FRENCH REVOLUTION INFLUENCED WORDSWORTH'S ROMANTICISM

 

                                             

Hello everyone... I'm going to write my blog on "HOW FRENCH REVOLUTION INFLUENCED WORDSWORTH'S ROMANTICISM" Task given by Dr. Dilip sir Barad. 

So first let's discuss Wordsworth's contribution in Romantic Age... 

William Wordsworth, (born April 7, 1770, Cockermouth, Cumberland, England—died April 23, 1850, Rydal Mount, Westmorland), English poet whose Lyrical Ballads (1798), written with Samuel Taylor Coleridge, helped launch the English Romantic movement.

William Wordsworth was a prominent figure in the Romantic Age, and his contributions were significant in shaping the literary and philosophical landscape of the time. Here are some key contributions:

1. Nature Poetry:

 Wordsworth is often regarded as one of the founders of English Romantic poetry. He placed a strong emphasis on the beauty and spiritual significance of nature. His poems, such as "Lines Composed a Few Miles Above Tintern Abbey," celebrate the healing and transformative power of the natural world.

2. Lyrical Ballads: 

Wordsworth, along with Samuel Taylor Coleridge, published "Lyrical Ballads" in 1798, which is considered a seminal work in the Romantic movement. It marked a departure from the formal, neoclassical style of the 18th century and introduced a more personal, emotional, and naturalistic approach to poetry.

3. The Language of Common People:

 Wordsworth believed in using everyday language and the speech of common people in his poetry, as opposed to the elevated language of the aristocracy. This approach aimed to capture the authenticity and sincerity of human emotions and experiences.

4. Spiritual Exploration: 

Wordsworth's poetry often delved into themes of spirituality and the connection between nature, the human soul, and divinity. He explored the idea of the sublime in nature and the transcendent experiences it could offer.

5. Autobiographical Element: 

Many of Wordsworth's poems are autobiographical, reflecting his own experiences and emotions. His focus on the inner emotional world of the poet was a hallmark of Romantic poetry.

6. Influence on Later Poets:

 Wordsworth's work had a profound influence on later poets and writers, including the Victorian poets and the American Transcendentalists. His ideas about nature, the self, and the role of the poet in society continued to resonate through the 19th century and beyond.

In summary, we can say that Wordsworth's contributions to the Romantic Age encompassed a deep appreciation of nature, a new approach to poetry that emphasized personal expression, and a lasting impact on the development of English literature.

# SO NOW LET'S DISCUSS OUR MAIN POINT "HOW FRENCH REVOLUTION INFLUENCED WORDSWORTH'S ROMANTICISM?",... 

∆ INTRODUCTION:-

The French Revolution of the late 18th century was a seismic event that not only reshaped the political landscape of France but also left an indelible mark on the cultural and artistic movements of the era. One of the most significant literary figures influenced by the French Revolution was the English poet William Wordsworth, a central figure in the Romantic literary movement. His poetic style, known as Romanticism, was deeply shaped by the ideals and events of the French Revolution.In this blog, we will explore how the ideals, emotions, and tumultuous nature of the French Revolution played a pivotal role in shaping Wordsworth's Romantic poetry.

1. A Revolutionary Spirit:

The French Revolution, which began in 1789, was a time of immense political and social change. It inspired a sense of revolution and liberation across Europe, including in England. Wordsworth, who came of age during this period, was captivated by the revolutionary spirit. He saw it as a powerful force for change and as an opportunity to break free from the constraints of tradition and authority.

2. Nature as a Source of Inspiration:

One of the key characteristics of Wordsworth's Romantic poetry is his reverence for nature. The French Revolution had a significant impact on Wordsworth's relationship with the natural world. As he witnessed the chaos and violence in society, he sought solace and inspiration in nature. Nature became a symbol of purity and a source of moral and emotional strength, themes that are prevalent in his poetry.

Wordsworth's famous poem, "Lines Composed a Few Miles Above Tintern Abbey," reflects this influence as he contemplates the healing power of nature and the ability of natural scenes to restore his spirit. The revolution's tumultuous events made him appreciate the tranquility and permanence of nature even more.

