Wordsworth's Preface to Lyrical Ballad

Do you agree with Wordsworth's poetic creed? 
First of all for give the answer of this question we have to clear about Wordsworth's poetic creed...
Wordsworth's poetic creed initiated the Romantic era by emphasizing feeling, instinct and pleasure above formality. Wordsworth gave expression to inchoate human emotions. In the Preface to Lyrical Ballad his main ideas of a new theory of poetry, subject matter of poetry and language of poetry. Wordsworth explained his poetic concept, "The majority of the following poems are to be considered as experiments they were written chiefly with view of ascertain how far the Language of conversation in the middle and lower classes of society is adopted to the purpose of poetic pleasure. The experiment with vernacular language was not enough of a departure from the norm, the focus on simple, uneducated country people as the subject of poetry. True to traditional ballad from the poems depict realistic characters in realistic situations.
Thus,  Wordsworth chiefly talk about the object and language in his poetic creed and I'm agree with him that...  The principle object,in these poems was to choose incidents and situation from common life and to relate and describe them, throughout as far as possible in selection of language really used by men, and certain colouring of  Imagination.defined by Wordsworth's as.. "Poetry is the spontaneous overflow of powerful feelings :it takes its origin from emotion recollected in tranquility.

What is Poet?
A poet is a man speaking to men, endowed with more lively sensibility. And further he says that,who has a greater knowledge of human nature and more comprehensive soul,  who rejoice more than other man in the spirit of life. Thus, we can say that poet deals with human's emotions in more creative way.

Do you think poems are better written with simple language ? Do common men Peasants from labourers poor people make better subject for poem than landlords , rich people? is poet genius  as Coleridge thinks or S/he common man speaking to common men as Wordsworth  thinks?  
Imagination of One's mind and her/his spontaneous overflow of views is the poetry, no matter what kind of words used, and what is subject matter. Words of someone's feelings can be simple as well as4 complicated too, it doesn't matter but how deeply one can create himself's feelings into words. By reading it if someone feel like it is his own feelings than may be poet is succeed in his work. Thus,  I don't think that poems are better written in simple language it can be loafty also.

In the advertisement to the 1798 edition of lyrical Ballad , Wordsworth and Coleridge start that the poems in the collection were intended as a deliberate experiment in style and subject matter. Therefore both the poet start writing poem In his own way in real language of common man,  rather than in the lofty. And they believed that the first principle of Poetry should be pleasure.

Humble and rustic life, common men peasants from labourers poor people was generally chosen, because in that condition of life elementary feelings Co exist in a state of greater simplicity and consequently. But it doesn't mean that these only subject matter make better poetry than landlords and rich people.
  

Again & Again

O Death...
You are the biggest fear of my life
I can bear if you come to me
But To my lover ...
       To my dearest family ...
       To my sweetest friends...
Even you look at them I can not bear
I know very well that...
You are the only one destination of our journey, again life will sprout, new sun rising rises and...
God will blessed on us
We will start living new life and eventually forget that... It is meaningful gift gifted by you.
When realization happen already again we must  wasted your meaningful gift.
No any other way now...
To go back on the same path
and remove all our mistakes
And Sameway , we again start waiting for another gift... Another life... Another sun rise...
For spreading fragrance of our Karma.
I know God.. You are not unjust...

O God be bless on us.

Session with R.K.Mandaliya Sir.

R. K. Mandaliya Sir is  English professor in S.P. University in Department of English at VallabhVidyanagar. Gracefully teach us about  Metaphysical poetry and John Donne's several poems. In my blog I'm gonna discuss few interesting  information on Metaphysical poetry given by Mandaliya Sir.

WHAT IS METAPHYSICAL POETRY???
Metaphysical poetry occupies on uniqe place In the history of English Poetry. It was written in post Shakespearean era, During the age of Milton and it continued up to the beginning of the restoration age.  The main exponents of the metaphysical poetry were John Donne, who was the pioneer and the Poets who followed Donne's style of writing were...  George Herbert,  Richard Crashaw,  Abraham Cawly,  Andrew Marvell. John Donne and his followers came to be known as the Metaphysical school of poetry.  There are certain features which differentiate their poetry from the poetry of former poets. The following are the features of Metaphysical poetry.

                       (John Donne)
(1) All the Metaphysical poets made an conscious attempt to see that their poetry differ in the style of writing from the style of former poets. They did not want to follow foot step of the Elizabethan Poet's.
One critic named -Helen C. White  justifies it saying that had they continue writing poetry in same manner,  their poetry would have been rejected by their readers.  The reason was printing facility was available, printed literature was available so,  people have cultivated reading habbit. The result was that people were more intelligent and so they would have rejected.  Metaphysical poetry had that been written in simple.

(2)All the Metaphysical poet are the degree holders,  they were the men of learning and university graduates. They made a conscious attempts to see that their learning and scholarships are reflected in their poetry. They are not willing to use the simple diction as it was done by the former poets. They made use of difficult words to exhibit their learning and scholarship.

(3)It was Dr. Sammual Johnson who while writing the life sketch of Abraham Cowly
Used for the first time the term... "The Metaphysical Poetry." for the poetry of Donne and his school when Johnson used this word it was in a negative sense because he wants to criticise the poetry of Donne and  his followers.  Later on with the passion of time this word become a word of praise for the Metaphysical Poetry.

(4)Dr.Johnson has highlighted one remarkable of the drawback of the metaphysical poetry.  He mentions that the metaphysical poetry stood it trial of their fingers but not the trial of their ear.  In other words their poetry is lacking in music, rhyme and rhythm. Dr. Johnson discards the metaphysical poetry calling it... Artificial.

(5)Allmost all the metaphysical poet depends upon the far fetched images for their poetry.  They selected images from those fields which have nothing common with poetry.  The images which they used belong to...  The field of science,  Engineering, Architecture, Biology, Agriculture,  Political Science and many other fields. Far fetched images proved to be a remarkable features of their poetry and it is to be found in all metaphysical poet's.   

Communalism in India and in Kanthapura

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indian writing in english from Khasatiya Reena

Aristotle's Definition Of Tragedy with The Example Of Movie Ram- Leela

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Literary Theory And criticism from Khasatiya Reena

The History of Tom Jones

The history of Tom Jones 
Introduction

Tom Jones is one of the earliest English novels, and was hugely popular when it was first published in 1749. It tells the story of the Foundling Tom and his journey towards adulthood and marriage. As might be expected this journey is a complicated one.

