical writers believed in restrictions.
•  Classical poets were followed classical masters like Plato , Aristotle,  Socrates but Romantics poets were followed medieval poets and writers.


Why does Wordsworth say 'What' is poet? rather than Who is poet?                              
  Answer: Wordsworth say what is poet rather than who is poet because he focus upon the role of poet.   Wordsworth said that "Poet is a man who speaking to man, endued with more lively sensible who has greater knowledge of human nature, and a more comprehensive soul,

What is a poetic Diction?  Which poetic Diction is suggested by Wordsworth in his preface?

Answer :  By watching second video we come to know that what is poetic diction. It is a choice of words, use of language, poet's own different and  unique style of writing and  conman man can understand easily.


What is a poetry?

 Wordsworth gives definition of poetry  :

    " Poetry is the spontaneous overflow of powerful feelings it takes origin from emotion recollected in tranquillity. "
Answer :   poet is the most comprehensive soul and far better human being than ordinary people, So poetry gives happiness and it related with human emotions and recollecting nature and recollection in tranquillity.

 Discuss ' Daffodils' I wondered lonely as a cloud with reference to Wordsworth poetic creed.

 Answer :  Wordsworth 's definition of poetry is related to one of his famous poem " Daffodils" (1804). 'Daffodils' is the best example of Wordsworth's definition of poetry “poetry is a spontaneous overflow of a powerful feeling, recollected in tranquility". We all see the beauty of nature by our different point of views  but we cannot recollect and express that delight in tranquility.  so, we can call Wordsworth as nature poet, by recalling his memory and sensibility and by observing the nature, Wordsworth wrote his poetry.

Post truth

Post Truth


When we talk about the POST-TRUTH its hide real situation and it is not presents the reality of the society .The people also live in some kind of   assumption  that is is  truth. The truth means something exist in the society but the POST-TRUTH is retelling the truth which canbe truth or not. We see in the media tht how they hide the reality of people so people is live in some kind of ignorance but in the real life but it is not truth.


Truth is always about that exist or we can say the facts which are there. On the other hand post truth is ‘‘created truth’. the famous  phrase about truth is ‘’universal truth’’. But POST-TRUTH is an individual truth , which one believes and when that person convince others to accept the same belief by force or in a very polite way, and if people accept that as something  ‘real’ or ‘true’, it is not.

“POST- TRUTH” era is an era which changes the perception of truth by implying that “truth is not one” but it differs person to person. The  term is related with the idea of ‘many truths’ and all want their truths should be accepted by society.in the era of POST-TRUTH all answers are true because all have different opinions with their own right side.
Example can be the molestation of girls. There is a problem in the psyche of those males who molest girls. But some political leaders and other citizens have implied that the reason is short cloths of girls for this kind of molestation. This was repeated  by most of people in india and that’s why it was widely accepted also.

The term ‘’post truth’’ is designed to elicit a sense of moral superiority in those who still support the globalist agenda. It is consistent with the elitist character of the globalist, whose rhetorical sr ategy has been to praise its supporters as ‘enlighten’ and condemn its opponents as stupid and evil.

Thank you

Assignment 4 : Write a critical note on 'Ganghi - an invisible hero' in Kanthapura?

Name : Makwana Vijay K.
Course name : M.A English
Semester : 1
Roll no : 46
Enrolment no : 2069108420180035
Email : vijaykm7777@gmail.com
Maharaja Krishnakumarsinhji Bhavnagar University
Batch year : 2017-18
Submitted to : department of English Maharaja Krishnakumarsinhji
Paper no : 4 "Indian Writing In English- Pre Indepandence"
Topic : Write a critical note on 'Ganghi - an invisible hero' in Kanthapura?


Introduction :
Raja Rao (8 November 1908 – 8 July 2006) was an Indian writer of English-language novels and short stories, whose works are deeply rooted in Metaphysics. The Serpent and the Rope (1960), a semi-autobiographical novel recounting a search for spiritual truth in Europe and India, established him as one of the finest Indian prose stylists and won him the Sahitya Akademi Award in 1964. For the entire body of his work, Rao was awarded the Neustadt International Prize for Literature in 1988. Rao's wide-ranging body of work, spanning a number of genres, is seen as a varied and significant contribution to Indian English literature.
His Famous Works :
Kanthapura (1938)
The Serpent and the rope (1960)
On the Ganga Chat (1989)
The Great Indian Way : A life of Mahatma Gandhi (1998)
The Chess master (1988)


Gandhi - an invisible hero of Kanthapura :
Kanthapura is the first novel of Raja Rao written in 1938 A.D. It describes the period in which the struggle against foreign government was dominating the political scenario in India.At that time Non-Cooperation Movement was in vogue. Congress under the leadership of Gandhi was leading the movement.
Raja Rao supported the ideas of Gandhi thus Kanthapura as a political novel is totally influenced by the principles of Gandhi. In the beginning of the novel, we come to know about the structure of village.We find that the village of Kanthapura is caste-ridden village and the quarters of people are separated on the basis of casteism.
The casteism is so prevalent in Kanthapura that if a Brahmin visits a Pariah’s house, he has to go to Kashi for purification.Moorthy, the protagonist of the novel, who is a Brahmin, gives up his studies after being influenced by the Gandhian Philosophy by going through different pamphlets and newspapers.
Hence we don’t see Gandhi in actual but his ideology and principles in the novel and Moorthy is the avatar of Gandhi.Moorthy after adopting the Gandhian Ideology gives up his studies in the city and returns back to his village. He gives up foreign clothes and goods and wears hand-woven Khaddar.He encourages the people of his village to use native things and become independent of foreign goods.
In order to encourage the concept of ‘Swaraj’ or ‘home rule’ he visits each house and distributes free Charkhas so that every person of his village may become a part of the struggle.He explains the Gandhian principles and encourages them to follow the same. Like Gandhi, Moorthy believes in non-violence. He asks people to make their struggle non-violent. They should love their enemies even if the later may hate them or even act violently.
Moorthy asks the people to speak the truth and remain loyal to Congress. He proves his words when after being sentenced jail, he refuses to release on bail. He tells the lawyer that if he held the weapon of truth firmly no power on earth will be able to harm him. In spite of the threats of ex-communication from Batta, he takes active part in the struggle against untouchability and visits a Pariah’s house where he is treated as God.But this should also be noted that he feels extreme discomfort and fife there and on returning back, he takes a religious bath for purification.