3. Individualism and the Common Man:

The French Revolution championed the rights of the common people and the idea of individual freedom. Wordsworth, influenced by these ideals, celebrated the dignity of the ordinary person in his poetry. His famous poem "Lines Composed a Few Miles Above Tintern Abbey" reflects his belief in the power of the individual to find spiritual fulfillment and inspiration in nature.

In his poem "The Prelude," Wordsworth reflects on his own growth and development as an individual, paralleling the revolutionary aspirations for personal freedom and autonomy.

4. Political Implications:

While Wordsworth was not a political revolutionary himself, he was sympathetic to the early ideals of the French Revolution. However, as the revolution descended into violence and chaos, he became disillusioned. This evolution is reflected in his poetry, as he moved away from radical political themes to a more introspective and personal focus.

5. The Ballad Form:

Wordsworth was also influenced by the revolutionary songs and ballads of the time. These simple and direct forms of expression resonated with him. He incorporated elements of the ballad form into his poetry, making it accessible to a wider audience and infusing it with a sense of authenticity and immediacy.

∆ Conclusion:

The French Revolution had a profound impact on Wordsworth's Romanticism, shaping his worldview, his poetic themes, and his literary style. It infused his poetry with a sense of hope, individualism, and a deep connection to the natural world. As we read Wordsworth's verses, we can trace the echoes of the revolutionary era and appreciate how it contributed to the development of one of the most significant movements in English literature.

Thank you for reading... 

Happy learning... Exploring... 

 

ABSALOM AND ACHITOPHEL

 

                                   

Hello everyone I'm going to write my blog on "Absalom and Achitophel" Poem written by most famous poet "John Dryden"; task is given by Dr. Dilip Barad sir. CLICK HERE for more information about the task.

# INTRODUCTION OF JOHN DRYDEN:-

                  

John Dryden, (born August 9 [August 19, New Style], 1631, Aldwinkle, Northamptonshire, England—died May 1 [May 12], 1700, London), English poet, dramatist, and literary critic who so dominated the literary scene of his day that it came to be known as the Age of Dryden.

The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown.

About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations.

In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best.

When in May 1660 Charles II was restored to the throne, Dryden joined the poets of the day in welcoming him, publishing in June Astraea Redux, a poem of more than 300 lines in rhymed couplets. For the coronation in 1661, he wrote To His Sacred Majesty. These two poems were designed to dignify and strengthen the monarchy and to invest the young monarch with an aura of majesty, permanence, and even divinity. Thereafter, Dryden’s ambitions and fortunes as a writer were shaped by his relationship with the monarchy. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire. In due course she bore him three sons.

Dryden’s longest poem to date, Annus Mirabilis (1667), was a celebration of two victories by the English fleet over the Dutch and the Londoners’ survival of the Great Fire of 1666. In this work Dryden was once again gilding the royal image and reinforcing the concept of a loyal nation united under the best of kings. It was hardly surprising that when the poet laureate, Sir William Davenant, died in 1668, Dryden was appointed poet laureate in his place and two years later was appointed royal historiographer.

                       

After John Donne and John Milton, John Dryden was the greatest English poet of the 17th century. After William Shakespeare and Ben Jonson, he was the greatest playwright. And he has no peer as a writer of prose, especially literary criticism, and as a translator.

Other figures, such as George Herbert or Andrew Marvell or William Wycherley or William Congreve, may figure more prominently in anthologies and literary histories, but Dryden’s sustained output in both poetry and drama ranks him higher.

As a writer of prose he developed a lucid professional style, relying on patterns and rhythms of everyday speech. As a critic he developed a combination of methods—historical, analytical, evaluative, dialogic—that helped grow the neoclassical theory of literary criticism. As a translator he developed an easy manner of what he called paraphrase that produced brilliant versions of Homer, Lucretius, Horace, Ovid, Juvenal, Persius, Giovanni Boccaccio, Geoffrey Chaucer, and above all Virgil. His translation of The Aeneid remains the best ever produced in English. As a poet he perfected the heroic couplet, sprinkling it with judicious enjambments, triplets, and metric variations and bequeathing it to Alexander Pope to work upon it his own magic.

Dryden the poet is best known today as a satirist, although he wrote only two great original satires: Mac Flecknoe (1682) and The Medall (1682).