The novel is highly organised, despite its length. Samuel Taylor Coleridge argued that it has one of the "three most perfect plots ever planned." It became a bestseller, with four editions being published in its first year alone.Tom Jones is generally regarded as Fielding's greatest book and as an influential English novel.(Wikipedia)

For Over all idea must see this video 

Major Themes of the Novel

• Good v/s Evil

• Vanity and Human Weakness

• Desire for money, power and Position

•Tom Jones is about truth and human nature in itself.

•law: justice, mercy and judgement

•Trials, formal and informal dominate much of the action in Tom Jones.

• A Trial is a mechanism for presenting both sides of a legal case, and for determining guilt or innocence.

• Tom Jones expresses his personal approach to "Doing Justice".

• False Imprisonment

•Forced Marriage

• Circumstantial evidence

• Tom Jones : "A thesis on Humanity"

Tom Jones as picaresque Novel.

What is Picaresque Novel?

The picaresque novel (Spanish: picaresca, from pícaro, for "rogue" or "rascal") is a genre of prose fiction that depicts the adventures of a roguish, but "appealing hero", of low social class, who lives by his wits in a corrupt society.^[1] Picaresque novels typically adopt a realistic style, with elements of comedy and satire. This style of novel originated in Spainin 1554 and flourished throughout Europe for more than 200 years, though the term "picaresque novel" was only coined in 1810. It continues to influence modern literature. (Wikipedia)

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Neo classical from Khasatiya Reena


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Comparison between Milton's Eve and Chetan Bhagat's Radhika

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Coleridge 's Literaria Biographia

Biographia literaria by Samuel Taylor Coleridge (22.oct.1772-25.july1834) 

• Introduction 

Biographia Literaria is the critical work by Coleridge it is contained in 24chapters. In this critical discussion Coleridge not only practice of criticism, but also with it’s theory. In chapter 14Coleridge’s views on nature and function of poetry is discussed in philosophical terms.  Coleridge discusses the difference between prose and poem and between poetry and poem.

• Difference between prose and poem

In simple way when we think about difference between prose and poem we differentiate it as the prose in paragraph and poem in rhyme or in metre but Coleridge says that the prose and poem both have the sweetest kind elements of composition but the difference is that combination of those elements and objects aimed it in both the composition. If the object of the poet may simply be to facilitate the memory. Thus to Coleridge,  mere super addition of meter or rhyme does not make a poem. 

He further elucidates his view point by various prose writings and its immediate purpose and ultimate end. In scientific and historical composition, the immediate purpose is to convey the truth (facts). In the prose works of other kinds (romances and novels), to give pleasure in the immediate purpose and the ultimate end may be to give truth. Thus, the communication of pleasure may be the immediate object of a work not metrically composed.

Thus, according to Coleridge, the poem is distinguished form prose compositions by its immediate object. The immediate object of prose is to give truth and that of poem is to please. 

He again distinguishes those prose compositions (romance and novels) from poem whose object is similar to poem i.e. to please. He calls this poem a legitimate poem

            

• poem and poetry 

In the last section of the chapter 14, Coleridge considers to distinguish poem from poetry. Coleridge points out that “poetry of the highest kind may exist without metre and even without the contradistinguishing objects of a poem”. He gives example of the writings of Plato, Jeremy Taylor and Bible.

 Even John Shawcross (in Biographia Literaria with Aesthetical Essays – 1907 Ed.) writes “this distinction between ‘poetry’ and ‘poem’ is not clear, and instead of defining poetry he proceeds to describe a poet, and from the poet he proceeds to enumerate the characteristics of the imagination”. This is so because ‘poetry’ for Coleridge is an activity of the poet’s mind, and a poem is merely one of the forms of its expression, a verbal expression of that activity, and poetic activity is basically an activity of the imagination.   

For more explanation of difference between poem and poetry let’s look some examples .

• Examples 

 

This all work be can seem as poetry as Coleridge's definition of poetry because it is an activity of human mind which presents the same compositions with the different elements. 

• Conclusion 

Thus, Coleridge is the first English critic who based his literary criticism on philosophical principles. While critics before him had been content to turn a poem inside out and to discourse on its merits and demerits, Coleridge busied himself with the basic question of ‘how it came to be there at all’. He was more interested in the creative process that made it, what it was, then in the finished product.

Criticism on Pehredar piya ki

Now a days social media is powerful medium of spreading all the information very quickly in the world...  Internet, news papers and Television are the major medium of them. Television not only spreading information And knowledge but also fulfill entertainment to us and with time passing changing coming in programs. People feel boar from the same kind of shows and the demand of something new making changes in this field. Publishers trying new thing in their theme of presents. 

The same way one of Indian Sony TV serial Pehredar piya ki that was broad cast on 17july and ended on 28august 2017.

Plot of the serial
It follows the life of a young girl Diya, who fulfills the wish of a dying man on his death bed by taking the responsibility of an orphan boy, Ratan Maan Singh, by marrying him. What follows next is a beautiful bond of friendship between the couple and being there for each other in an unromantic way. She then becomes the temporary owner of Maan Singh Heritage Group of Hotels until Ratan is old enough to take over.https://en.m.wikipedia.org/wiki/Pehredaar_Piya_Ki

Thus, the plot of serial deals with the bizarre love story and there fore become
The serial become the issue of criticism.

My views on it... Changing must be accepted in any field but it doesn't mean that you are presenting anything .Television is the medium of not only entertaining but people are following many from television good as well as bad also. We can not develop understanding in each individual person by education but people and children quickly catch up anything from television so I think that kind of shows should be banned.

*for further reading about pehredar piya ki new version.
https://www.google.co.in/amp/m.indiatoday.in/lite/story/five-things-to-know-about-pehredaar-piya-ki-new-version-lifetv/1/1065521.html#ampshare=http://indiatoday.intoday.in/story/five-things-to-know-about-pehredaar-piya-ki-new-version-lifetv/1/1065521.html

Post Truth

Post truth is an individual truth,  which someone believes and when that person convince other people to accept the same belief and if other people accept or trust that as something really true than this belief of someone or point of view of someone accepted as 'truth' though it is not in real.
In this Post truth era all want their truth should be accepted by society. May be all are correct and corrupt because all have their own different opinions.