He accept untouchability in spite of his struggle against it. Gandhi believed that women help is crucial for the struggle, hence he tried to get the support of women as well.
Similarly, Moorthy seeks the help of Kanchamma, a rich educated widow of his village. Kanchamma fully supports Moorthy as well as Gandhian Ideology. When Moorthy is behind the bars, she establishes Women’s Volunteer Corps. The women after being influenced by her words, take active part in the struggle. They are molested, raped and even beaten but they don’tloose hope.
Hence it is the Gandhian Ideology which makes the plot of the novel to develop and not Gandhi himself. As Gandhi influences the politics at national level, Moorthy becomes the Gandhi of Kanthapura and does the same things. Kanthapura is a mini-nation with a Gandhi of itself i.e. Moorthy.
The theme of kanthapura may be summed up as  `Gandhi and our village ‘ but the style of narration makes the books more a Gandhi purana than a piece of mere fiction Gandhi is the invisible God moorthy. is the visible avatar.
The reigu of the rodnmen is asuric rule and it is reristed by the devdas  the satyagrahis . the charucters sharply divide into two camps.the rulers cand their supporters on the one hand and the satyagrahis cand their sympathizers on the other. There are various other divisions too
Orthodoxy is pitted against reform exploitation against sufferance the planter against the  coolies and  the corrupt official against the self –respecting villagers but there lines grow hazu when the main issue between the bureaucracy and the satuagrahis is joined for now most peppie are on one or the othere side of the burricader it is 1930 Gandhi marcher with his select band of followers to the salt pans at Dandi to break the salt laws suddenly the entire country is engayed in passive resistance of `alien’authority.
Raja Rao has but the story into mouth of a grandmother although the  feminine touches and mannerisms, the seemingly effortless rotation of the fongue the meandering sentences and  paragaphs are characteristic of the narrator there is nevertheless consummate `art’ in all this riot of artlessness there is carefully `selection’ behind the apparent abundance details  and there Is an adroit polarization in the plot less grandmother’s tale moorthy is Gandhi ‘s man the statyaegrahis the leader of the nov –violent movement in kanthapura there is at the other extrecne is the symbol of appression the soulless bureauracy made visiby repulsive but the villagers are unafraid.



What is a policaeman before a Gandhi’s man tell me does a boar stand before a clephant?

There  is than bhatta the symbol of usury and false orth doxy and low cunning .there is range gowda the symbol of sense and stolidity, a sort of Sardar patel to moorthy the village mahatma the river –himavarthy is herseif a presence and the goddess kenahamma of the hill is a presence too the protectress of the people the guardian of kanthapura. And beyond the hill is the Arabian sea. And for beyond it the land from which the red men have com in kanthapura there is a brahimin street a potters quarter a pariah quarte how absurdly true of the typical indian village just beyond the village lies the skeffinglon coffee estate the symbol of the impact of industrialization on the traditional community life at kanthapura.

In but a few pages of nervous description life in the coffee estate is vivified in anands  two leaves and a bud are here just glanced at in hurry ,suggesting mush in title  as impossible nightmare. The people of kanthapure  wear tell –tale nick names. Waterfall  venkamma  nouse Akamai temple  rangappa coffee planter Ramayana, patwari Nanjudia gold brangie somanna , cardamom field Ramachandra and there is of course corner –horuse moorthy who goes through life as ``A  noble cow ,quiet generous serene deference and Brahmanism a very prince……’’ Already ,when the story begins ,Gandhi is a legendary figure to the villages and hair kaftans jayarmacher jumbles with splendid unconcern traditional mythology and contemporaneous politics.

Gandhi is save himself in human shape he is engaged in slaying the serpent of foreign rule kaliya. Bhajans and Harikirthans mix religion and politics freely and often purposefully ,the reading of a discipline as the revernt reading  of the Gita and hand spinning is elevated into a daily ritual like puja.

The walls of orthodoxy are suddenly breached. Revolutionspirits of the Gandhi an revolution at kanthapura are Rangamma range gouda and the girly Radha. In the end it truly becomes a mass movement the villages comprising men and professions and the laborers of the coffee Estate readily meeting the onslaught of the bureaucracy.

= class structure
[1]    Untouchability
[2]   Structure of the village
[3]   Superstitions among people
[4]    Exploitation due to class
[5]    Caste and creed
[6]   Class discrimination.
[7]   Society and discrimination.
We see all the structure in deeply


[1]Untouchability :
Kanthapura has narrow structure. In the village have people of many castes. They lived  peacefully. In this village upper class people otherwise they were casted out from that particular. If a person goes to pariah’s house. He would have to take bath and go kasha for purification purpose.

[2] Structure of the village :
In the village house were the symbols of status. There were less government servants in this village those who were there got respect. There was the house of past master He lived in two storied building polarity had glass paned windows Besides there, this village has pariah quarter. ``A potter’s weaver’s and sudra quarter and Brahmin”

[3]  Superstitions among people :
In this village people are religious minded. They lack education they believe in superstitions. People accepted Hinduism. When a policemen `Khan’ comes to the village for their welfare it was very difficult for him to get a room to live their lives were  surrounded of many superstitions.

[4]  Exploitation due to class :
The  condition of the village was such that upper class exploited the lower class people. The  whole description of working laborers is touching. Remaining hungry of half hungry poorly nourished they had to work very hard.

[5]  Caste and creed :
The small village symbolically depicts the country’s condition ,during the time of freedom struggle ,people of all castes unanimously united themselves to fight against the country’s enemy.
Educated people were influenced by Gandhi and became his followers they cast away the social norms of caste.