His most famous poem, Absalom and Achitophel (1681) contains several brilliant satiric portraits. But unlike satire, it comes to a final, tragic resolution.

So let's discuss the poem "Absalom and Achitophel",... 

For explanation of summary , character  analysis and themes watch these videos,.. 

                          

                       

CLICK HERE FOR BRIEF INFORMATION ABOUT CHARACTERS

> Let's discuss the comparison of"Political satire" and "SNL"Which is written in contemporary times,.. 

CLICK HERE FOR DETAIL INFORMATION ABOUT "SNL"

"Absalom and Achitophel" is a political satire written by John Dryden in the late 17th century, and it is known for its wit and critique of political figures of that time, especially King Charles II and his illegitimate son, the Duke of Monmouth.

In contemporary times, one notable political satire that can be compared to "Absalom and Achitophel" is "Saturday Night Live" (SNL). SNL is a long-running American sketch comedy show that has been providing political satire and commentary for decades. 

CLICK HERE FOR MORE INFORMATIONAL VIDEOS ABOUT POLITICAL SKETCHES ON "SNL"

Here are some key differences when comparing the two:

1. Medium: 

"Absalom and Achitophel" is a poem, while SNL is a television show. This difference in medium allows SNL to incorporate visual humor, impersonations, and real-time commentary through skits, which "Absalom and Achitophel" could not do in the same way.

2. Audience Reach: 

SNL has a wide and contemporary audience due to its television format and online presence, making it more accessible to a broader demographic. In contrast, "Absalom and Achitophel" was primarily read by literate individuals in Dryden's time, limiting its reach.

3. Timing: 

SNL is known for its rapid response to current political events and figures, providing immediate satire. "Absalom and Achitophel" addressed historical events and figures of its time, which were relevant then but not as directly relatable to a modern audience.

4. Humor Style: 

"Absalom and Achitophel" employs a more poetic and formal style of satire, whereas SNL uses humor techniques such as parody, impersonation, and slapstick comedy, catering to a more contemporary sense of humor.

5. Cultural Context: 

Both works reflect the political climate of their respective times. "Absalom and Achitophel" delves into the complexities of the English Monarchy in the late 17th century, while SNL satirizes the American political landscape, often with a focus on U.S. Presidents and government officials.

# CONCLUSION:-

Overall, while "Absalom and Achitophel" and contemporary political satire like SNL share the goal of critiquing political figures and events, they differ in their medium, audience reach, timing, humor style, and cultural context, reflecting the evolving nature of political satire over time.

Thank you for reading... 

Happy learning... Exploring... 

JOHN KEATS : AS A ROMANTIC POET

Hello Everyone I am going to write my blog on John Keats as a romantic poet; task given by Megha ma'am. 

# INTRODUCTION/EARLY LIFE:-

John Keats, (born October 31, 1795, London, England—died February 23, 1821, Rome, Papal States [Italy]), English Romantic lyric poet who devoted his short life to the perfection of a poetry marked by vivid imagery, great sensuous appeal, and an attempt to express a philosophy through classical legend.

The son of a livery-stable manager, John Keats received relatively little formal education. His father died in 1804, and his mother remarried almost immediately. Throughout his life Keats had close emotional ties to his sister, Fanny, and his two brothers, George and Tom. After the breakup of their mother’s second marriage, the Keats children lived with their widowed grandmother at Edmonton, Middlesex. John attended a school at Enfield, two miles away, that was run by John Clarke, whose son Charles Cowden Clarke did much to encourage Keats’s literary aspirations. At school Keats was noted as a pugnacious lad and was decidedly “not literary,” but in 1809 he began to read voraciously. After the death of the Keats children’s mother in 1810, their grandmother put the children’s affairs into the hands of a guardian, Richard Abbey. At Abbey’s instigation John Keats was apprenticed to a surgeon at Edmonton in 1811. He broke off his apprenticeship in 1814 and went to live in London, where he worked as a dresser, or junior house surgeon, at Guy’s and St. Thomas’ hospitals. His literary interests had crystallized by this time, and after 1817 he devoted himself entirely to poetry. From then until his early death, the story of his life is largely the story of the poetry he wrote.