जब तक सच जूते पहेरता है ...
तब तक झूठ आधी दुनिया घूम लेता है .Mark Twin

Power of social media spreading information through the powerful Technology within a second through the world and people started believing infor whichever he/she got is true but reality can be the another.  Another example is that it is certain that in Democracy everyone have to right or freedom of speech... People spreading their views about government May they are the right in their perspective but it is not accepted by whole the society because another man have their own point of view.
One good example for better understanding that... In one room in the center we put one flower pot and in the room at different corner painter seat and draws the image of flower pot. At the end we can see that all those painter  who were in room and drawn a image of same flower pot but their paintings are differ because they objected the object from their side... Thus the everyone can be right in their views and beliefs but it doesn't mean that another person is wrong.

The individual truth made Universal Truth in danger...
This more images for Better understandig...

Activity on Dryden's Essay

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

I think there is no difference between both the definition because Aristotle and Dryden both are wrote their definition of Play and Tragedy  On the base of Human nature and Imitation of an action. Merely this both the thing is same.. Emotions of mankind is the center... Whereas pity,fear,delight and instruction.  for better understand it... First Let be clear about both the definition

 
Aristotle's definition of Tragedy
-"A tragedy is the imitation of an action that is serious and also as, having magnitude ,complete in itself... In appropriate and pleasurable language... In Dramatic rather than narrative form, with incident arousing pity and fear, wherewith to accomplish a catharsis of these emotions. "

Dryden's definition of Play.
-" just and lively image of human nature,  representing it's passions and humorous and the change of fortune to which it is subject, for the delight and instruction of mankind. "

According to this Dryden's definition, play is an image of human nature and that the image is just as well as lively ...and According to Aristotle Tragedy is the imitation of an action that is serious and also, as having magnitude, complete in itself. 

Dryden's concept of poetic imitation is not mere slavish copying of nature, poetic representation is not mere imitation for it is the work of poet or creator whose concern is to produce something that is more beautiful than the life...here Dryden focus on the representation that creation should me more beautiful than the life Aristotle also noted this thing in his defination that 'in appropriate and pleasurable language... In dramatic rather than narrative form.

Thus, I found that both the critics trying to explaining same thing by using different metaphors.

(2)  If you are supposed to give your personal prediction, would you be on the side of the Ancient or the modern?  

My personal prediction in favour towards Modern because  As in Essay Eugenius ( Charles Sackville) was in favour of Moderns over the Ancient,  arguing that the modern exceed the ancient because of having learned and profited from their example. 

Coming generation is watching scenario from the shoulder of old generation and that's the way they can watch the far than the ancient. Moderns do not repeat the mistakes which done by ancient... They learn from their and experienced new things. 

(3)Do you think the Argument presented in favour of the French plays and against English plays are appropriate? 

In the essay Lisideius speaks in favour of the French. He agreed with Eugenius that forty years ago... 

In the last generation , the English drama was superior.  Then they have their Jonson, Beaumont and Fletcher but English drama decayed and declined since then. They live in horrible age,  an age of bloodshed and violence and poetry is an art of peace.In the next age, Drama flourished in France and not in England. The French have their Corneille 1606-84 and the English have no dramatist. 

In further discusion he discussed many appropriate point like... 

*Rules of Ancients : the three unities

*english tragic comedy

*plot of tragedies

*matter of character etc., 

By reading all this argument I agree that..Argument presented in favour of the French plays and against English plays are appropriate.

Novels in Indian writing in English & Major Novelists

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Assignment  Topic -
Novels in Indian writing in English &
Major Novelists

Name: Khasatiya  Reena K.
Roll No.: 36
Enrollment No. : 2069108420180032
Semester : M.A. 1
Year :2017-18
Email Id: khasatiyamili21@gmail.com
Submitted to. : Maharaja Krishnkumarsinhji Bhavnagar University
Paper No.:4  Indian writing in English

Novels in Indian writing in English &
Major Novelists

•Introduction
In the 19th century India was caught in the grip of the superstitions, blind faith, ignorance evil customs and the caste system. In the narrow minded and conservative set up of the society, the plight of women was even worse. The evil customs of female infanticide, Sati, ban on widow remarriage etc., were prevalent everywhere.

 As a result of English education a new consciousness was born in 19th century for the eradication of these evils, and movements for social and religious reforms were started with the knowledge of their education and reading. These reforms brought cultural and religious awareness by their writing… they spread idea of independence. 

This period is also compared with the Elizabethan period of English in England when new literature was born. Indian first learned to read and speak and comprehend ,and they soon started writing also… thus,  The seed of Indian writing in English was sown during the period of British rule in India. 

Now a days the seed blossomed into a large tree it’s  ripe fruit and fragrance of flowers attracts not only Indian but also a Foreigners .Indian English literature also being chewed and digested by readers. There are many fingers who feeding this seed and made it ever green large tree. From the pamphlets to books many writing increase  including the news papers many short stories… drama… and Novels started writing..

• The Novel : Themes, Background  and Types.
The Novel is an old form of the history of English literature. Novels was started during the time of Elizabethan age. The first English novel is Pamela by Richardson in 1740. Then the novel rapidly increase in 19th e field of English literature but ‘novel’ as a literary form is new to India. It was practically non-existance in the Indian language besides the Sanskrit novels, the first Indian novel appeared in 1864 and it is Bankimchndra chetarjee’s Rajmohan’s  wife. 

•Background of the Novel
The urge for social reformer was an important theme in some early Indian English fiction, Matter or subject like the position of women, the decay of the old aristocracy and the plight of peasants.
The Indian English novel of the early 19th century was deeply influenced by the political, social and ideological ferment caused by the Gandhian movement.  The novelists of the Gandhian age were so much preoccupied with the politics.

  In those days freedom struggle,  the landless poor,  east west relationship. The communal problem, the plight of untouchable etc. these all very significant themes. K.S. Venkatarmani’s novel Marugan the Tiller was the first come up under this influence Bankimchandra’s first published Raj Mohan’s wife in 1864 meanwhile, Raj Laxmi Devi’s The Hindu wife was published in 1881. Besides it Kapalkundala, Vishvriksh,  Anandmath,  and Devi Chaudhrani and other novels appeared between 1866 to 1886.

