Narrative style in Frankenstein.

• Narrative style in Frankenstein.

• Introduction.
There are many types of literature that are considered narratives, including novels, dramas, fables, Falk tales, short stories and poetry.

Narrative techniques provide deeper meaning for the reader and help the reader in use of imagination to visualize situations. Narrative literary techniques it also known as a literally device. literally elements in narratives include such thing as the setting, plot, theme, style or structure, characters and perspective or voice of story. There are many literary techniques chosen to tell a story. Common techniques relevant  to plot, which is the sequence of events that make up a narrative  include backstory, flash back, flash forward, and foreshadowing. Narrative perspective or who is telling the story, include first person , second person, third person and third person omniscient and it can be recognized simple question that Who tells story to whom?

Marry Shelly’s writing style in Frankenstein is quite interesting . Outside of her beautifully eloquent language, Shelly’s creative narrative point of view is so concise the many readers tend to forget that Robert Walton is true singular narrator.

• Frame Narratives
Frankenstein is both a frame narrative and a story within a story. A frame story begins and ends in the same place, and  A story within a story is seen through Walton’s telling of Victor’s telling of the creature’s story.

Walton’s perception of victor as great, noble man  ruined by the events described in the story adds to the tragic conclusion of the novel. Framing Narratives within narratives not only allows the reader to hear the voice of all of the main characters, but also provides multiple views of the central characters. Walton see Victor is a noble, tragic figure; Frankenstein sees himself as an overly proud and overly ambitious victim of fate ; the Monster sees Frankenstein as a reckless creator, too self centered to care for his creation. Similarly , while Walton and Frankenstein deem the Monster a malevolent, insensitive brute, the monster casts himself as a martyred classical hero. Monster reassumes control of the narrative from Walton ensures that, after Victor’s death and even after his own , the struggle to understand who or what the monster really is – Adam or Satan, tragic victim or arch – villain- will go on.

Thus , Shelly invented her own a hybrid of ‘Chinese box’, or ‘Box within Box’ point of view style, which is also known as framed narratives. Story is transmitted from the monster to Victor, from victor to Walton and from Walton to his sister at which point The Reader finally gains access to it. This way narrative style is layered Narrative   this layering of stories which stories enables the reworking of familiar ideas in a new contexts. however, one can also explore whether the structure of the novel itself helps in explain these narratives parallels.
• Importance of Letters in narratives, the novel opens with four letters written by Walton to his sister, Mrs. Saville. The letters are written in first person , at the end of letter four, Walton agrees to hear the stranger’s tale and story begins. The same way Letters by Elizabeth is also important in narration of victor’s family while he was away from Geneva.

• Conclusion

Each narrator in the story adds piece of information that only he knows; Walton explain the circumstances of victors last days;  Victor explain his creation of The Monster and The Monster explain his turn to Evil. The difference in perspective between the narrator or sometime Stark especially since Victor and the monster standing opposition of each other for much of the novel.

 From victors point of view the monster is nothing but a hideous  and evil creature, from the monster account on the other hand it becomes clear that he is a thinking, feeling and emotional being.
The recounting of the murder of William Frankenstein is a prime example of the impact of perspective while victors description colored by the emotional letter from his father, focuses on the absolute evil of the act, the Monster’s versions of events centers on the emotional circumstances surrounding it. Even if one cannot sympathize with the monster one can at least understand his actions this kind of dual narration is one of the more interesting consequence of the complicated narrative structure that Shelly implements in her novel.

O... Fear.!

It’s Invisibility…
It’s in Air
It’s in every running thought
It’s live in every corner of darkness
It’s in voice of woe
It is companion of loneliness
It’s  in burning of desires
It’s in every moment, which still not come
In Lightning of moment is Hope
But,
As sweat
As a blower of heart beating
As one lost everything in world
Isn’t it Stress? Tension???
No… it’s
A horrible…
A strange…
A harsh…
And
When it’s rise
Take name of Fear

Online Disscusion on Sharmeen's documentary, A Girl in the River

Moni Mohsin, Author of the best selling social satire, Diary of A Social Butterfly and Tender Hooks, she is currently wrote her views on Sharmeen Obaid-Chinoy’s Academy Award for her documentary, A Girl in the River.

                (Sharmeen Obaid-Chinoy)

' A girl in the river' is a documentary film based on a real story of pakistani woman. How she struggle for freedom of her own choice and how she victimize of honour killing.

How far can we dis|agree with the views expressed by Moni Mohsin? This is the discussion.so first let's see what Mohsin writes in her blog...

It is no secret that hundreds of women are murdered every year for honour, yet it’s taken the buzz that Sharmeen’s single film has generated abroad to prompt Nawaz Sharif’s avowal to put an end to honour killings at home and embolden Imran Khan to publicly decry the practice.

In any case, there is great hypocrisy at work here. For the truth is that the very people who rail against western approbation, actually crave it. Why else would they demand that only ‘positive’ images be projected to that audience? In fact nothing thrills us more than winning prizes in the UK and the US. It validates us in ways that domestic attention just does not. I’ve seen excellent books by desi authors languish unnoticed in shops in both India and Pakistan. Until they win a major prize in the West. Then they fly off the shelves.
Of course western interest can be narrow in its focus and agenda driven. But whose is not? Instead of frothing with self-righteous rage or manufacturing hysterical conspiracy theories to justify other people’s selective interest or indifference, we would be better served to confidently define our own priorities. We have to fight our battles, celebrate our heroes and tell our stories truthfully.