[6]  Class  discrimination :
Wealthy people ruled the village Bhatt who cams in village with nothing became prosperous. He himself married teenage girl. He got dowry too. when moorthy goes to pariah’s house for some work, people  started back biting and the never reached his mother. His mother old marimba worries a lot she tells her some not is break social norms.

[7] Society  and  discrimination :
When moorthy visited pariahs family,he was well treated but villagers started speated but villagers to be out caste. People especially orthodox women were against him.
Raja Rao kanthapara has reconstructions of his own village harihalli or Hariharapara is the miniature of India. This book gives us social political religious and mythical scenario of 1930 s kanthapura deals with the condition of india village during the struggle for independence.

In “ kanthapura’’ tales within tales are found like cabbage peels tales froms mythoiogy becomes pust of their life that frequenty leaves their conversation with them.morthy and seen becomes rama and brother laxman need a sita to make the picture complete.
According to a critic “there are no exact points of correspondence in those analogies but them leave an immediate impact on the illierater indian villagers and explain to them the political situation of indi

Work cites :
https://en.m.wikipedia.org/wiki/Raja_Rao#/issues
https://www.articlesjar.com/gandhian-ideology-kanthapura/
file:///sdcard/UCDownloads/Ashadodiya's%20assignment%20Analysis%20of%20Kanthapura.mht

Assignment 3 : A GLOSSARY OF LITERARY TERMS

Name : Makwana Vijay K.
Course name : M.A English
Semester : 1
Roll no : 46
Email : vijaykm7777@gmail.com
Enrolment no : 2069108420180035
Maharaja Krishnakumarsinhji Bhavnagar University
Batch year : 2017-18
Submitted to : department of English Maharaja Krishnakumarsinhji
Paper no : 3 "Literary Theory and Criticism"
Topic : A glossary of selected literary terms(discuss all the terms).

 A GLOSSARY OF LITERARY TERMS

Alliteration: The repetition of initial consonant sounds used especially in poetry to emphasize and link words as well as to create pleasing, musical sounds. Example—the fair breeze blew, the white foam flew. Ex: Poetry.

Allusion: A reference to a well-known person, place, event, literary work, or work of art to enrich the reading experience by adding meaning. Ex: The character make the adventure in his life.

Characterization: Techniques a writer uses to create and develop a character by what:

• he/she does or says,

• other characters say about him/her, or how they react to him/her

• the author reveals directly or through a narrator.

Dialect: Speech that reflects pronunciation, vocabulary, and grammar typical of a geographical region.

Flashback: Interruption of the chronological (time) order to present something that occurred before the beginning of the story. Ex: The end of the story that hero shown the reality of the story.

Figurative Language: Language that has meaning beyond the literal meaning; also known as “figures of speech.”

• Simile: comparison of two things using the words “like” or “as,” e.g. “Her smile was as cold as ice.”

• Metaphor comparison of two things essentially different but with some commonalities; does not use “like” or “as,” e.g. “Her smile was ice.”

• Hyperbole: a purposeful exaggeration for emphasis or humor.

• Personification: human qualities attributed to an animal, object, or idea, e.g. “The wind exhaled.”

Free Verse: Poetry that does not conform to a regular meter or rhyme scheme. Poets who write in free verse try to reproduce the natural rhythms of spoken language.

Foreshadowing: Important hints that an author drops to prepare the reader for what is to come, and help the reader anticipate the outcome.

Imagery: Words or phrases that appeal to the reader’s senses.

Humor: The quality of a literary or informative work that makes the character and/or situations seem funny, amusing, or ludicrous. Ex: The character create the funny situation that the spectacles weren't feel boring.

Irony: A technique that involves surprising, interesting, or amusing contradictions or contrasts. Verbal irony occurs when words are used to suggest the opposite of their usual meaning. An irony of situation is when an event occurs that directly contradicts expectations.

Onomatopoeia: The use of words that imitate sounds. Examples would be hiss, buzz, swish, and crunch.

Point of View: Perspective from which the story is told

• First-person: narrator is a character in the story; uses “I,” “we,” etc.

• Third-person: narrator outside the story; uses “he,” “she,” “they”

• Third-person limited: narrator tells only what one character perceives

• Third-person omniscient: narrator can see into the minds of all characters.

Satire: Writing that comments humorously on human flaws, ideas, social customs, or institutions in order to change them.

Style: The distinctive way that a writer uses language including such factors as word choice, sentence length, arrangement, and complexity, and the use of figurative language and imagery.

Suspense: A feeling of excitement, curiosity, or expectation about what will happen.

Symbol: Person, place, or thing that represents something beyond itself, most often something concrete or tangible that represents an abstract idea.

LITERARY FORMS

Autobiography: A writer’s story of his or herown life.

Biography: A writer’s account of some other person’s life.

Comedy: Writing that deals with life in a humorous way, often poking fun atpeople’s mistakes.

Drama: Also called a play, this writing form uses dialogue to share its message and is meant to be performed in front of an audience.

Essay: A short piece of nonfiction that expresses the writer’s opinion or shares information about a subject.

Fable: A short story that often uses talking animals as the main characters and teaches an explicit moral or lesson.

Fantasy: A story set in an imaginary world in which the characters usually have supernatural powers or abilities.

Folktale: A story originally passed from one generation to another by word of mouth only. The characters are usually all good or all bad and in the end are rewarded or punished as they deserve.

Historical Fiction: A made-up story that is based on a real time and place in history, so fact is mixed with fiction.

Myth: A traditional story intended to explain some mystery of nature, religious doctrine, or cultural belief. The gods and goddesses of mythology have supernatural powers, but the human characters usually do not.

Novel: A book-length, fictional prose story. Because of its length, a novel’s characters and plot are usually more developed than those of a short story.

Poetry: A literary work that uses concise, colorful, often rhythmic language to express ideas or emotions. Examples: ballad, blank verse, free verse, elegy, limerick, sonnet.

Prose: A literary work that uses the familiar spoken form of language, sentence after sentence. Realistic Fiction: Writing that attempts to show life as it really is.

 on real or imaginary scientific developments and often set in the future.