 
Rabindranath Tagore was also Considerable novelist in India. Tagore achieved his first success with chokher Bali 1902. Many other his famous novels like Gora 1910, Naukadubi 1906,  Gharebaire 1916, jogajog 1929 etc.,

Variety of theme and types:
•After the independence the more serious novelist has shown how the joy of freedom have been neutralized  by the tragedy of Partition. The problem of choice of subject, the choice of the medium,  the choice of technique,  the choice of audience this problem of choice at various levels bristle with the endless difficulty.
•Historical theme
•Novels of Polities
•Theme of Partition
•Novels of social criticism
These all are the various theme or subject matter of Novels. Some novels covered the second world war period in India,  the growing charm between the Hindu and Muslim communities. Two of the best novels about the Gandhian civil disobedience movements in the early thirties are… K.S. Vankatrmani’s Kandan and Patriot and Raja Rao’s Kanthapura.

 
One of the most satisfying imaginative records of the partition is khushvant Singh’s ‘Train to Pakistan'1956 . Like the historical novels the social criticism and social protest also form a distinctive group. Ramesh chunder dutt's The lake of Palms is a study of social life in Bengal towards the close of the 19th century . T.Ramkrishna’s The dive for the Death is woven around certain superstitions.

Style and technique of Indian Novels

The Indian novelist is not usually attracted to the new techniques in plotting, narration or characterization. The stream of Conscious method of narration is hardly tried by the Indian novelist, except G.V.Desani’s all about H.  Hatter. And Anita Desai’s cry the peacock and the Vices in the city. 

Numberless novels are published and they are clearly of unequal quality. The best novels are not many but…  there are some very good novels. Thus Indo Anglian literature continuous to grow and flourish with the great writers. There is three major novelist in pretty independence era of Indian writing in English.

(1)Mulk Raj Anand.(12dec. 1905 - 28sept. 2004)

Mulk Raj Anand was an Indian writer in English. He is admired for his novels and short stories,  which have acquired the status of being classic works of modern Indian English literature.
•Literary Style
Associated with communism, he used his novels  to make broad attacks on various elements of India’s social structure and on British rule in India.
•Novels
-Untouchable 1935
-Two leaves and bud 1937
-The Village  1939
-Across the Black waters 1939
-The swoard and the sickle 1942
-The big Heart. 1945
-The private life of an Indian prince 1953
-The Road 1961.

He wrote autobiographies also and for the morning face  1968 he won the Sanity Academy Award. He was also recipients of the civilian honour of the Padma Bhushan Award.
“silent suffering and agony in Mulk Raj Annand’s Untouchable. “
                                - shailaja B.wadikar

(2)R.K.Narayan

Rasipuram Krishnaswami iyer Narayan swami 

Narayan among the best known and most widely read Indian novelist who wrote in English and known for his works set in the fictional south Indian town of malagudi.  Narayan highlights the social context and everyday life of his characters. He has been compared to William Faulkner  who also created a similar fictional town and likewise explored with houmour and compassion the energy of  ordinary life.

•Literary style
Narayan’s writing technique was unpretentious with a natural element of humour about it. It focused on ordinary people, reminding the reader of next door, neighbors and cousins.
Critics have considered Narayan to be the Indian Chekhov ,due to the similarities in their writings the simplicity and the gentle beauty and humour in Tragic situation.  Critic have also noted that Narayan’s writings tend to be more descriptive and less analytical, the objective style, rooted in a, detached spirit, providing for a more authentic and realistic narration. 

•Major Novels
-Swami and friends  1935
-The bachelor of Arts 1937
-The Dark Room 1938
-The English Teacher 1945
-Mr. Sampath 1948
-The financial experts 1952
-Waiting for Mahatma 1955
-The Guide 1958
-The Man eater of Malagudi 1961
-Talkative Man 1986
-Grandmother’s Tale 1992

In a career that spanned over sixty years Narayan received many awards and honours including the A c Benson Medal  from the Royal society of literature, the Padma Bhushan and the Padma vibhushan and he also achieved India’s third and second highest Civilian Awards.

(3) Raja Rao (8nov 1908 – 8july 2006)

Raja Rao was an Indian writer of English language novels and short stories, whose works are deeply rooted in metaphysics.
•Novels
-Kanthapura 1938
-The serpent and the rope 1960
- The cat and the Shakespeare : A tale of India 1965
- Comrade Kirillov  1976
-The Chess Master and his moves 1988

The serpent and the rope a semi auto biographical Novel recounting a search for spiritual truth in Europe and India, established him as one of the finest Indian prose stylist and won him the sahity Academy Award in 1964.for the entire body of his work Rao was awarded the Neustadt  international Prize for literature in 1988.

•Conclusion
By discussing all this major point about Indian English novel with the three major Novelist we can conclude it. 

•Reference
Wikipedia

Coleridge's views on Prose,Poem and Poetry.

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Assignment  Topic-
Coleridge ‘s views on prose,  poem and poetry

Name: Khasatiya  Reena K.
Roll No.: 36
Enrollment No. : 2069108420180032
Semester : M.A. 1
Year :2017-18
Email Id: khasatiyamili21@gmail.com
Submitted to. : Maharaja Krishnkumarsinhji Bhavnagar University
Paper No.: 3 literary Theory and Criticism

Coleridge ‘s views on prose,  poem and poetry
•Introduction
The written monument of Coleridge’s critical work is contained in 24 chapters of Biographia literaria (1815–17). In this critical disquisition, Coleridge concerns himself not only with the practice of criticism, but also, with its theory. In his practical approach to criticism, we get the glimpse of Coleridge the poet; whereas in theoretical discussion, Coleridge the philosopher came to the center stage.

 In Chapter XIV of Biographia Literaria, Coleridge’s view on nature and function of poetry is discussed in philosophical terms. The poet within Coleridge discusses the difference between poetry and prose, and the immediate function of poetry, whereas the philosopher discusses the difference between poetry and poem.  He was the first English writer to insist that every work of art is, by its very nature, an organic whole. At the first step, he rules out the assumption, which, from Horace onwards, had wrought such havoc in criticism, that the object of poetry is to instruct; or, as a less extreme form of the heresy had asserted, to make men morally better.

•Definition of prose, poem and poetry in literature  

•Prose is so-called "ordinary writing" — made up of sentences and paragraphs, without any metrical (or rhyming) structure. If you write, "I walked about all alone over the hillsides," that's prose. If you say, "I wondered lonely as a cloud/that floats on high o'er vales and hills" that's poetry.