This is the words of Moni Mohsin, and of course,  I agree on her argument that We have to fight our battles, celebrate our heroes and tell our stories truthfully And as she is telling that  if we find that these stories shame us, then we must do something about them. But for those of us still fixated on the ‘image’ issue, it’s quite simple really: you want better PR? Improve the product.

So, I’m not against freedom of expression but, I believe same as Mohsin says that if we find that these stories shame us, then we must have to do something about them. Author should be serve a dish with best quality of nutrition not only with delicious look, it means if someone portyard reality through their words there is nothing wrong in this, any works of Art is respectable but, when west looks at us through this harsh reality and praise us for that , is it not narrowness?

* Moni Mohsin's full blog on

Stop telling Sharmeens and Adigas to photoshop reality

for reading clik here

Online discussion on Mario Vargas Llosa

Now a days debate goes on views of Mario Vargas Llosa  his views on " Political Correctness is the enemy of freedom". In this he shared his views on various topics like, Liberalism, neo liberalism, intellectual honesty, literature and morality, civil liberties, fascism, communism, nationalism, populism, Marxism and religion fanticism.

He is the most overtly political of the Boom writers, Vargas Llosa has also had a prolific career as a journalist and public intellectual.

What he means by liberalism is free elections with no parties excluded, a judiciary independent enough to enforce democratic law over the ambitions of powerful individuals, freedom of expression for both the press and artists.

In Addition, wikipedia also give such meaning of Liberalusm that... Is a political philosophy or world view founded on ideas of liberty & equality. Generally they support ideas and programmes such as freedom of speech, press, religion,free markets, civil rights, democratic societies, secular goverments, gender equality and international cooperation.

But, his antidote is nothing more than a vague endorsement of “fair laws and strong governments.” 

Assignment P.08- What is Cultural Studies and It's Limitations.

Topic Name- What is Cultural Studies and It's Limitations.

Name – Khasatiya Reena K.
M.A. Sem – 2
Roll no. – 29
Email id. – khasatiyamili21@gmail.com
Paper no. 8 – Cultural Studies
Submitted to – Department of English MKBU
Total Words – 1, 442
Plagiarism -

• Introduction
Before we go to the point that what is cultural studies ? We have to
understand what is Culture? In dictionary cultural society or nation. We have
different culture like western culture, eastern, Latin , Asian and African culture
etc. Now let’s first see what is culture is...

• What is Culture?
• Culture is the word that we have got from Latin Word ‘Cultura.’
• To honor and protect.
• Culture is representative of communication.
• Culture is the structure of knowledge shared by a quite large group of
people.
• Culture is the learned activities of society or a subgroup.

What is Cultural Studies?
 Cultural studies is the art of understanding contemporary society , with
an importance on politics and power cultural studies is an umbrella term used to
look at number of different subject . Categories studied include media studies
including film and journalism. Sociology, industrial culture, globalization and social
theory.

Cultural is made by different types of group of people, defined by everything from
language , religion, food, social lifestyle , music, and arts. Today, in the United
States as in other countries populated largely by immigrants , the culture is made
by the many groups of people who are leading the country.

• Growth and Development
Cultural studies are an academic field grounded in critical theory and literary
criticism. It generally concern the political nature of contemporary culture, as well
as its historical foundations , conflicts , and ethnic studies in both objective and
methodology. Researchers concentrates on how a particular medium or message
relates to matters of ideology, social class, nationality, ethnicity, sexuality, and/or
gender.

Cultural studies approaches subjects holistically , combining feminist theory ,
social theory, political theory, history, philosophy, literary theory, media theory,
film/video studies, communication studies, political economy, translation studies,
museum studies and art history/criticism to study cultural phenomena in various
society. Scholars in the United Kingdom and the United States developed
somewhat different versions of cultural studies after the field’s inception in the
late 1970s mainly under the influence first of Richard Hoggart, E. P. Thompson
and Raymond Williams, and later Stuart Hall and others at the center for
contemporary cultural studies at the University of Birmingham. This included
overtly political, left-wing views, and criticism of popular culture as Capitalist
mass culture; it absorbed some of the ideas of the Frankfurt School critique of the
“ culture industry” . This emerges in the writings of early British Cultural Studies.

Cultural Studies is relatively undeveloped in France , where there is a stronger
tradition of semiotics, as in the writings of Roland Barthes. Also in Germany it is
undeveloped, probably due to he continued influence of the Frankfurt School ,
which has developed a body of writing on such topics as mass culture, modern art
and music.

• Importance
The importance for cultural Studies of participating in oppositional public
spheres. It should take place more extensively in public . Although many
universities are public institutions, they rarely consider them part of the
public sphere.
We are engaged together as resisting intellectuals in a social practice that
allows both parties to construe themselves as agents in the process of their
own culture formation. An obvious concretization of this praxis might be a
woman resisting the view of women proffered in a canonical novel. This
instance is a reflection of resistance to large scale social practices that
oppress women. Such resistance needs to be produced.

This means that we need to become involved in the political reading of
popular culture. As long as such cultural artifacts are examined as merely
the materials that make up a fixed culture, their disciplinary descriptions
will do no more than create storehouse of knowledge having almost
nothing to do with lived culture , much less its transformation.

• Salient Features
Some researchers , especially in early British Culture studies, apply a
Marxist model to the field. This strain of thinking has some influence
from the Frankfurt School, but especially from the structuralist Marxism
Of Louis Althusser and others. In a Marxist view , those who control the
means of production essentially control a culture.

Other approaches to cultural studies , such as feminist culture studies
and later American developments of the field, distances themselves
from this view. The writer Julia Kristeva was an influential voice in the
turn of the century, contributing to cultural studies from the field of art
and psychoanalytical French Feminism.
Ultimately, this perspective criticizes the traditional view assuming a
passive consumer, particularly by underlining the different ways people
read , receive and interpret cultural texts
A further and recent approach is comparative cultural studies , based on
the discipline of comparative literature and cultural studies.