# LITERARY CAREER:-

Charles Cowden Clarke had introduced the young Keats to the poetry of Edmund Spenser and the Elizabethans, and these were his earliest models. His first mature poem is the sonnet “On First Looking into Chapman’s Homer” (1816), which was inspired by his excited reading of George Chapman’s classic 17th-century translation of the Iliad and the Odyssey. Clarke also introduced Keats to the journalist and contemporary poet Leigh Hunt, and Keats made friends in Hunt’s circle with the young poet John Hamilton Reynolds and with the painter Benjamin Haydon. Keats’s first book, Poems, was published in March 1817 and was written largely under “Huntian” influence. This is evident in the relaxed and rambling sentiments evinced and in Keats’s use of a loose form of the heroic couplet and light rhymes. The most interesting poem in this volume is “Sleep and Poetry,” the middle section of which contains a prophetic view of Keats’s own poetical progress. He sees himself as, at present, plunged in the delighted contemplation of sensuous natural beauty but realizes that he must leave this for an understanding of “the agony and strife of human hearts.” Otherwise the volume is remarkable only for some delicate natural observation and some obvious Spenserian influences.

In 1817 Keats left London briefly for a trip to the Isle of Wight and Canterbury and began work on Endymion, his first long poem. On his return to London he moved into lodgings in Hampstead with his brothers. Endymion appeared in 1818. This work is divided into four 1,000-line sections, and its verse is composed in loose rhymed couplets. The poem narrates a version of the Greek legend of the love of the moon goddess (variously Diana, Selene, and Artemis; also identified as Cynthia by Keats) for Endymion, a mortal shepherd, but Keats puts the emphasis on Endymion’s love for the goddess rather than on hers for him. Keats transformed the tale to express the widespread Romantic theme of the attempt to find in actuality an ideal love that has been glimpsed heretofore only in imaginative longings. This theme is realized through fantastic and discursive adventures and through sensuous and luxuriant description. In his wanderings, Endymion is guilty of an apparent infidelity to his visionary moon goddess and falls in love with an earthly maiden to whom he is attracted by human sympathy. But in the end the goddess and the earthly maiden turn out to be one and the same. The poem equates Endymion’s original romantic ardour with a more universal quest for a self-destroying transcendence in which he might achieve a blissful personal unity with all creation. Keats, however, was dissatisfied with the poem as soon as it was finished.

Romantic poet John Keats's writing style consisted of the use of imagery personification, metaphors, and alliteration. Keats worked to create musical connotation in his works.

Watch this videos for more important information,.. 

# MAJOR WORKS OF JOHN KEATS:-

• Ode on a Grecian Urn
• Ode to a Nightingale
• To Autumn
• Ode on Melancholy
• Ode to Psyche
• The Eve of St. Agnes
• Endymion
• Bright star, would I were stedfast as thou art
• On First Looking into Chapman's Homer
• Hyperion
• Lamia
• Bright Star: The Complete Poems and Selected Letters
• A Song About Myself
• On First Looking into Chapman's Homer
• Ode on Indolence
• Complete Poems and Selected Letters
• On the Grasshopper and Cricket
• The Poetry of John Keats

>  So let's discuss his one of the most famous work "An Ode to a Nightingale",.. 

# Summary of " Ode to a Nightingale; by John Keats",.. 

Ode to a Nightingale’ was written in 1819, and it is the longest one, with 8 stanzas of 10 lines each. It was written at Charles Brown’s house, after John Keats(Bio | Poems) was struck by the melancholy singing of a nightingale bird, and it travels through the cabal of the Greek gods, all the while emphasizing the feeling of melancholy – a tragic and often very Greek emotion that Keats would have no doubt learned through his readings.

# ANALYSIS OF "ODE TO A NIGHTINGALE; BY JOHN KEATS",... 

The poem itself is very unhappy; Keats is stunned at the happiness of the bird and despairs at the difference between it and its happiness and his own unhappy life. At the start of ‘Ode to a Nightingale,’ the heavy sense of melancholy draws allusions to ‘Ode on Melancholy,’ and Keats – despite the death imagery – does not really want to die. The conflicted nature of human life – a mixture of pain/joy, emotion/numbness, the actual/the ideal, etc. – dominates the poem, so much so that, even at the end, it is unclear whether or not it happened – ‘do I wake or dream?’