Short Story: Shorter than a novel, this piece of literature can usually be read in one sitting. Because of its length, it has only a few characters and focuses on one problem or conflict.

Tall Tale: A humorous, exaggerated story often based on the life of a real person. The exaggerations build until the character can accomplish impossible things.

LITERARY ELEMENTS

Action: Everythat happens in a story.

Antagonist: The person or force that works against the hero of the story. 

Character: One of the people (or animals) in a story.

Climax: The high point in the action of a story.

Conflict: A problem or struggle between two opposing forces in a story. There are four basic 

conflicts:

• Person Against Person: A problem between characters.

• Person Against Self: A problem within a character’s own mind.

• Person Against Society: A problem between a character and society, school, the law, or some tradition.

• Person Against Nature: A problem between a character and some element of nature-a blizzard, a hurricane, a mountain climb, etc.

Dialogue: The conversations that characters have with one another.

Exposition: The part of the story, usually near the beginning, in which the characters are introduced, the background is explained, and the setting is described.

Falling Action: The action and dialogue following the climax that lead the reader into the story’s end.

Mood: The feeling a piece of literature is intended to create in a reader.

Moral: The lesson a story teaches.

Narrator: The person or character who actually tells the story, filling in the background information and bridging the gaps between dialogue. (See Point of View.)

Plot: The action that makes up the story, following a plan called the plot line.

Plot line: The planned action or series of events in a story. There are five parts: exposition, rising action, climax, falling action, and resolution.

Protagonist: The main character in a story, often a good or heroic type.

Resolution: The part of the story in which the problems are solved and the action comes to a satisfying end.

Rising Action: The central part of the story during which various problems arise after a conflict is introduced.

Setting: The place and the time frame in which a story takes place.

Style: The distinctive way that a writer uses language including such factors as word choice, sentence length, arrangement, and complexity, and the use of figurative language and imagery.

Theme: The message about life or human nature that is “the focus” in the story that the writer tells.

TADDITIONAL VOCABULARY
Article: A complete piece of writing, as a report or essay, that is part of a newspaper, magazine, or book.
Atlas: A book of maps.
Encyclopedia: A book that contains information on many subjects; or comprehensive information in a particular field of knowledge; usually arranged alphabetically.
Fiction: A literary work whose content is based on the imagination and not on fact.
Glossary: An alphabetical listing of difficult, technical, or foreign terms with definitions or translation; usually found at the end of a book.
Index: An alphabetical listing that gives page numbers or books where information can be found.
Mystery: A novel, story, or play involving a crime or secret activity and its gradual solution.
Nonfiction: True writing, based on factualinformation.
Perio dical: Another word for magazine.
Reference: A type of book that provides information arranged for easy access.
Series: Several books related in subject, or dealing with the same characters. Table of Contents: The part of a book which lists the chapters or contents within the book.

Work cited :
http://www.ode.state.or.us/teachlearn/subjects/elarts/reading/resources/readingglossary.pdf

Assignment 2 : Critical approach of "Gulliver's Travels".

Name : Makwana Vijay K.
Course name : M.A English
Semester : 1
Roll no : 46
Enrolment no : 2069108420180035
Email : vijaykm7777@gmail.com
Maharaja Krishnakumarsinhji Bhavnagar University
Batch year : 2017-18
Submitted to : department of English Maharaja Krishnakumarsinhji
Paper no : 2 "The Neo-Classcal Literature"
Topic : Critical approach of "Gulliver's Travels".


Introduction About the author :

Jonathan Swift was born in Dublin, Ireland in 1667 and came of age at the height of the Glorious Revolution, in which James II, a Roman Catholic, was forced to abdicate in favour of William of Orange, a Protestant. Although he was a great literary figure even in his time, we know very little about his private life. For example, we are not even sure if he married. He became an influential member of the British government but he never achieved the position in the Church of England that he felt he deserved. He was, he felt, banished to the deanship of St. Patrick’s and when his party fell from power with the accession of George I, his period in the political limelight came to an end. Swift died in a mental institution, finally struck down by an illness which had probably been with him for a long time. But he wasn’t mad when he wrote Gulliver’s Travels, a brilliant satire on politics and society, and a timeless book for children.

Summary :

In each of the three stories in this book, the hero, Lemuel Gulliver, embarks on a voyage, but, as in the Voyages of Sinbad the Sailor on which the stories may in part have been based, some calamity befalls him. First, Gulliver arrives in Lilliput, where he finds himself a giant, held prisoner by tiny men. They are initially afraid of him, but he gradually wins their trust and eventually helps them in their war against Blefuscu. The second land he visits is called Brobdingnag, a land of giants. Gulliver, now a tiny person, has to work as a freak in a show at first but is then rescued by the Queen and has long talks with the King.
Gulliver finally ends up in the land of the Houyhnhnms, peaceful horses who have created a perfect society, except for the presence of monkey-like Yahoos. Although Gulliver looks like a well-kempt Yahoo, he wants to be a Houyhnhnm. Finally, he has to leave because he does not fit into this society.

Gulliver Travels is based on 4 voyages :

1. The voyage of Lilliput
2. The voyage of Brobdingnag
3. The voyage of Laputa
4. The voyage of Houyhnhnms

1 : A Voyage to Lilliput :
"A Voyage to Lilliput," is the most famous section of Gulliver's Travels. Lured by the prospect of adventure and easy money, Lemuel Gulliver signs up as a "surgeon," or ship's doctor, for a voyage through the East Indies in Asia. Unfortunately for Gulliver, he is shipwrecked. He swims to an unfamiliar shore and, exhausted by his efforts, goes to sleep. When he awakes, he finds himself tied up by a crowd of extremely tiny and well-armed people. Gulliver is taken prisoner, shipped to the capital, and presented to the Emperor. A cross between court pet and circus attraction, Gulliver makes friends with many of the courtiers and learns about the history, society, politics, and economy of Lilliput. For many years, Lilliput has been at war with its sister island Blefuscu over whether to break soft-boiled eggs at the big or little end. This clash parodies the French-English and Catholic-Protestant conflicts of Swift's time, and many of the characters in this section correspond to actual political figures of the day.