Limitations of Cultural Studies

1. Diversity of approach and subject-matter:
The weakness of Cultural Studies lies in its strengths, particularly its emphasis upon
diversity of approach and subject matter. Cultural Studies can at times seem merely an
intellectual smorgasbord in which the critic blithely combines artful helping of texts and objects
and then “finds” deep connections between them, without adequately researching what a culture means or how cultures have interacted.

2. Not fueled by hard research:
Cultural Studies are not always fueled by hard researches.
i.e., Historians have traditionally practiced to analyze ‘culture’. Which includes scientifically
collected data.

3.Lack of Knowledge:
Cultural Study practitioners often know a lot of interesting things and possess the intellectual
ability to play them off interestingly against each other, but they sometimes lack adequate
knowledge of “deep play” of meanings or “thick description” of a culture that ethnographer
Clifford Geertz identified in his studies of the Balinese.
In the essay of Geertz uses “deep play” word for the ‘cockfight’ which is illegal in his society. He
explains as a context of British philosopher Jeremy Bentham (1748-1832), who defines “deep
play” as a game with risks high that no rational person would engage in it. The amounts of
money involved in the cockfight makes Balinese cockfight “deep play”.
And another words “thick description” is used in the field of anthropology, sociology, religious
studies and human and organizational development. The “thick description” of culture means
it’s not just explaining what culture is but also refers that in which context the meaning is
developed.

4. Necessity of reading the classics:
Sometimes students complain that professors who overemphasize cultural studies tend to
downplay the necessity of reading the classics, and that they sometimes coerce students into
“politically correct” views.

5. Whatever is happening at the moment:
David Richter describes culture as
“-about whatever is happening at the moment, rather than about a body of texts created
in the past.
‘Happening’ topics, generally speaking, are the mass media themselves, which, in a
postmodern culture, dominate the culture lives on its inhabitants, or topics that have been
valorizes by the mass media.”
But he goes on to observe that if this seems trivial, the strength of cultural studies
its “relentlessly critical attitude toward journalism, publishing, cinema, television, and other
forms of mass media, whose seemingly transparent windows through which we view ‘reality’
probably constitute the most blatant and pervasive mode of false consciousness of our era”

6. Tempted to dismiss popular culture:
If we are tempted to dismiss popular culture, it is also worth remembering that when the
works like Hamlet or Huckleberry Finn were written, they were not intended for elite
discussions in English classrooms, but exactly for popular consumption.
7. ‘Culture Wars’ of academia:
Defenders of tradition and advocates of cultural studies are waging what is sometimes
called the “culture wars “of academia.
On the one hand are offered impassioned defenses of humanism as the foundation, since the
time of the ancient Greeks, of Western civilization and modern democracy.
On the other hand, as Marxist theorist Terry Eagleton has written, the current “crises” in the
humanities can be seen as failure of the humanities; this “body of
discourses” about “imperishable “values has demonstrably negated(cancelled) those very
values in its practices.

• Conclusion
In this all context of our discussion of cultural studies, the idea of a text
not only includes written language , but also films, photographs, fashion or hairstyle : the text of cultural studies comprise all the meaningful
artifacts of culture. Similarly, the discipline widens the concept of
culture. Culture for a cultural studies researcher not only includes
traditional high culture and popular culture, but also everyday meanings
and practices.

References
· Guerin, Wilfred L. (1966). A handbook of critical approaches to literature. Oxford University Press,
2005.

Assignment 07- Analysis of Selected literary Term

Topic name -: Analysis of Selected Literary Term
Name – Khasatiya Reena K.
M.A. sem -2
Roll no. – 29
Paper no. 7- Literary Theory and Criticism2
Email id. – khasatiyamili21@gmail.com
Submitted to.- Department of English MKBU
Total words- 1,703
Plagiarism -

Selected literary terms:-

1. Modernism
2. Post modernism
3. New Criticism
4. Diaspora
5. Post colonical
6. Feminist Criticism
7. Psychoanalytical Criticism
8. New historicism
9. Eco Criticism
10. Queer theory
11. Structuralism
12. Alam kara school
13. Udbhata and Rudrata
14. Riti school
15. Dandi &Vaman
16. Vakrokti school
17. Kuntaka
18. Dhavani school
19. Anand vardhan
20. Auchitya school
• -* Explanation of five literary terms in detail:-

• Modernism:
The term modernism is widely used to identify new and distinctive
features in the subjects, forms, concepts, and styles of literature and the other arts in
the early decades of the present century, but especially after World War I (1914-18).
The specific features signified by "modernism" (or by the adjective modernist) vary with
the user, but many critics agree that it involves a deliberate and radical break with some
of the traditional bases not only of Western art, but of Western culture in general.

• Important intellectual precursors of 
modernism, in this sense, are thinkers who had questioned the certainties that had supported traditional modes of social organization, religion, and morality, and also traditional ways of conceiving the human self—thinkers such as Friedrich Nietzsche (1844-1900), Karl Marx, Sigmund Freud, and James G. Frazer,
whose The Golden Bough (1890-1915) stressed the correspondence between central Christian tenets and pagan, often barbaric, myths and rituals. Literary historians locate the beginning of the modernist revolt as far back as the
1890s, but most agree that what is called high modernism, marked by an
unexampled range and rapidity of change, came after the first World War.