It can also be assumed that the heavy imagery of death and sickness could hark back to his experiences taking care of his elder brother, who died of tuberculosis under John Keats’ care. The unhappiness, however, that Keats feels in the poem is not necessarily miserable – Keats writes that he has been ‘half in love with easeful Death’, and describes the joy of listening to the nightingale’s song in a sort of euphoria. It can therefore be considered that Keats would rather forget his unhappiness than die: the references to Hemlock, and Lethe, solidify this argument, as both would blur the memory enough to allow Keats to forget.

There are heavy allusions to mythology: Lethe, the river of forgetting that flows through the underworld; Hippocrene, the fountain of the Muses made by Pegasus’ hooves which brings inspiration; dryads, the spirit protectors of the forest; Bacchus, god of wine and debauchery; Ruth and the corn-field is a reference to the book in the Bible; hemlock, the poison that killed Socrates; Flora, the Roman goddess of nature.

Nature and imagination are shown to be a brief reprieve from human suffering, hence the song of the nightingale, and its impressions. There is also a shift from reality to idealism: Keats says that he would like to drink from ‘a draught of fine vintage’ (a very fine wine) and transport himself to the ideal world that the nightingale belongs to. He states that he will not be taken there by Bacchus and his pards (Bacchanalia, revelry, and chaos) but by poetry and art. Keats then goes on to describe his ideal world, making reference to the ‘Queen Moon’ and all her ‘starry-eyed Fay’ – however, Keats cannot actually transport himself into this world, and the end of the nightingale’s song brings about the end of his fantasy. ‘Country green’, ‘Provencal song’, and ‘sunburned mirth’ all point to a highly fantastical reality, especially considering the status of the world at the time, and the mythological references help to maintain a surreal, dreamlike state throughout the entire poem and to charge Keats’ fantasies with identifiable ideas and figures.

Keats uses the senses heavily in all his poetry, relying on synaesthetic descriptions to draw the reader into ‘Ode to a Nightingale’. It works especially well here because Keats’ fantasy world is dark and sensuous, and he ‘cannot see what flowers are at my feet’; he is ‘in embalmed darkness’. The darkness may have helped his imagination to flourish and furnish his ideal creation, as well as lending a supernatural air to ‘Ode to a Nightingale’.

The drowsiness comes from the longing to flee the world and join the nightingale – to become like the nightingale, beautiful and immortal and organic – and after rejecting joining the nightingale through Bacchanalian activity, he decides that he will attempt to join the bird through poetry. Thus, the rapture of poetic inspiration matches the rapture of the nightingale’s music and thereby links nature to poetry to art (nature as art and beauty, a Romantic ideal). He calls the bird ‘immortal’, thereby also stating that nature will survive man.

The bird’s song translates inspiration into something that the outside world can understand; like art, the nightingale’s singing is changeable and renewable, and it is music that is ‘organic’, not made with a machine. It is art, but art that cannot be viewed and has no physical form. As night shifts into the day – shifting from the supernatural back into fact – the bird goes from being a bird to a symbol of art, happiness, freedom, and joy, back to being a bird. It is contrasted, in the third stanza, by the reality of the world around him – sickness, ill health, and conflict.

The first half of ‘Ode to a Nightingale’ represents the way man was – the pleasurable moments of life that overwhelm and leave a gap behind when they’re over; the second half is maturity, and understanding truth, which leads to pleasure but also leads to pain.

In the end, Keats realizes that merging with the ‘embalmed darkness’ means dying, giving himself up completely to death, and becoming one of the worlds that he admires, however, it would mean that he can no longer hear the nightingale and would be farther away from beauty. Neither life nor death is acceptable to Keats. He belongs nowhere.

CLICK HERE FOR EXPLANATION OF ODE TO A NIGHTINGALE

Thank you for reading... 

Happy learning... Exploring.. 

THE RAPE OF THE LOCK

 

Hello everyone, I'm going to write a blog on "The Rape of The Lock; written by Alexander Pope"

So let's start with introduction of "Alexander Pope",... 