2: A Voyage to Brobdingnag :
Gulliver is only home two months when he sets out on Part II, "A Voyage to Brobdingnag." After encountering a terrible storm, Gulliver's ship puts in to another unfamiliar shore for much-needed food and water. He goes ashore with the landing party but is abandoned by the crew when they discover there are giants living there. Gulliver is captured by a farmer, who displays him as a circus wonder at local fairs. The farmer's daughter, Glumdalclitch, teaches Gulliver to speak the language and the two become good friends. Eventually, the farmer sells Gulliver to the Queen of Brobdingnag, who allows Glumdalclitch to join the court as Gulliver's keeper.

Once at court, Gulliver has a series of violent, physical misadventures because of his size. Once, he is taken into the country and allowed to walk around a meadow on his own. Poor Gulliver has not yet learned the limits of his size in Brobdingnag, however. As he reports, "There was a Cowdung in the Path, and I must needs try my Activity by attempting to leap over it. I took a Run, but unfortunately jumped short, and found my self just in the Middle up to my Knees." Gulliver spends most of his time discussing history, politics, philosophy, and economics with the King. The King frequently dismays Gulliver by displaying his "ignorance," that is, finding certain aspects of Gulliver's England repulsive. When Gulliver offers to teach him about gunpowder so he can rule over his subjects with force, for example, the King rejects him in horror. In the end, Gulliver is carried off by a giant bird and dropped into the sea, where he is rescued again by an English ship. Disoriented by the size of things on shipboard and then in England, Gulliver takes some time to adjust to people of his own size. Eventually he gets used to other English people again and resolves to stay at home for the rest of his life.

3: A Voyage to Laputa :
Gulliver is unable to keep his resolution. He is tempted by the prospect of easy money yet againand embarks on Part III, "A Voyage to Laputa, Balnibarbi, Luggnag, Glubbdubdrib, and Japan." Gulliver's misfortunes begin when he and his crew are seized by pirates, who abandon him alone on a deserted island. In despair, Gulliver begins to make the best of his bad lot when he is astonished to see a giant floating island appear in the sky. The inhabitants carry him up to them and make him welcome on the island, which they call Laputa. The Laputans control a nonfloating island named Balnibarbi and live entirely by the rules of science and mathematics: even their bread and meat are carved into geometric shapes. The men are so consumed in thought that they have servants, called flappers, to bring them out of a trance into conversation. Women, who are excluded from these activities and entirely ignored by the men, frequently try to escape to Balnibarbi. After some persuasion, Gulliver is allowed to descend to Balnibarbi, where he witnesses the destructive effects of not enough practical thinking on agriculture, economics, education, and architecture.
Gulliver visits the Grand Academy, Swift's parody of London's Royal Society. There he meets men devoting their lives to absurd experiments such as extracting sunlight from cucumbers and turning human waste into its original components. Gulliver proceeds from Balnibarbi to Luggnag via the island of Glubbdubdrib, which is run by magic. There the governor raises several historical leaders and philosophers from the dead, giving Gulliver a chance to wonder at the corruption and brutishness of these supposedly great men. In Luggnag, Gulliver hears of a race of people called Struldbruggs, who live forever. Gulliver imagines what he would do if he were a Struldbrugg, but when he meets them he realizes that eternal life does not necessarily mean eternal youth. The Struldbruggs actually have both infinite age and infinite infirmity, and they are miserable, senile people.

4 : A Voyage to the Country of the Houyhnhms :
Gulliver's last voyage, Part IV, is called "A Voyage to the Country of the Houyhnhms" (pronounced whin-hims). Part IV examines less what humanity creates, such as science or gunpowder or government, and more what humanity is. Appropriately, Gulliver is left on an alien shore by a mutiny, a betrayal and abandonment that sets in motion the wheels of Gulliver's detachment from his own people. He encounters two types of inhabitants: the rational Houyhnhms and the vicious, crude Yahoos. The Houyhnhms are talking horses who have established a society based on reason rather than emotion, while the Yahoos are hairy humanoids who are used by the Houyhnhms as slaves. As usual, Gullive


In the beginning of the story, Gulliver explains to the reader a bit about his background, why he was on these journeys to begin with, and where he finds himself at the beginning of his tale. The story begins with Gulliver recounting how he was shipwrecked the land of Lilliput. He awakens to find himself tied down and held captive by a tiny race of people. To the inhabitants of Lilliput, Gulliver is something of a giant. He could not move, because he was tied down, but he notices a a race of tiny people moving about him. These people take all of his possessions for inspection, for they are in awe and fear of his great size. They feed him, and soon untie him but still keep him in confinement. While in his confinement, he is visited by the emperor who likes Gulliver. Gulliver learns there language and the customs of the people of Lilliput. In this book Swift, by describing the ludicrous system that Lilliput's government fashions in, is satirizing the English system of governing. He uses parallels that seem absurd at first glance but make more senses when looked at carefully.
When Gulliver reaches the land of Brobdinag, he finds himself in the exact opposite situation that he was in when in Lilliput. In Brobdinag, it is Gulliver who is the tiny person, and the inhabitants of that land who appear to be giants. Gulliver expects these "giants to be monsters", but soon finds that they are a peaceful race of people, who live in a sort of peace-loving land. Swift was playing on all people's fear of being frightened by those who appear different looking or more powerful.