Major works of modernist fiction, following Joyce's Ulysses (1922) and his even more radical Finnegan Wake (1939), subvert the basic conventions of earlier
prose fiction by breaking up the narrative continuity, departing from the standard ways of rep- resenting characters, and violating the traditional syntax and coherence of narrative language by the use of stream of consciousness and other innovative modes of narration. Gertrude Stein—often linked with Joyce, Pound, Eliot, and Woolf as a trail-blazing modernist—experimented with automatic writing(writing that has been freed from control by the conscious, purposive mind) and other modes that achieved their effects by violating the norms of standard English syntax and sentence structure.

• Among other European and American writers who are central representatives of
modernism are the novelists Marcel Proust, Thomas Mann, André Gide, Franz Kafka,
Dorothy Richardson, and William Faulkner; the poets Stéphane Mallarmé, William Butler Yeats, Rainier Maria Rilke, Marianne Moore, William Carlos Williams, and Wallace Stevens; and the dramatists August Strindberg, Luigi Pirandello, Eugene O'Neill, and Berthold Brecht.

• A prominent feature of modernism is the phenomenon called the avant-garde (a
military metaphor: "advance-guard"); that is, a small, self-conscious group of artists and
authors who deliberately undertake, in Ezra Pound's phrase, to "make it new." By
violating the accepted conventions and proprieties, not only of art but of social
discourse, they set out to create ever-new artistic forms and styles and to introduce
hitherto neglected, and sometimes forbidden, subject matter.


 2) Post Modernism:-

• The term postmodernism is often applied to the literature and art after World War II
(1939-45), when the effects on Western morale of the first war were greatly exacerbated by the experience of Nazi totalitarianism and mass extermination, the threat of total destruction by the atomic bomb, the progressive devastation of the natural environment, and the ominous fact of over- population.

Postmodernism involves not only a continuation, sometimes carried to an extreme, of the counter traditional experiments of modernism, but also diverse attempts to break away from modernist forms which had, in- evitably, become in their turn conventional, as well as to overthrow the elitism of modernist "high art" by recourse to the models of
"mass culture" in film, television, newspaper cartoons, and popular music.

Many of the works of post- modern literature—by Jorge Luis Borges, Samuel Beckett, Vladimir
Nabokov, Thomas Pynchon, Roland Barthes, and many others—so blend literary genres,
cultural and stylistic levels, the serious and the playful, that they resist classification
according to traditional literary rubrics. And these literary anomalies are paralleled in other arts by phenomena like pop art, op art, the musical compositions of John Cage, and the films of Jean-Luc Godard and other directors.

An undertaking in some postmodernist writings—prominently in Samuel Beckett
and other authors of the literature of the absurd—is to subvert the foundations
of our accepted modes of thought and experience so as to reveal the
meaninglessness of existence and the underlying "abyss," or "void," or
"nothingness" on which any supposed security is conceived to be precariously
suspended. Postmodernism in literature and the arts has parallels with the
movement known as poststructuralist in linguistic and literary theory;


poststructuralists undertake to subvert the foundations of language in order to
show that its seeming meaningfulness dissipates, for a rigorous inquirer, into a
play of conflicting indeterminacies, or else to show that all forms of cultural
discourse are manifestations of the ideology, or of the relations and constructions of power, in contemporary society.


3) Diaspora:-
• What is a Diaspora?
• Diaspora means “to scatter” in Greek, but today we use the term to describe a community of people who live outside their shared country of origin or ancestry but maintain active connections with it. A diaspora includes both emigrants and their descendants. While some people lose their attachment to their ancestral homeland, others maintain a strong connection
to a place which their ancestors may have left generations ago. Many Americans come from mixed heritage and therefore can claim membership in multiple diaspora communities.

• Many Diaspora groups are working to achieve greater impact and a stronger voice in matters that relate to their countries of origin. Diaspora communities make vital but often unrecognized contributions to the progress of their countries of heritage. They share goals with governments,
businesses, and NGOs, including:

• Broad-based economic growth;
• Thriving civil society;
• Widespread participation in good governance;
• Access to global markets for skills and financial capital;
• Robust trading partnerships;
• Growing participation in science, technology and communication innovations.


4) Psychoanalytical Criticism :-
• Psychological Criticism deals with a work of literature primarily as an expression, in an indirect and fictional form, of the state of mind and the structure of personality of the individual author.This approach emerged in the early decades of the nineteenth century, as part of the romantic replacement of earlier mimetic and pragmatic views by an expressive view of the nature of literature.

• During the romantic period, we find widely practiced all three types of the critical procedure (still current today) that are based on the assumption that the details and form of a work of literature are correlated with its authors distinctive mental and emotional traits:o Reference to the author's personality in order to explain and interpret a literary work;
o Reference to literary works in order to establish, biographically, the personality
of the author, and The mode of reading a literary work specifically in order to experience the distinctive subjectivity, or consciousness, ofits author.we even find that john keble, in a series of Latin lectures On the Healing Power of Poetry published in 1844, but delivered more than ten years earlier proposed a thoroughgoing
proto-Freudian Literary Theory.

• Since the 1920s, a widespread type of psychological literary Criticism has come to be called PSYCHOANALYTIC CRITICISM . Whose premises amd procedures were
established by sigmund Freud (1856-1939).
• The chief mechanisms that effect these disguises of unconscious wishes are:-
▪ Condensation,
▪ Displacement ,
▪ Symbolizes
• This outline of Freud's theory of art in 1920 was elaborated and refined, but not
radically altered, by later developments in his theory of mental structure, dynamics, and processes. Prominent among these developments was Freud's model of the mind as having three functional aspects: the ID (which incorporates libidinal and other innate desires), the SUPEREGO ( the binternalization of social standards of morality and proprietary), and the EGO.