•prose - Dictionary Definition : Vocabulary.com

•poem. noun. A verbal composition designed to convey experiences, ideas, or emotions in a vivid and imaginative way, characterized by the use of language chosen for its sound and suggestive power and by the use of literary techniques such as meter, metaphor, and rhyme.

•Poem dictionary definition | poem defined – Your Dictionary

•Poetry (the term derives from a variant of the Greek term, poiesis, "making") is a form of literature that uses aesthetic and rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.

Poetry - Wikipedia

Coleridge ‘s views on prose, poem and poetry.

The poem contains the same elements as a prose composition. But the difference is between the combination of those elements and objects aimed at in both the composition. According to the difference of the object will be the difference of the combination. If the object of the poet may simply be to facilitate the memory to recollect (remember) certain facts, he would make use of certain artificial arrangement of words with the help of meter. As a result composition will be a poem, merely because it is distinguished from composition in prose by metre, or by rhyme. In this, the lowest sense, one might attribute the name of a poem to the well-known enumeration of the days in the several months;

Thirty days hath September,
April, June, and November, &c.

Thus, to Coleridge, mere super addition of meter or rhyme does not make a poem.
He further elucidates his view point by various prose writings and its immediate purpose and ultimate end.

 In scientific and historical composition, the immediate purpose is to convey the truth (facts). In the prose works of other kinds (romances and novels), to give pleasure in the immediate purpose and the ultimate end may be to give truth. Thus, the communication of pleasure may be the immediate object of a work not metrically composed.

 
Now the question is “Would then the mere super addition of meter, with or without rhyme, entitle these to the name of poems?” To this Coleridge replies that if meter is super added the other parts of the composition also must harmonies with it. In order to deserve the name poem each part of the composition, including meter, rhyme, diction and theme must harmonies with the wholeness of the composition.

 Meter should not be added to provide merely a superficial decorative charm. Nothing can permanently please, which does not contain in itself the reason why it is so, and not otherwise. If meter is super added, all other, parts must be made constant with it. They all must harmonies with each other.

A poem, therefore, may be defined as, that species of composition, which is opposed to works of science, by proposing for its immediate object pleasure, not truth; and from all other species (having this object in common with it) it is discriminated by proposing to itself such delight from the whole, as is compatible with a distinct gratification from each component part.
Thus, according to Coleridge, the poem is distinguished form prose compositions by its immediate object.

 The immediate object of prose is to give truth and that of poem is to please. He again distinguishes those prose compositions (romance and novels) from poem whose object is similar to poem i.e. to please. He calls this poem a legitimate poem and defines it as, “it must be one, the parts of which mutually support and explain each other; all in their proportion harmonizing with, and supporting the purpose and known influences of metrical arrangement”. Therefore, the legitimate poem is a composition in which the rhyme and the meter bear an organic relation to the total work. 

  

While reading this sort of poem “the reader should be carried forward, not merely or chiefly by the mechanical impulse of curiosity or by a restless desire to arrive at the final solution; but by the pleasurable activity of mind excited by the attractions of the journey itself”. Here Coleridge asserts the importance of the impression created by the harmonious whole of the poem. To him, not one or other part but the entire effect, the journey of reading poem should be pleasurable. 

Thus Coleridge puts an end to the age old controversy whether the end of poem is instruction or delight. Its aim is definitely to give pleasure, and further poem has its own distinctive pleasure, pleasure arising from the parts, and this pleasure of the parts supports and increases the pleasure of the whole.

“A poem of any length neither can be, nor ought to be, all poetry

Coleridge points out that ...
“poetry of the highest kind may exist without meter and even without the contradistinguishing objects of a poem”. 

He gives example of the writings of Plato, Jeremy Taylor and Bible. The quality of the prose in this writings is equal to that of high poetry. He also asserts that the poem of any length neither can be, nor ought to be, all poetry. Then the question is what is poetry? How is it different from poem? To quote Coleridge: “What is poetry? is so nearly the same question with, what is a poem? 

The answer to the one is involved in the solution of the other. For it is a distinction resulting from the poetic genius itself, which sustains and modifies the images, thoughts, and emotions of the poet's own mind. Thus the difference between poem and poetry is not given in clear terms. Even John Shawcross (in Biographia Literaria with Aesthetical Essays – 1907 Ed.) writes “this distinction between ‘poetry’ and ‘poem’ is not clear, and instead of defining poetry he proceeds to describe a poet, and from the poet he proceeds to enumerate the characteristics of the imagination”. This is so because ‘poetry’ for Coleridge is an activity of the poet’s mind, and a poem is merely one of the forms of its expression, a verbal expression of that activity, and poetic activity is basically an activity of the imagination.

As David Daiches (A Critical History of English Literature) points out, ‘Poetry’ for Coleridge is a wider category than a ‘poem’; that is, poetry is a kind of activity which can be engaged in by painters or philosophers or scientists and is not confined to those who employ metrical language, or even to those who employ language of any kind. Poetry, in this larger sense, brings, ‘the whole soul of man; into activity, with each faculty playing its proper part according to its ‘relative worth and dignity’. 

This takes place whenever the synthesizing, the integrating, powers of the secondary imagination are at work, bringing all aspects of a subject into a complex unity, then poetry in this larger sense results.
David Daiches further writes in A Critical History of English Literature, “The employment of the secondary imagination is a poetic activity, and we can see why Coleridge is let from a discussion of a poem to a discussion of the poet’s activity when we realize that for him the poet belongs to the larger company of those who are distinguished by the activity of their imagination.”

 By virtue of his imagination, which is a synthetic and magical power, he harmonize and blends together various elements and thus diffuses a tone and spirit of unity over the whole. It manifests itself most clearly in the balance or reconciliation of opposite or discordant qualities – such as…..

•(a) of sameness, with difference,
•(b) of the general, with the concrete,
•(c) the idea, with the image,
•(d) the individual, with the representative,
•(e) the sense of novelty and freshness, with old and familiar objects,
•(f) a more than usual state of emotion, with more than usual order,
•(g) judgment with enthusiasm.

And while this imagination blends and harmonizes the natural and the artificial, it subordinates to nature, the manner to the matter, and our admiration of the poet to our sympathy with the poetry.