Critical view of Gulliver's Travels :
In recounting third journey, Gulliver visits the land of Laputa. The stories that are contained within are a satire on specific figures and policies of the British government of the period in which Swift lived. This is probably, out of all of the parts of this story that are commonly read today, the least widely read. This is because most people today do not know of whom Swift is referring to.
When Gulliver reaches the land of the Houyhnhnms, we read a very fine story that we can still relate to today. There is a distinction made between the two type of people Gulliver encounters in this land. The Yahoos, who are considered to be uncivilized Neanderthals, and the Houyhnhnms, who Gulliver's considers to be civilized. Gulliver contends that the Houyhnhnms are civilized because they are similar to him, the people remind him of English people, and they have the most complex language he has run across in his travels. We also read in this part of his travels of a war between the Big-Endians and the Little-Endians, who are at war with one another over which end of a hard boiled egg should be cracked on. Swift is satirizing the futility of wars over things like religion.
Gulliver soon returns home in wonder over his journeys to these lands. Swift did a excellent job of hiding a biting criticism of the government and society in which he lived. He did this by making the characters in the story so fantastic and foreign to the reader that the story could only be a fairy tale, written for children. The actions of the people he runs across are so absurd, and Gulliver seems so innocent, that at first read many people didn't even get what Swift was trying to say. There were, however, people who knew Swift's intentions from the start, and got all of the symbols in the story.
It has been said that Dean Jonathan Swift hated humanity but loved the individual. His hatred is brought out in this caustic political and social satire aimed at the English people, humanity in general, and the Whigs in particular. By means of a disarming simplicity of style and of careful attention to detail in order to heighten the effect of the narrative, Swift produced one of the outstanding pieces of satire in world literature.
Swift created the character of Lemuel Gulliver as his narrator for Gulliver’s Travels, he developed a personality with many qualities admired by an  eighteenth century audience and still admired by many readers. Gulliver is a decent sort of person: hopeful, simple, fairly direct, and full of good will. He is a scientist, a trained doctor, and, as any good scientist should, he loves detail. His literal-minded attitude makes him a keen observer of the world around him. Furthermore, he is, like another famous novel character of the eighteenth century—Robinson Crusoe—encouragingly resourceful in emergencies.
The novel is a satire, and Gulliver is a mask for Swift the satirist. In fact, Swift does not share Gulliver’s rationalistic, scientific responses to the world or Gulliver’s beliefs in progress and in the perfectibility of humanity. Swift, on the contrary, believed that such values were dangerous, and that to put such complete faith in the material world, as scientific Gulliver did, was folly. Gulliver is a product of his age, and he is intended as a character to demonstrate the weakness underlying the values of the Enlightenment—the failure to recognize the power of the irrational.
Despite Gulliver’s apparent congeniality in the opening chapters of the novel, Swift makes it clear that Gulliver has serious shortcomings, including blind spots about human nature, his own included. Book 3, the least readable section of Gulliver’s Travels, is in some ways the most revealing part of the book. In it Gulliver complains, for example, that the wives of the scientists he is observing run away with the servants. The fact is that Gulliver—himself a scientist—gives little thought to the well-being of his own wife. In the eleven years covered in Gulliver’s travel book, Swift’s narrator spends a total of seven months and ten days with his wife.
Gulliver, too, is caught up in Swift’s web of satire in Gulliver’s Travels. Satire as a literary form tends to be ironic; the author says one thing but means another. Consequently, readers can assume that much of what Gulliver observes as good and much of what he thinks and does are not what Swift thinks.
As a type of the eighteenth century, Gulliver exhibits its major values: belief in rationality, in the perfectibility of humanity, in the idea of progress, and in the Lockean philosophy of the human mind as a tabula rasa, or blank slate, at the time of birth, controlled and developed entirely by the differing strokes and impressions made on it by the environment. Swift, in contrast to Gulliver, hated the abstraction that accompanied rational thinking; he abhorred the rejection of the past that resulted from a rationalistic faith in the new and improved; and he cast strong doubts on humanity’s ability to gain knowledge through reason and logic.
The world Gulliver discovers during his travels is significant in Swift’s satire. The Lilliputians, averaging not quite six inches in height, display the pettiness and the smallness Swift detected in much that motivates human institutions such as church and state. It is petty religious problems that lead to continual war in Lilliput. The Brobdingnagians continue the satire in part 2 by exaggerating human grossness through their enlarged size.

Conclusion :
Gulliver's Travels is a story of journey of Lemuel Gulliver. The whole story partly divided into 4 voyages they are 1 Lilliput, 2 Brobdingnag, 3 Laputa, 4 Houyhnhnms. Every voyage discribed the social life, it's aspects, human emotion, vertue, action, kindness and other aspects of social and people life.

Work cites :
https://www.enotes.com/topics/gullivers-travels-jonathan-swift/critical-essays/critical-evaluation
http://mural.uv.es/mafranch/critic.htm
https://www.cliffsnotes.com/literature/g/gullivers-travels/critical-essays/swifts-satire-in-gullivers-travels

Assignment 1 : Doctor Faustus as a Mythical play.

Name : Makwana Vijay K.
Course name : M.A English
Semester : 1
Roll no : 46
Enrolment no : 2069108420180035
Email : vijaykm7777@gmail.com
Maharaja Krishnakumarsinhji Bhavnagar University
Batch year : 2017-18
Submitted to : department of English Maharaja Krishnakumarsinhji
Paper no : 1 "The Raneissance Literature"
Topic : Doctor Faustus as a Mythical play.


Introduction :

Playwright, poet. Christopher Marlowe was a poet and playwright at the forefront of the 16th-century dramatic renaissance. His works influenced William Shakespeare and generations of writers to follow.He born in Canterbury, England, in 1564. While Christopher Marlowe's literary career lasted less than six years, and his life only 29 years, his achievements, most notably the play The Tragicall History of Doctor Faustus, ensured his lasting legacy.