Alexander Pope, (born May 21, 1688, London, England—died May 30, 1744, Twickenham, near London), poet and satirist of the English Augustan period, best known for his poems An Essay on Criticism (1711), The Rape of the Lock (1712–14), The Dunciad (1728), and An Essay on Man (1733–34). He is one of the most epigrammatic of all English authors. And his major works are, 

•“An Epistle to Dr. Arbuthnot” 

• “An Essay on Criticism” 

• “An Essay on Man” 

• “Eloisa to Abelard” 

• “Epistle to the Right Honourable Richard Earl of Burlington” 

• “Memoirs of Martinus Scriblerus”

 • “The Dunciad” 

 • “The New Dunciad”

 • “The Rape of the Lock” 

• “Windsor-Forest”

So now let's discuss 4 questions which are given by Vaidehi ma'am in task activity,.. 

CLICK HERE FOR MORE BIOGRAPHICAL INFORMATION OF ALEXANDER POPE

Que:1 According to you, who is the protagonist of the poem Clarissa or Belinda? Why? Give your answer with logical reasons.

ANS. 

The poem "The Rape of the Lock" by Alexander Pope does not have a clear-cut protagonist in the traditional sense. Instead, the poem is a satirical mock-epic that playfully exaggerates the trivialities of high society. However, if one were to choose a character who is more central to the poem's events, it would be Belinda. Here are some logical reasons:

1. Title Emphasis: 

The poem's title, "The Rape of the Lock," centers around the violation of Belinda's lock of hair, which becomes the central incident of the narrative. This title suggests Belinda's importance.

2. Narrative Focus: 

The poem predominantly revolves around Belinda's actions, emotions, and reactions to the theft of her lock of hair. Her character is explored in greater depth compared to other characters.

3. Symbolic Significance: 

Belinda's lock of hair symbolizes the superficial values and vanities of the aristocracy, which is a central theme of the poem. Thus, her character embodies the satirical critique.

4. Character Development: 

Belinda undergoes a transformation in the poem, from a carefree and self-absorbed character to one who realizes the triviality of her concerns. This character development suggests her centrality to the narrative.

While Belinda may be considered more central to the events of the poem, it's essential to remember that "The Rape of the Lock" is a satirical work that lampoons the excesses of the upper class, rather than having a conventional hero or protagonist.

Que:2 What is beauty? Write your views about it.

ANS:

Beauty is a complex and subjective concept that varies from person to person and culture to culture. It encompasses both physical attributes and intangible qualities. From my perspective, beauty can be found in various forms:

1. Physical Beauty: 

This refers to aesthetic qualities such as symmetry, proportion, and harmony in a person's appearance. However, it's important to recognize that physical beauty is highly subjective and influenced by cultural standards.

2. Inner Beauty:

 This relates to a person's character, kindness, and the positive qualities that make them attractive on the inside. Inner beauty often shines through one's actions, empathy, and compassion.

3. Nature's Beauty: 

The world is full of natural wonders, from breathtaking landscapes to intricate ecosystems. The beauty of nature can evoke awe and wonder in people.

4. Artistic Beauty: 

Art, in its many forms, can be incredibly beautiful. Whether it's a painting, sculpture, piece of music, or dance performance, art has the power to move and inspire.

5. Intellectual Beauty: 

Ideas, concepts, and the pursuit of knowledge can be beautiful. The elegance of a scientific theory, the depth of a philosophical argument, or the creativity in a literary work all exemplify intellectual beauty.

6. Emotional Beauty:

 Moments of profound emotion, such as love, friendship, or even a simple act of kindness, can be beautiful experiences that enrich our lives.

In essence, beauty is a multifaceted concept that encompasses the physical, emotional, intellectual, and artistic aspects of life. It's a deeply personal and culturally influenced perception that can be found in many facets of the world around us and within ourselves.

Que:3 Find out a research paper on "The Rape of the Lock". Give the details of the paper and write down in brief what it says about the Poem by Alexander Pope.

ANS:

CLICK HERE FOR RESEARCH PAPER

QUE:4 Write your views about the significance of hair. Is it symbolic?

ANS:

Hair can hold significant symbolism in various cultures and contexts. It often represents individual identity, cultural identity, and even personal expression. For example, in some cultures, long hair can symbolize strength or spiritual connection, while in others, it may be a sign of rebellion or non-conformity. Additionally, the loss of hair can carry emotional weight, as it is tied to notions of aging or illness. Overall, the significance of hair is subjective and can vary widely depending on cultural, personal, and historical perspectives.