•Conclusion

To conclude, metre is essential to a poem to make it different from a prose piece, to heighten the effect, to enliven pleasure and to help us in memorizing a poem; metre also balances the spontaneous overflow of passion in the poet’s mind; metrical language better conveys excitement than prose. Since passion is the property of poetry, metre is organic to poetry. Then anything related to metre is actually related to the spirit of poetry. 

The metrical pattern tends to increase the vivacity and susceptibility both of the general feelings and of the attention. The effect which it produces is that of the continued excitement of surprise, metre also gives us the sense of musical delight.

•Reference
https://www.google.co.in/amp/s/neoenglish.wordpress.com/2010/12/16/i-write-in-metre-because-i-am-about-to-use-a-language-different-from-that-of-prose-coleridge-examine-critically-coleridges-view-of-metrical-composition/amp/#ampshare=https://neoenglish.wordpress.com/2010/12/16/i-write-in-metre-because-i-am-about-to-use-a-language-different-from-that-of-prose-coleridge-examine-critically-coleridges-view-of-metrical-composition/
•Study material

Major Novelists of the neo classical Age.

To Evulate my presention click here  

Assignment  Topic-
General characteristics of the Novel, Types of Novel &
Major Novelists of the Neo classical Age

Name: Khasatiya  Reena K.
Roll No.: 36
Enrollment No. : 2069108420180032
Semester : M.A. 1
Year :2017-18
Email Id: khasatiyamili21@gmail.com
Submitted to. : Maharaja Krishnkumarsinhji Bhavnagar University
Paper No. 2 The neo classical literature


General characteristics of the Novel, Types of Novel &

• Introduction
Getting to the bottom of what makes a 'novel': a novel is like meeting an old friend all over again.

 In the simplest terms, a novelist a fictional prose work of considerable length. Beyond that, though, novels aren't so simple anymore.
The term ‘Novel’ Is applied to a, great variety of writings that have in common only the attribute of being extended works of fiction written in prose. It’s magnitude permits a greater variety of characters, greater  complication of plot
As a narrative written in prose, the novel is distinguished from the long narratives in verse of Geoffrey Chaucer Edmund Spenser, and John Milton which, beginning with the 18th century,  the novel has increasingly supplanted.
The term for the Novel in most European languages is Roman ,which is derived from the medieval term, the romance. The English name for the form on the other hand, is derived from the Italian Novella….’a little new thing ‘ which was short tale in prose. Long narrative romances in prose were written by Greek writers as early as the second and third centuries AD. 

• Characteristics of a Novel
• Innovation
Novels as a whole represent literary change.  For the Greek and Romans, they were a departure from the traditional verse epics and lyrical poetry and they have meant something different to every generation afterward.
Even the name from Latin Novellus meaning  ‘ young and new' of the literary form indicates that it’s contents should be something on the cutting edge of literature ‘s evolution.
• Length
How long is a work of considerable length?
The length  of Novel is something scholars in the field of argue about constantly. Fortunately,  for reader there is fairly standered range , with the shortest containing somewhere between 60-70 000 words and all but the very longest coming In around 2 00 000
• Content
    Novel is calling ‘a long book' but…  it is not enough. The Stories told by novels are fictional piece there is always an underlying logic to the events taking place as well as to how people react them
Another important characteristic of a novel's content is that it's written in prose rather than poetic format, though there may be lines of verse inserted for various effects.
• Character and Plot Development 

Novels may have many kind of plot form -tragic,  comic,  satiric or romantic. And the length and realistic elements of the novel allow for deep and broad development of characters and their circumstances.
The situations that these people find themselves in are also typically more involved and complex.

 These story lines frequently involve dual perspectives of the action: one representing the external situation itself, another the internal conditions that coincide with, result from, or caused this series of events. 

Types of Novel
1)Picaresque narrative Novel
Which emerged in 16th century Spain.
Picaresque Fiction is realistic in manner, episodic in structure that is composed of a sequence of events held together largely because they happened to one person,  and often satiric in aim. 

 
The first and very lively English example was Thomas Nashe's The unfortunate Traveller. In 1719 Daniel Dafoe wrote Robinson Crusoe and in 1722 Moll Flanders. Both of these are still picaresque in type,  in the sense  that their structure is episodic rather than in the organized form of plot.
Robinson Crusoe is given an enforced unity of action by its focus on the problem of surviving on an uninhabited island, and both stories present to convincing a central character, set in so solid and detailedly realized a world, that Dafoe is often credited with writing the first novel of incident. 

 
2) Novel of character or psychological Novel
Is almost unanimously given to Samuel Richardson for his  Pamela.
The distinction between the novel of incident, the greater interest is in what the protagonist will do next and how the story will turn out . In the novel of character, it is on the protagonist ‘s motives for what he or she does and how the protagonist as a person will turn out.

 
3)Epistolary Novel
The narrative is conveyed entirely by an exchange of letters.
Later, Novelists have preferred alternative devices for limiting the narrative point of view to one or another single character, but the epistolary technique is still occasionally revived for example, in Mark Harris  hilarious novel wake up, stupid (1851)

 
4)Realistic Novel
Realistic novel can be described as the fictional attempt to give the effect of realism by representing complex characters with mixed motives who are rooted In a social class,  operate in a developed social structure, interact with many others characters.
A realistic novel focuses on the customs, conversation  and ways of thinking and valuing of the upper social class, it is often called a novel of manners. 

 
5)Gothic Novel Gothic novel of the later 18th century. It usually deploys,  characters who are sharply discriminated as a hero or villain, masters or victims,  it’s protagonist is often solitary and relatively isolated from a social context.
One can distinguishes a special type of romance ‘the adventure  novel’ , which deals with the  masculine adventures in the newly colonized non-European  World.  Dafoe’s Robinson Crusoe is an early prototype and some later Rudyard Kipling ‘s Kim.


6) Bildungsroman and Erziehungsroman novel
Terms signifying ‘novel of information ‘ or ‘novel of education ‘ the subject of these novels is the development of the protagonist ‘s mind and character in the passage from childhood through varied experiences and often through a, spiritual crisis into maturity. 

 
7)The Social Novel
The social novel emphasize the influence of the social and economic condition of an era on shaping characters and determining events.
Example of social novel are Harriet Beecher Stowe’s  uncle Tom’s cabin(1852). 