Marlowe's major works :

Dido, Queen of Carthage (1586)
Tambourine the Great (1587)
The Jew of Malta (1589)
The Tragical History of Doctor Faustus (1589)
Edward ii (1592)
The Massacre at Paris (1593)

Character of Doctor Faustus :

Faustus :
Faustus is the protagonist and tragic hero of Marlowe’s play. He is a contradictory character, capable of tremendous eloquence and possessing awesome ambition, yet prone to a strange, almost willful blindness and a willingness to waste powers that he has gained at great cost. When we first meet Faustus, he is just preparing to embark on his career as a magician, and while we already anticipate that things will turn out badly (the Chorus’s introduction, if nothing else, prepares us), there is nonetheless a grandeur to Faustus as he contemplates all the marvels that his magical powers will produce. He imagines piling up wealth from the four corners of the globe, reshaping the map of Europe (both politically and physically), and gaining access to every scrap of knowledge about the universe. He is an arrogant, self-aggrandizing man, but his ambitions are so grand that we cannot help being impressed, and we even feel sympathetic toward him. He represents the spirit of the Renaissance, with its rejection of the medieval, God-centered universe, and its embrace of human possibility. Faustus, at least early on in his acquisition of magic, is the personification of possibility.
The protagonist. Faustus is a brilliant sixteenth-century scholar from Wittenberg, Germany, whose ambition for knowledge, wealth, and worldly might makes him willing to pay the ultimate price—his soul—to Lucifer in exchange for supernatural powers. Faustus’s initial tragic grandeur is diminished by the fact that he never seems completely sure of the decision to forfeit his soul and constantly wavers about whether or not to repent. His ambition is admirable and initially awesome, yet he ultimately lacks a certain inner strength. He is unable to embrace his dark path wholeheartedly but is also unwilling to admit his mistake.

Mephastophilis :
A devil whom Faustus summons with his initial magical experiments. Mephastophilis’s motivations are ambiguous: on the one hand, his oft-expressed goal is to catch Faustus’s soul and carry it off to hell; on the other hand, he actively attempts to dissuade Faustus from making a deal with Lucifer by warning him about the horrors of hell. Mephastophilis is ultimately as tragic a figure as Faustus, with his moving, regretful accounts of what the devils have lost in their eternal separation from God and his repeated reflections on the pain that comes with damnation.

Chorus :
A character who stands outside the story, providing narration and commentary. The Chorus was customary in Greek tragedy.

Old Man :
An enigmatic figure who appears in the final scene. The old man urges Faustus to repent and to ask God for mercy. He seems to replace the good and evil angels, who, in the first scene, try to influence Faustus’s behavior.

Good Angel :
A spirit that urges Faustus to repent for his pact with Lucifer and return to God. Along with the old man and the bad angel, the good angel represents, in many ways, Faustus’s conscience and divided will between good and evil.

Evil Angele :
A spirit that serves as the counterpart to the good angel and provides Faustus with reasons not to repent for sins against God. The evil angel represents the evil half of Faustus’s conscience.

Lucifer :

The prince of devils, the ruler of hell, and Mephastophilis’s master.
Wagner :
Faustus’s servant. Wagner uses his master’s books to learn how to summon devils and work magic.

Clown :
A clown who becomes Wagner’s servant. The clown’s antics provide comic relief; he is a ridiculous character, and his absurd behavior initially contrasts with Faustus’s grandeur. As the play goes on, though, Faustus’s behavior comes to resemble that of the clown.

Robin :
An ostler, or innkeeper, who, like the clown, provides a comic contrast to Faustus. Robin and his friend Rafe learn some basic conjuring, demonstrating that even the least scholarly can possess skill in magic. Marlowe includes Robin and Rafe to illustrate Faustus’s degradation as he submits to simple trickery such as theirs.

Rafe :
An ostler, and a friend of Robin. Rafe appears as Dick (Robin’s friend and a clown) in B-text editions of Doctor Faustus.


Doctor Faustus as a mythical play :
The story of Doctor Faustus is a familiar myth, in which the main character sells his soul , makes a deal with the devil, for something he speciously holds more valuable. There are many versions of this story in our culture, and it would take quite a time to make note of them all. Most people will have seen or heard one of the various stories in the for of a book, play, movie, or television show. The original story of Doctor Faustus, as created by Christopher Marlow, was prevalent to society at the time because it spoke to peoples growing dizzy awareness of their possibilities and capabilities at this time.

The classic Marlow play, Doctor Faustus, would also be a hit because in the countries of the world there are many a growing multicultural society, for whom there are continually growing possibilities and capabilities. This is also a similar state of affairs for how one might perceive the womens movement, as women are gaining more equality inside and outside o f the workplace. Also, for society as a whole, one is being exposed to the ever growing world of computers and the world wide web. The largest and most significant change I would make in an attempt to adapt Doctor Faustus so that it would be more engineered towards to todays audience is that I would make Doctor Faustus a Dr. Faustesse. I would make an attempt to portray the main character Faustus, as a women, Faustesse, in an attempt to update the concerns for which the play represents.
A female character fall to the devil to gain power over society it symbolizes and signifies the constant struggle of women, even in todays society, to get past the very patriarchal dominated social structures and ienantiodromia, the reversal of opposites. The psycho-physical law of enantiodromia proclaims that the steep ascent is inevitabily followed by the descent.


Many critics of Marlowe's Doctor Faustus spend too much energy seeing the play solely against its immediate historical background and too little seeing it as a visionary work speaking significantly to the modern condition. Indeed the Medieval and Reformation atmosphere, Faustus' dilemma is easy to see as parallel to that of modern man especially from the twentieth century standpoint of C.G. Jung's psychology of archetypes. Such a method of examination allows for a more fundamental and broader perspective then does more traditional literary analysis.

According to Jung, the death of meaning in the mythic symbols of Christianity was beginning during the Renaissance Reformation period, the age of Dr.Faustus. Mankind then began to lose something which, in one form or another, is necessary for psychic health. Image of Christian mythology no longer work for Faustus when he become to a crisis in his life. They continue to operate only in a strange way, in the nature of the neurotic. But they do not from the basis for anything like a healthy approach toward life.

A chief danger encouraged by Renaissance man with his one sided intellect which values knowledge for the technology, manipulative power it gives over things and other people. Because of the excelling nature of his studies and practice, Faustus is, like Icarus in the ancient myth, place in danger of enantiodromia, the reversal of opposites. The psycho-physical law of enantiodromia proclaims that the steep ascent is inevitabily followed by the descent. According to the prologue, Faustus is 'swoll'n with cunning of a self-conceit", "blutted now with learning's golden gifts".