Harold Blooms theory of the anxiety of influence specifically adapts to the
composition and reading of poetry, Freud's concepts of the Oedipus complex,
and of the distorting operation of defense mechanisms in dreams. A number of
feminist critics have attacked the male centered nature of Freud's theory
...especially evident in such crucial conceptions as the Oedipus complex and the notion of " penis envy " on the part of thr female child; but many feminist have
also adapted a revised version of Freudian concepts and mental mechanisms to
their analyses of the writing and reading of literary texts.


▪ Eco criticism:-
• Eco criticism was a term coined in the late 1970s by combining "Criticism" with a
shortened form of "ecology" -- the science that investigate the interrelations of all forms of plant and animal life with each other and with their physical habitats.
"Ecocriticism"(or by alternative names , Environmental Criticism and green studies)designates the critical writings that explore the relations between literature and the biological and physical environment, conducted with an acute awareness of the damage
being wrought on that environment by human activities.


• Representation of the natural environment are as old as recorded literature and were prominent in the account of the Garden of Eden in the Hebrew Bible, as well as in the
pastoral form inaugurated by the Greek Theocritus in the third century BC and later
imitated by the Roman poet Virgil - an idealized depiction of rural life, viewed as a
survival of the simplicity , peace, and harmony that had been lost by a complex and urban society.

 The nostalgic view if a return to unspoiled nature in order to restore a list simplicity amd Concord remained evident in James Thomson'sThomson's long poem in blank verse. The seasons (1726-30) , and in the widely practiced gente called NATURE WRITING: the intimate, realistic, and detailed description in prose of the author. This literary form was largely initiated in England by Gilbert White's enormously popular Natural History and Antiquities of Selborne (1789) -- his close and affectionate observations of wildlife and the natural setting in a particular area of rural England.

Assignment 06- Major Novelist of the Victorian age

Assignment Topic - Major Novelist and of the Age
Name – Khasatiya Reena K.
Sem.- M.A. sem2 (2018)
Roll no.- 29
Paper no.6 – Victorian literature
Email id.- khasatiyamili21@gmail.com
Submitted To.- Department of English MKBU
Total words- 1,788
Plagiarism -
To Evalute my assignment click hereclick here

• Introduction

The Victorian literature is a connection between the romantic period and the literature of the 20th
century. The Victorian era literature is distinguished by a strong sense of morality and is frequently
associated with subjugation. Victorian literature is also known for its efforts to merge imagination and
emotion for the convenience of art for ordinary people. The literature of the Victorian age (1837-1901)
entered a new period after the romantic revival. The literature of this era was preceded by romanticism
and was followed by modernism or realism. Hence, it can also be called a fusion of romantic and realist
style of writing. Though the Victorian Age produced two great poets Alfred Lord Tennyson and Robert
Browning, the age is also remarkable for the excellence of its prose.
The age was concerned as the age of “democracy” . The long battle of Anglo-Saxon was now settled and
people were feeling freedom. Common people have chosen their representatives by their will and it can
be said that,
“ The House of Common people become the ruling power in England”
The freedom of writing , painting and living life has been given to all and spread of education was the
most important democratic movement ever.
Secondly, it was also an age of social unrest. From long time education was not allowed for everyone . In
this era, education was not for all. New education came in existence and people were living with new
ideas. There were some moments which were the reason of social unrest.

• Common themes in Victorian literature
• Originality and individuality
• Growth of prose and novel
• Moral purpose
• Realism/ representation of social and political life
• Pessimism, doubt and despair
• Influence of science , psychology
• Started believe in Charles Darvin’s evolution theory

All the great writers of this period, will mark three general characteristics…
Firstly, literature in the Victorian age tended to come face to face with realism. This reflected more on
practical problems and interests. It becomes a powerful instrument for human progress.
Secondly, the Victorian literature seems to deviate from the strict principle of “art for art’s sake” and
asserts its moral purpose.
Alfred Lord Tennyson, Robert Browning, Ruskin Bond – all were the teachers of England with the faith in
their moral message to instruct the world.
Thirdly, this was more like the age of pessimism and confusion. The influence of science was strongly felt
here. Alfred Lord Tennyson’s some immature works seem to hold doubtful and despairing stains but his
In Memoriam comes out as a hope after despair. Although characterized as practical and materialistic,
the literature of the Victorian age portrays a completely ideal life. It was an idealistic age where the
great ideals like truth, justice, love, brotherhood were emphasized by poets, essayists and novelists of
the age.

• Novels in Victorian age
Novels were popular and novelist have presented the reality of society in their novels.
Dickens has presented sentiments with harsh truth, Ruskin has presented individual
viewpoints and condition of people, Arnold has presented the culture and criticism and
George Eliot has presented the psychology of human life. These were the reasons that
novel was so close to the hearts of people.
This was also an age of morality and truth . The imagination of Romantic age has been
vanished and the harsh reality of the society and human life had been presented by the
new writers. Poets have mainly presented the good part of life in their poems, but these
writers were not only writers but also critics. Robert Browning has written,
“ God’s in his heaven
All’s right with the world!”
It was the age of harsh realism rather than fiction stories of fantasy.
The important part of the age was optimism and idealism . Writers were more focused
on the life of an individual and its connection with society rather than mere imagination.
Every age has some faults in it, this age can be considered as the last period of English
history which has magic and scientific spirits together. As Browning said,
“Held we fall to rise, are baffled to fight better,
Sleep to wake”