CLICK HERE FOR MORE INFORMATION ABOUT "THE RAPE OF THE LOCK"

Thank you for reading... 

Happy learning... Exploring.. 

POST TRUTH

 Hello everyone here I'm writing a blog on POST TRUTH which is given by Dr. Dilip Barad sir as a part of sunday reading. So let's see the meaning of Post truth... 

# MEANING OF POST TRUTH:-

"Post-truth" refers to a concept where emotional or personal beliefs have a greater influence on people's opinions and decisions than objective facts or evidence. In a post-truth society, individuals may prioritize their feelings and biases over verifiable information when forming beliefs or making decisions. This term gained prominence in discussions about politics and media, where misinformation and appeals to emotion can play a significant role.

# HOW SHOULD WE READ POST TRUTH? 

Reading "post-truth" refers to understanding and navigating a world where emotions, personal beliefs, and opinions often hold more influence than objective facts when shaping public opinion and decision-making. To engage with post-truth content effectively:

1. Critical Thinking: 

Approach information with skepticism. Question the source, context, and evidence behind claims.

2. Diverse Sources: 

Consume news from a variety of reputable sources with different perspectives to avoid echo chambers.

3. Fact-Checking:

Verify information through fact-checking organizations to confirm its accuracy.

4. Media Literacy: 

Educate yourself about media manipulation techniques, such as misinformation, disinformation, and deepfakes.

5. Context Matters: 

Understand the context in which information is presented, as it can significantly impact its interpretation.

6. Emotional Awareness: 

Be aware of how emotions can influence your judgment and decision-making when consuming information.

7. Engage in Civil Discourse: 

Promote respectful discussions and open dialogue to bridge gaps in understanding.

8. Promote Critical Media Literacy: 

Support educational initiatives that teach media literacy and critical thinking skills.

Remember that navigating the post-truth era requires vigilance, critical thinking, and a commitment to seeking truth and facts amid the noise of misinformation and emotional manipulation.

CLICK HERE FOR SHORT INFORMATION ABOUT POST TRUTH

# EXAMPLES OF POST TRUTH:-

These examples illustrate how post-truth phenomena can affect various aspects of society, from politics and science to public health and media:

1. Political Campaigns: 

Politicians may make exaggerated claims or spread false information to manipulate public opinion, regardless of the actual facts.

2. Social Media:

 Misinformation and fake news can spread rapidly on social media platforms, shaping people's perceptions of events or issues.

3. Climate Change Denial: 

Despite overwhelming scientific evidence, some individuals and groups promote the idea that climate change is a hoax or not caused by human activities.

4. Vaccine Misinformation: 

False claims about vaccine safety and efficacy have led to vaccine hesitancy and a decline in vaccination rates in some areas.

5. Conspiracy Theories:

 People may embrace conspiracy theories that lack evidence, such as the belief that the moon landing was a hoax or that a secret cabal controls world events.

6. Alternative Facts: 

The term "alternative facts" was famously used to describe conflicting narratives about the size of a crowd at an inauguration, highlighting the idea that different sides can have their own versions of reality.

CLICK HERE FOR INFORMATION ABOUT 3 BOOKS ABOUT POST TRUTH

# POST TRUTH CONCEPT IS CONSIDER IN VARIOUS FIELDS ALSO,.. 

1. Politics: 

Post-truth politics involves the manipulation of public opinion through emotional appeals, misinformation, and fake news rather than relying on facts and evidence.

CLICK HERE FOR INFORMATION ABOUT POST TRUTH IN POLITICS

2 Media:

 In the age of social media, sensationalism and the rapid spread of unverified information can lead to a post-truth environment in journalism.

3. Science:

 Denial of scientific consensus on topics like climate change or vaccines can be seen as post-truth phenomena when driven by ideology rather than scientific evidence.

4. Healthcare:

 Misinformation and personal beliefs can influence decisions about health and medical treatments, sometimes leading to harmful consequences.