The opening speech dismissed as petty all the disciplines Faustus has spent his life studying. He now seems, as does Goethe's Faust, as well as contemporary man, to be insatiable, desiring more and more, the sensational, the superlative. He claims that, as a physician, he has protected whole cities from the plague but that he is in despair because, nevertheless, he is still Faustus, a man, who has not the power to raise the dead or to induce immortality. Faustus is like modern man in his tendency to let the thought of power cloud his mind. His desire and expectation run wild, causing him to lose rerepresents to see wholes yet making it easy for him to analyze out of existence whatever does not agree with his hubris.

The intellectual process by selecting only those data which substantiate conclusion predetermined by desire. Only the evidence that confirms his preestablished vision. When he looks at a passage in the Gospel of John, he sees only the part dealing with sin and death, ignoring the rest of the passage offering eternal life to those who trust in Christ. His emphasis on the harshness of the doctrines of original sin and predestination, taken out of context of the whole, is his superficial excuse for rejecting Christianity. Faustus' rejection of Christianity, though, like that of modern man, is based really on no single argument or analysis of text, but on deep psychological realities of the times.

The play's clear emphasis of the presence of these confused attitudes indicates their importance to the Faustian psychology. Another concomitant of Faustus's one sidedly inflated ego is the dissociation of the conscious ego both from the repressed material in the personal unconscious and from the archetype components of the collective unconscious. Certainly one way of seeing Faustus experience with figures like Mephistopheles, Lucifer, a Good and Bad Angle, the mythical Helen of Troy, is as fantasy dramatizing conflict within his psyche. The play in modern terms, as containing fantasy surrealistically presented, is helpful for an analysis of Faustus psychological situation.


In general Faustus's experiences involve a journey into the non-integrated, repressed portion of his psyche. The "four and twenty years of voluptuous pleasures" is, of course, the converse of Faustus hard working and studious life up to that point. Mephistopheles in a symbol of what Jung calls the shadow, archetype of the dark, non-integrated, complementary portion of the psyche. On this level, Mephistopheles can be seen as the converse of Faustus a figure representing the psychological qualities repressed in Faustus.
Faustus is the brave, disdainful skeptic and freethinker, the man of pride and intellectual power. At the same time he displays a certain tenseness evidence of the inner turmoil caused by the snapping of psychic energies by the inflation of his ego. Against Faustus, the powerhungry, prideful, caustic, sensation-oriented skeptic-we see Mephistopheles, in some major speeches as, in tone at least, the humble, totally sincere, feelings oriented Christian, albeit a belatedly converted one.

The sentiments were not enough, ironically he pleads with Faustus not to endanger his soul : "O Faustus, level these frivolous demands which strike a terror to my fainting soul". This speech is by mean the only example of the tone in Mephistopheles described above. The author aspect of Mephistopheles as Faustus shadow in the sort of evil sensuality represented by the Christian devil in the Renaissance. That is another element compensatory to the staid intellectual, come to terms with his shadow and is saved at the play's end, Faustus never comes to terms with this devil, the opposite of his ego.

Faustus despair in the later parts of the play seems to be all but universally noted by the critics. Christian guilt is oddly strong in this resolute but neurotic skeptic. Guilt and despair shatter Faustus resolution and his will, already of an indeterminate quality. One example occurs at the point at which he asks Mephistopheles for a wife. The feminine principal, in opposition to the masculine intellect, is one of the non-integrated portion of his psyche with which he needs to come to terms. Faustus bends quite easily to let Mephistopheles browbeat him to the point that he substitutes sensuality of a particularly nonviable kind for psychological relationship to the feminine. Faustus shadow tries to satisfy him with "a Devil dressed like a women, with fireworks".Faustus attraction to the mythical figure of Helen of Troy clearly involves the archetype of the anime. In paragraph in which he mentions Helen as one of the literary embodiment of the anima, Jung point out that the anima represents "the chaotic urge to life" but also "a secret knowledge or hidden wisdom." Faustus desire to escape the result of the one sided life of the intellectual is a compensation partially prompted by the energies of his in integrated anima. Thus his attraction to arcane magic, the occult, seems to be motivated by anima impulses.

Conclusion :
Faustus has never truly integrated the feminine elements of his psyche with his prideful masculine intellectual, never come to terms with what Jung calls the anima or "soul-age". Faustus own image of himself is essentially crude and, in some senses, adolescent with its fascination with showing off heroically.

Work cites :
https://www.kibin.com/essay-examples/updating-the-myth-of-doctor-faustus-64rH0DgJ http://m.sparknotes.com/lit/doctorfaustus/characters.html

Review of the play :Digdarshak

Review of the play :Digdarshak

           On 8th August in The Department of English there was a screening of the play Digdarshak.Which was arranged by my senior Alpa Ponda and her team who is the head of the screening committee.First i want to say about the play .The play is about the Theatre life and Cinema life.There is only two character in the play Father and son .The play moves ahead with the flash back technique.Director and new actor both are arguementing with each other about which is good ...Theatre or Cinema.The father sacrifice his whole life for theatre and he wants to make his dream true by his son.But initially son agrees with him than he wants to leave the theatre because of thare is no fame , money and etc .So we can say that's why son goes to cinema.The one more thing is father try to convince his son by his struggle ,determination of life and also explain him that theatre is the basic thing for cinema.But yet son choose the field of cinema and becomes success.In the end Son comes back after long time where his father or Director live.They both share their feelings for that arguements and both are happy......So we can conclude that all things are good at it's own place.the another thing is here we sees is the relationship between coach and student how rudely he behaves with pupil but behind that he want to polish us.If we talk about technical aspect of the play it is very good play.There is use of light,myth like a Aswatthama's dialogue, shows the difference between cinema and theatre,difference between teacher and coach.Set is so simple.Costume also simple,good use of fed in -fed out technique.There is rising action , climax , falling action everything is there.One thing about the acting of the director in the play as a old man is missing.But yet it is very well play .If some one wants to learn the acting or how to do drama so this is the best play for them.