 
8) Proletarian Novel
A Marxist version of the social novel  , representing the hardships suffered by the opposed working class,  and usually written to the incite the reader to radical political action is called Proletarian Novel.
Proletarian fiction flourished especially during the great economic depression of the 193s.
An English example is Walter Greenwood’s  Love on the Dole. 1933.

 
9)historical Novel
Some realistic novels,  including George  Elliot’s  Middlemarch and Tolstoy’s war and Peace, make use of events and personages from the historical past to add interest and credibility to the narrative,  but in them, the principal focus is on the fictional protagonist. What we usually specify as the historical novels.

Proper began in the 19th century with the Sir Walter Scott. The Historical novels not only take its setting and some characters and event from history but makes the historical events and issues crucial for the central characters.
Example of historical novel is A Tale of Two cities 1859a,  a, set in Paris and London during the French Revolution. 

 
10) Regional Novel
The regional novel emphasize the setting,  speech and social structure and customs of a particular locality,  not merely as a local color,  but…  as important conditions affecting the temperament of the characters and their ways of thinking, feeling and interacting. Instance of such localities are ‘Wessex' in Thomas Hardy ‘s Novels.

 
Neo classical age’s  Major Novelists 

Neoclassical literature was written between 1660 and 1798. This time period is broken down into three parts: the restoration period, the Augustan period, and the Age of Johnson.

 
Writers of the Neoclassical period tried to imitate the style of the Romans and Greeks. Thus the combination of the terms 'neo,' which means 'new,' and 'classical,' as in the day of the Roman and Greek classics. This was also the era of The Enlightenment, which emphasized logic and reason. It was preceded by The Renaissance and followed by the Romantic era. In fact, the Neoclassical period ended in 1798 when Wordsworth published the Romantic 'Lyrical Ballads'


1) Daniel Dafoe (24april 1660- 1731)
Dafoe was an English Trader, Writer,  journalist , pamphleteer and spy. He is most famous for his Novel Robinson Crusoe, which is second only the Bible in its number of translation. Dafoe is noted for being one of the earliest proponents of the novel.
Novels
-Robinson Crusoe 1719
- Captain Singleton 1720
- Memories of a cavalier 1720
- A journey of the plague year 1722
- colonel Jack 1722
- Moll Flanders 1722
- Roxana: The Fortunate Mistress 1724

2) Johnathan  swift (30nov. 1667- 19oct.  1745)
Swift was an Anglo Irish satirist,  essayist,  Political pamphleteer. He was a master of two style of satire, the Horatian  and Juvenalian.
Novels
A tale of tub 1704
Gulliver’s travels 


3) Henry Fielding (22april1707 – 8 Oct. 1754)
Henry Fielding was an English Novelist and dramatist know for his rich, earthy humour and satirical prowess, and as the author of the Picaresque Novel, Tom Jones.
Shamela is the satirical burlesque novella written by him.

Novels
The life and the death of Jonathan wild The Great 1743
The History of Tom Jones 1749
Amelia 1751

 
• Conclusion
Beginning with the second half of the nineteenth century ,the novel displaced all other literary forms in popularity. The theory as well as the practice of the novelist art has received the  devoted attention of some of the greatest masters of the modern literature.

• Reference
Wikipedia
Study. Com
A glossary of literary term. By M. H Abraham

Historical and biographical approach in Hamlet

To Emulate my assignment click here 

Assignment  Topic-
Historical & Biographical approaches in Hamlet  

Name: Khasatiya  Reena K.
Roll No.: 36
Enrollment No. : 2069108420180032
Semester : M.A. 1
Year :2017-18
Email Id: khasatiyamili21@gmail.com
Submitted to. : Maharaja Krishnkumarsinhji Bhavnagar University
Paper No. 1 The Renaissance literature

• introduction of Hamlet
The tragedy of Hamlet ,Prince of Denmark often shortened to hamlet, is a tragedy written by William Shakespeare at an Uncertain date between 1599and 1602. Set in Denmark, the play dramatist the revenge Prince Hamlet is called to wreck upon his uncle, Claudius, by the Ghost of Hamlet ‘s father King Hamlet. It is a story concerned with murder,  sudden violence and the slower but more deadly reaction to the violence. 

Hamlet is Shakespeare’s longest play is considered among the most powerful and influential works of world literature. Renaissance spirit of humanism and Philosophical and meta-physical Question pertaining to life and death, life after death… these two elements make Hamlet as a universally appealing tragedy.

  

This is the world in which Shakespeare places his characters. Hamlet is faced with the difficult task of correcting an injustice that he can never have sufficient knowledge of a dilemma that is by no means unique or even uncommon. 

 
• Historical and biographical Approaches.
Although the historical-biographical approach has been evolving over many years, its basic tenets are perhaps most clearly articulated in the writings of the nineteenth-century French critic Hippolyta A. Thine, whose phrase race, milieu, et moment, elaborated in his History of English Literature, bespeaks a hereditary and environmental determinism. Put simply, this approach sees a literary work chiefly, if not exclusively, as a reflection of its author's life and times or the life and times of the characters in the work.

 
• Historical approach in Novels
A historical novel is likely to be more meaningful when either its milieu or that of its author is understood. fames Fenimore Cooper's Last of the Mohicans, Sir Walter Scott's Ivanhoe, Charles Dickens's Tale of Two Cities, and John Steinbeck's Grapes of Wrath are certainly better understood by readers familiar with, respectively, the French and Indian War (and the American frontier experience generally), Anglo-Norman Britain, the French Revolution, and the American Depression. And, of course, there is a very real sense in which these books are about these great historical matters, so that the author is interested in the characters only to the extent that they are molded by these events.

 
• Historical approach in Poetry.
It is mistake, however, to think that poets do not concern themselves with social themes or that good poetry cannot be written about such themes. Actually, poets have from earliest times been the historians, the interpreters of contemporary culture, and  the prophets of their people. Take, for example, a poet as mystical and esoteric as William Blake. Many of his best poems can be read meaningfully only in terms of Blake's England. His "London" is an outcry against the oppression of human beings by society: he lashes out against child labor in his day and the church's indifference to it, against the government's indifference to the indigent soldier who has served his country faithfully, and against the horrible and unnatural consequences of a social code that represses sexuality. 

 
In short, even topical poetry can be worthwhile when not limited by presuppositions that make poetry a precious, exclusively personal, even esoteric thing.