* Major Novelist of the Age

• Charles Dickens
• W.M.Thackery
• George Eliot
• Charles Reade
• Charlotte Bronte
• Thomas Hardy
• Life of Charles Dickens
Dickens was born in portsea, near Postmouth in 1812. His father John Dickens was a
clerk in Navy pay office, and transferred to Chatham on promotion when Dickens was
three year old.
Charles Dickens
Dickens’s boyhood was comfortable . He read a lot and visited the theatre . His
autobiographical notes reveal his dream: he desired a good education , wanted to live
amongst books and read the classics however , these dreams were shattered for his
father was arrested for debt in,1824.Dickens had to leave school , pawn his books , and
he joined Warren’s Blacking Factory. This was a humiliating and bitterly remembered
experience and turned out to be Dickens’ encounter with harsh reality ; he was like a
sensitive child who felt betrayed.
Leaving school at the age of 15th.Dickens became an office boy in a solicitor’s firm and
made himself extremely useful there.
He became a clerk but realized that this kind of work was unsuitable for creative
energies. He learnt shorthand writer. He learnt the intricacies of law and because of his
speed and accuracy in shorthand he became a Parliamentary reporter when he was just
twenty . He learnt much about men and Manners and studied life and its intricacies.

One point of views is that his perception of life and people in the novels owes much to
his early experiences. At the age of twenty one his first book Sketches by Boz , was
published, Boz being his pen name.
With the publication of novel The Pickwick Papers as a serial in 1837, he shot to fame.
He was both famous and rich at the age of twenty four.
In 1836, he married Catherine Hogarth, the daughter of a fellow journalist. They had
tem children. However, they decided to separate in 1857. After Pickwick Papers , he
wrote almost without a break.
• His major works.
1) A Tale of Two City
2) Great Expectations
3) A Christmas Carol
4) Bleak House
5) Our Mutual Friends

• Thomas Hardy

Hardy attended a private school in Dorchester, England, where he learned Latin,
French, and German. In 1856 at the age of sixteen, Hardy became an apprentice (a
person who works for someone in order to gain experience in a trade) to John Hicks,
an architect in Dorchester. At this time he thought seriously of attending university
and entering the Church, but he did not do so. In 1862 he went to London, England,
to work. Also at this time, Hardy began writing poetry after being impressed by
Reverend William Barnes, a local poet.
In London Hardy continued to write poetry and began sending his poems to publishers, who
quickly returned them. He kept many of the poems and published them in 1898 and afterward.
in 1867 while working for Hicks, he wrote a novel, The Poor Man and the Lady, which he was
advised not to publish because it was too critical of Victorian society. Told to write a novel with a
plot, he turned out Desperate Remedies (1871), which was unsuccessful.

• on March 7, 1870, he met Emma Lavinia Gifford, with whom he fell in love. Hardy could
have kept on with architecture, but he was a "born bookworm," as he said, and in spite
of his lack of success with literature he decided to continue writing, hoping eventually to
make enough money so he could marry Gifford.
• For Under the Greenwood Tree (1872) he earned 30 pounds and the book was well
received. At the same time he was asked to write a novel for serialization (published in
parts) in a magazine.
• In September 1872 A Pair of Blue Eyes began to appear, even though only a few
chapters had been completed.
• Far from the Madding Crowd (1874), was published in magazines and was a success
both financially and critically. Finally making a living from literature, Hardy married
Gifford in September of 1874..
Hardy's novels seldom end happily, he was not, he stated, a pessimist (taking the least hopeful
view of a situation). He called himself a "meliorist," one who believed that man can live with
some happiness if he understands his place in the universe and accepts it. He ceased to be a
Christian, and he read the works of naturalist Charles Darwin (1809–1892) and accepted the
idea of evolution, the theory that animals, including man, developed from earlier species.


* Geoge Eliot

Mary Ann Evans was born November 22, 1819, in Warwickshire, England, to Robert Evans, an
estate agent, or manager, and Christiana Pearson. She lived in a comfortable home, the
youngest of three children. When she was five years old, she and her sister were sent to
boarding school at Attleborough, Warwickshire, and when she was nine she was transferred to
a boarding school at Nuneaton. It was during these years that Mary discovered her passion for
reading
In 1851 Evans became an editor of the Westminster Review, a sensible and open-minded
journal. Here, she came into contact with a group known as the positivists. They were followers
of the doctrines of the French philosopher Auguste comte.
In 1857 she published a short story, "Amos Barton," and took the pen name "George Eliot" in
order to prevent the discrimination unfair treatment because of gender or race that women of
her era faced.

After collecting her short stories in Scenes of Clerical Life (2 vols., 1858), Eliot published her
first novel, Adam Bede 1859.
Her Major Works
1) Middlemarch
2) The mill on the floss
3) Romola
4) Scene of clerical life
5) Mr.Glifil’s love story

* Conclusion

The influence of the era has started from 1830 and stayed till 1900 . These were the
years of development… the romance and romantic age vanished, in this period there
was huge progress in sciences as well as Arts, and after the death of romantic poet
there were only two poet in Victorian era, Alfred Tennyson And Robert Browning. Thus,
it is obvious that prose work increase In compare of poetry so era known as an Age of
Prose. Novels were famous in Victorian age as Drama was in Elizabethan age.


Refrence.
Read more: http://www.notablebiographies.com/Du-Fi/Eliot-George.html#ixzz5Bj7oxPNu

Assignment 05 - John Keats & Analysis of his Ode.