 
• Approaches in Hamlet 
Few literary works have received the amount and degree of textual study that Shakespeare's Hamlet has. There are some obvious reasons for this. To begin with, even the earliest crude printings, shot through with the grossest errors, revealed a story and a mind that excited and challenged viewers, producers, readers, critics, and scholars-so much so that the scholars decided to do everything possible to ascertain what Shakespeare actually wrote. 

One can read Hamlet with the various approaches like… formalist approach,  feminist approach,  autobiographical approach, mythological and Archetypal approach and psychological approach etc., s

 
Historical and biographical  Approaches in Practice in Hamlet .

It will doubtless surprise many students to know that Hamlet is considered by some commentators to be topical and autobiographical in certain places. In view of Queen Elizabeth's advanced age and poor health-hence the precarious state of the succession to the British crown-Shakespeare's decision to mount a production of Hamlet, with its usurped throne and internally disordered state, comes as no surprise. (Edward Hubler has argued that Hamlet was probably written in 1600 1912,n.21.)

 
There is some ground for thinking that Ophelia's famous characterization of Hamlet may be intended to suggest the Earl of Essex, formerly Elizabeth's favorite, who had incurred her severe displeasure and been tried for treason and executed:  Also, something of Essex may be seen in Claudius's observation on Hamlet's madness and his popularity with the masses :How dangerous it is that this man goes loose! Yet must we not put the strong law on him: 

Yet another contemporary historical figure, the Lord Treasurer, Burghley, has been seen by some in the character of Polonius. Shakespeare may have heard his patron, the young Henry Wriothesley, Earl of Southampton, express contempt for Elizabeth's old Lord Tieasurer; indeed, this was the way many of the gallants of Southampton's generation felt. Burghley possessed most of the shortcomings Shakespeare gave to Polonius; he was boring, meddling, and given to wise old adages and truisms. (He left a famous set of pious yet shrewd precepts for his son, Robert Cecil.) Moreover, he had an elaborate spy system that kept him informed about both friend and foe. 

One is reminded of Polonius's assigning Reynaldo to spy on Laertes in Paris (II.|). This side of Burghley's character was so well known that it might have been dangerous for Shakespeare to portray it on stage while the old man was alive
Other topical references include Shakespeare's opinion (ILii) about the revival of the private theater, which would employ children and which would constitute a rival for the adult companies of the public theater, for which Shakespeare wrote. It is also reasonable to assume that...

 Hamlet's instructions to the players (III .ii) contain Shakespeare's criticisms of contemporary acting ,just as Polonius's description of the players' repertoire and abilities (II. ii) is Shakespeare's satire on dull people who profess preferences for rigidly classified genres. 

 
Scholars have also pointed out Shakespeare's treatment of other stock characters of the day: Osric, the Elizabethan dandy; Rosencrarrtz and Guildenstern, the boot-licking courtiers; Laertes and Fortinbras, the men of action; Horatio, the "true Roman friend; and Ophelia, the courtly love heroine. 

In looking at Hamlet the historical critic might be expected to ask, "What do we need to know about eleventh-century Danish court life or about Elizabethan England to understand this play?"

 
Similar questions are more or less relevant to the traditional interpretive approach to any literary work, but they are particularly germane to analysis of Hamlet. For one thing, most contemporary American students, largely unacquainted with the conventions, let alone the subtleties, of monarchical succession, wonder (unless they are aided by notes) why Hamlet does not automatically succeed to the throne after the death of his father. He is not just the oldest son; he is the only son. 

Such students need to know that in Hamlet's day the Danish throne was an elective one. The royal council, composed of the most powerful nobles in the land, named the next king. The custom of the throne's descending to the oldest son of the late monarch had not yet crystallized into law.
As true as this maybe in fact, however, j. Dover Wilson maintains that it is not necessary to know it for understanding Hamlet, because Shakespeare intended his audiences to think of theentire situation-characters, customs, and plot-as English, which he apparently did in most of his plays, even though they were set in other countries. 

Wilson's theory is based upon the assumption that an Elizabethan audience could have but little interest in the peculiarities of Danish government, whereas the problems of royal succession, usurpation, and potential revolution  in a contemporary English context would be of paramount concern. He thus asserts that Shakespeare's audience conceived Hamlet to be the lawful heir to his father and Claudius to be a usurper and the usurpation to be one of the main factors in the play, important to both Hamlet and Claudius.
Whether one accepts Wilson's theory or not, it is certain that Hamlet thought of Claudius as a usurper, for he describes him to Gertrude as…
A cutpurse of the empire and the rule,
That from a shelf the precious diadem stole
And put it in his pocket! (lll iv)
and to Horatio as one... 

that hath killed my king and whored my mother, Popped in between th'election and my hopes. . . . (V .ii) 
This last speech suggests strongly that Hamlet certainly expected to succeed his father by election if not by primogeniture. Modern students are also likely to be confused by the charge of incest against the Queen. Although her second marriage to This last speech suggests strongly that Hamlet certainly expected to succeed his father by election if not by primogeniture.

• Conclusion
to the revenge, such as identifying the criminal and hitting upon the proper time ,place, and mode of the revenge; and concluded with the death of the criminal, the avenger, and frequently all the principals in the drama. 

One additional fact about revenge may be noted. When Claudius asks Laertes to what lengths he would go to avenge his father's death, Laertes answers that he would "cut [Hamlet's] throat i' th'church" (IV. vii). It is probably no accident that ...
Laertes is so specific about the method by which he would willingly kill Hamlet. In Shakespeare's day it was popularly believed that repentance had to be vocal to be effective. 

By cutting  Hamlet's throat, presumably before he could confess his sins, Laertes would deprive Hamlet of this technical channel of grace. Thus Laertes would destroy both Hamlet's soul and his body and would risk his own soul, a horrifying illustration of the measure of his hatred. Claudius's rejoinder
No place indeed should murder sanctuarize;
Revenge should have no bounds
indicates the desperate state of the king's soul. He is condoning murder in a church traditionally a haven of refuge, protection, and legal immunity for murderers.
Elizabethan audiences were well acquainted with these conventions. They thought there was an etiquette, almost a ritual, about revenge; they believed that it was in fact a fine art and that it required a consummate artist to execute it.

 
• Reference
A handbook of critical approaches to literature