Assignment Topic – John Keats And Analysis of His Ode.
Name-Khasatiya Reena K.
Sem.-M.A. 2 (2018)
Roll no.-29
Email Id.- khasatiyamili21@gmail.com
Paper No. – 5 Romantic literature.
Submitted To – Department of English MKBU

 To Evalute my assignment click hereclick here

About John Keats
Keats was not only the last but also the most perfect of the Romanticists. While Scott was merely telling stories, and Wordsworth reforming poetry or upholding the moral law, and Shelley advocating impossible reforms , and Byron voicing his own egoism and the political discontent of the times , Keats lived apart from men and from all political measure , worshiping beauty like a devotee , perfectly content to write what was in his heart, or to reflect some splendor of the natural world as he saw or dreamed it to be. He had , moreover, the novel idea that poetry exists for its own sake, and suffers loss by being devoted to philosophy or politics or, indeed , to any cause, however great or small. As he said in Lamia.
Do not all charms fly
At the mere touch of cold philosophy?
There was an awful rainbow once in heaven:
We know her woof, her texture; she is given
In the dull catalogue of common things.
Philosophy will clip an Angel ‘s wings,
Conquer all mysteries by rule and line,
Empty the haunted air……

Or he said
A thing of beauty is joy for ever
It’s loveliness increases , it will ever
Pass into nothingness;  (Endymion)

Partly because of thus high ideal poetry, partly because he studied and  unconsciously imitated the Greeks classics and the best works of Elizabethans,  Keats’s last little volume of poetry is unequalled by the work of any of his contemporaries.  When we  remember that all his work was published in three short years 1870 to 1820 and that he died when only twenty five, we must judge him to be the most promising figure of the early 19th century,  and one of the most remarkable in the history of literature.

Keats’s life was devotion to beauty and to poetry.
Bitter criticism of his poems in  Quarterly magazine Byron : who killed John Keats ? I , says the Quarterly .
He knew no Greek ; yet Greek literature absorbed him, as he saw its broken and imperfect reflection in an English translation. Like Shakespeare, who also was but poorly educated in the schools, he had marvelous faculty of discerning the real spirit of the classics.
The Eve of St. Agnes the most perfect of Keats’s medieval poems  , is not a story after the manner of the metrical romance, but rather vivid paintings of a romantic mood, such as comes to all men, at times, to glorify a workday world. Like all the work of Shelley and Keats , it has an element of unreality; and when we reach at the end : “ and, they are gone; aye, gone ages long ago / these lovers fled away into the storm, “ it is as if we were waking from a dream
Three things should be remember about Keats: first that Keats sought to express beauty for its own sake; that beauty is as essential to normal humanity as government or low, and that the higher man climbs in civilization the more imperative becomes His need Of beauty as a reward for his labours. Second , that Keats’s letters are as much an indication of the man as his poetry; and in his letter , which their human sympathy, their eager interest in social problems , their humour, and their keen insight into life ,there is no trace of effeminacy, but rather every indication of a strong and noble manhood. The third thing to remember is that all Keats work was done in three or four years – at 25 his work was as mature as was Tennyson’s 50.
More than any other he lived for poetry, as the noblest of the arts. More than any others he emphasized beauty, because to him, as shown by his Grecian urn, beauty and truth were one and inseparable. Most fitly does he close the list of poets of the romantic revival , because in many respect he was the best workman of them all. He seems to have studied words more carefully than did his contemporaries, and so his poetic expression , or the harmony of word and thought is generally more than theirs. He enriched the whole Romantic Movement by adding to its interest in common life spirit , rather than the letter, of the classics and of Elizabethan poetry. For these reasons Keats is , like Spenser, a poet’s poet ; his work profoundly influenced Tennyson and, indeed, most of the poets of the present era.
Keats and Romanticism
Keats belonged to a literary movement called romanticism.  Romantic poets, because of their theories of literature and life , were drawn to lyrical poetry; they even developed a new form of Ode, often called the romantic meditative ode.
 Without doubt , Keats was one of the mist important figures of early nineteenth century Romanticism, a movement that espoused the sanctity of emotion and imagination , and privileged the beauty of the natural world. Many of the ideas and themes evident in Keats’s great odes are Romantic concerns. The beauty of nature, the relation between imagination and creativity, the response of the passions to beauty and suffering , and the transience of human life in time. The sumptuous sensory language in which the odes are written , their idealist concern for beauty and truth, and their expressive agony in the face of death are all Romantic preoccupations thought at the same time.
The literary critic Jack Stillinger describes the typical movement of the romantic ode. The           poet, unhappy  with the real world , escapes or attempts to escape into the ideal. Disappointed in his mental fight, he returns to real world. Usually he returns because human beings cannot live in the ideal or because he has not found what he was seeking. But the experience changes his understanding of his situation , of the world, etc., his views or feelings at the end of the poem differ significantly from those he held at the beginning of the poem.
Themes in Keats’s Major Poems
Douglas Bush noted that “ Keats’s important poems are related to , or grow directly out of ..inner conflicts, “ For example , pain and pleasure are intertwined in “Ode to a Nightingale” and “Ode on a Grecian Urn” , love is intertwined with pain, and pleasure is intertwined with death in “La belle Dame Sans Merci” , “ The Eve of St. Agnes,”  and “Isabella; or, the pot of Basil”.
Other Conflict appear in Keats’s poetry
Transient sensation or passion / Enduring Art
Dream or Vision / Reality
Joy / Melancholy
The Ideal / The Real
Mortal/ Immortal
Life / Death
Separation / connection
Being immersed in passion/ desiring to escape passion
Keats ‘s Imagery
Keats’s imagery ranges among all our physical sensations : Sight, Hearing, Taste , Touch , Smell, Temperature, Weight, Pressure, Hunger, Thirst, Sexuality and Movement. Keats repeatedly combines different senses in one image , that is , he attributes the traits of one sense to another, a practice called synesthesia. His synesthetic imagery performs two major functions in his poems: it is part of their sensual effect, and the combining of senses normally experienced as separate suggests an underlying unity of dissimilar happenings , the oneness of all forms of life . Richard H.Fogle calls these images the product of his “Unrivaled ability to absorb , sympathize with, and humanize natural objects.
Analysis of poem
Ode on a Grecian Urn( Poem)
Thou still unravish'd bride of quietness,
       Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
       A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
       Of deities or mortals, or of both,
               In Tempe or the dales of Arcady?
       What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
               What i and tumbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
       Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
       Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
       Thy song, nor ever can those trees be bare;
               Bold Lover, never, never canst thou kiss,
Though winning near the goal yet, do not grieve;
       She cannot fade, though thou hast not thy bliss,
               For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed
         Your leaves, nor ever bid the Spring adieu;
Critical Summary of the Ode
(lines1-10)
Keats with the means of powerful poetic language , begins the poem in ravishing style. Employing the metaphor of silence , he addresses the vase to a bride if silence who is still unravished, the Urn which still looks virgin. The image stands at a meeting point where the beauty of the Urn is arrested may be Keats in his usual Manner implicitly  contrast the human situation. Again he calls child- the  child who is nourished by silence and slow time. Silence and time personified here. The words convey the Urn as a symbol of calm repose and beyond the effect of  quick succession of time.

 Urn is more vocal in telling it’s a story in a better way than it could ever be told by the medium of a poetry. He means to say that the visual details on the vase are more effectively powerful than his own ode which would like to record it story sweetly the poet by asking different questions in a series tries to enter into the experience of the art. The questions tell us of Keats’s own Quest of the nature of art. Tempe and Arcady  both the places remind Keats nostalgically of the beauties of Greek.

 Perhaps Keats is asking the question from himself as to why does he try again and again to escape into art? what is Joy?  the answer or awaits him till the end of the poem.

Lines (11-20)
Keats  here is revealing in the pleasure of imagination. He states that the music which is unheard sounds sweeter than the music,  we hear by our sensual ears. One can only imagine the music and enjoy though one knows not the tone, or the tune of the songs these lines have not only musical reference but musical structure also.
 On the urn there is a scene which shows a young man who is singing a song under the tree the poet tells him that his songs will never finish because it is fixed and arrested in art. The leaves will not know decay this resembles Keats saying in the ode to Nightingale too.
  The lover on the Urn is trying to kiss a girl but he cannot, though he is a very near the goal. He is consoled by the Solace of the art which Keats offers to him. In art the youth will always love her and she will always be beautiful. This is though not fulfilled state but this Joy of love will always be there because it is transfixed through art. The beauty of the girl will not be the beauty... which is the medium of art has immortalized these lovers and their Beauty and shall renew their freshness.
Lines 21-30
 The time show on the earth is a spring and trees laden with flowers. The bough on the trees are happy boughs. They will always look like that. The vegetative nature in the actual life is in the direct contrast to this artistic representation of it. The music of the piper will also continue the love shown on it will continue forever where is the earthly love turns into a boredom after sometime and finish.
The contrast between the two position is of course these but Keats  is not establishing the superiority of art as it is on Urn over the reality of life. According to Patterson this stanza express the poet’s wish that the passion the piping and the painting could be more enduring in actuality, not really in representation.
Lines 31-40
 there is another scene on the Urn which shows a procession which is going to sacrifice a calf. It is headed by a priest.  Keats here is a again catching his poise

and asks the Mysterious facts about the procession.  Why the animal is dressed with garlands?  why does the animal cry?  The poet in a contrast to himself in the preceding stanza, has kept a distance and design a succession of effects,  the initial question who are these coming to the sacrifice? Works both within and without the frame of events in the stanza.

 Then Keats gives a picture of the town which the people in the procession has Vacated.
 The town is a painted as a situated near the river at the foot of a hill and on the hill top there is a fortress. The town is empty. The town, Keats  says will always remain desolate and no one will ever tell its tale.
The vase- he Says only a vase,  he remembers at last a shape, an attitude a form empty of meaning till the imagination fills it and the human imagination cannot rest even in a dream of endless bliss. But at this moment,  as he turns wearily back to the world of a time, the Urn breaks its silence with a message which we get in the last stanza.
Lines 41-50
 The Urn which Keats described in the poem is beautiful object in Greek art. Its surface is carved with many beautiful objects. There  are pictures of a man and women on that. It includes the carved patterns of wild branches and the grass which is walk over by these revellers Keats mentions the Urn again as a silent form and sustain the objects former Association in the second line of the poem.

 Now the pastoral scene which he has described as a warm and showing ever warm love and forming the surroundings for The ever fresh Love and music to continue for ever, appeared to him as nothing but cold piece of marble carved  with pastoral scene Keats is aware of the Imperfection in art. The marble pictures and lifeless it was only the imagination which made it look warm and beautiful. He knows the difference in art and life.

 Time will have decaying effect on the on generation after generation life will be spent without leaving any meaning behind the Urn. It will survive all this it will be fresh and unchanging piece of beauty. In the midst of sorrows of passing generation. like a friend to a man the Urn will have a message for the man saying that… whatever is a beauty is a truth and truth and beautiful are identical this is the only essence of thought and knowledge which people should know.

Conclusion
The Urn’s message is not , as it has often been called , a meaningless tautology or at best , a needless appendage to the poem, but rather its dramatic fulfilment and reson for being a glimpse of the Knowledge enormous which made the young Apollo a god of poet the wisdom of Keats’s own widest experience of life.