5. Social Media:

 The echo chamber effect on social media platforms can reinforce post-truth beliefs by exposing individuals only to information that aligns with their existing views.

6. Advertising: 

Marketers may use emotional appeals and exaggerated claims rather than presenting accurate information to sell products or services.

7. History and Education:

 Revisionist history or the promotion of biased educational materials can contribute to a post-truth understanding of historical events.

8 .Religion:

 Some religious beliefs may be based on faith rather than empirical evidence, contributing to a post-truth aspect in religious discourse.

CLICK HERE FOR INFORMATION ABOUT "BEING RELIGIOUS IN A POST TRUTH WORLD" BY JONATHAN L. BEST FROM TED. ED

9. Economics: 

Economic decisions influenced by political ideologies rather than data-driven analysis can lead to post-truth economic policies.

These fields and others can experience post-truth elements when subjective beliefs and emotions overshadow objective facts and evidence in shaping public discourse and decision-making.

# CONCLUSION:-

In an era where facts can be distorted, manipulated, and obscured, the concept of "post-truth" challenges our fundamental understanding of reality and communication. It underscores the need for critical thinking, media literacy, and a renewed commitment to objective, evidence-based discourse. To navigate this complex landscape, we must value truth as a cornerstone of democracy and seek to bridge the divides that arise from divergent narratives. Ultimately, in confronting the challenges of the post-truth era, the pursuit of truth remains not only an intellectual endeavor but also a moral imperative for a more informed and just society.

Thank you for reading... 

Happy learning... Exploring... 

JOHN DRYDEN AS A FATHER OF CRITICISM

                            (1631-1700) 

Hello everyone here I'm writing a blog on 'Dryden as a Father of Criticism', & 'The difference between definition of Aristotle's tragedy and Dryden's Play.'

CLICK HERE FOR BIOGRAPHICAL INFORMATION OF DRYDEN

# First let's discuss "Dryden As A Father Of Criticism"..... 

Jonson the first English critic but Dryden the Father of English Criticism. It was Dr. Johnson who conferred the title of ‘The Father of English Criticism’ on Dryden. Saintsbury, T.S. Eliot and dozens of other modern critics support Dr. Johnson’s views. Of course by saying that Ben Jonson is the first critic of England Dryden’s position has not been degraded. That remark is based on the historical priority of Jonson and not on originality of ideas or novelty of critical precepts propounded by him. However, no one can deny that the younger contemporary of Shakespeare faced boldly the practical problems of the literature and literary aspirants of the day. Jonson exhibited sturdy independence of spirit and displayed “liberal classicism” entitling him to the position of being the first English critic.

Dryden admired Jonson for various reasons but not for any merit of originality whatsoever. In what is called a critical work, namely, his Discoveries, Jonson was ruthless in his ‘‘liberal classicism” whereas Dryden was highly tolerant. If it is a question of critical output, Jonson’s was limited in critical range and sketchy and meager in output. Dryden was fortunately in possession of a rich and diverse literary tradition behind him enabling him to produce quantitatively prolific and qualitatively more urbane critical output. This fact entitles him to the position of the father of English practical criticism.

Dryden’s bold and free spirit. Dryden’s affection for English literature was indisputably deep and he had the courage of conviction. He could never stomach the trivialities of the French critical theorists of his day who were over-scrupulous and meticulous about some stipulated rule and definitions. Dryden was not unaware of the rich variety of life as a consequence of the abundance of genius, rendering these inhibiting rules and regulations incompatible. Professor Scott James aptly expresses how Dryden was successful in realizing and hence clearing for himself the ground by brushing away all arbitrary bans upon freedom of composition and thought. The fact that the tragi-comedy of the sixteenth and seventeenth-century English playwrights which mingled mirth with serious plots did not find favor with their French counterparts could not be a reason for forbidding that type of play itself. The boldness exhibited by Dryden in refusing to render slavish homage to Aristotle is also commendable because he clearly points out that Aristotle himself would have appreciated tragicomedies if only he had seen those English plays directly in the same manner as the works of Sophocles and Euripides which formed the basis for his Rhetoric and Poetics.

Dryden’s mastery of all types of criticism. Careful analysis of existing literary works can be termed “Descriptive Criticism”. As George Watson the author of The Literary Critics has explained, it is John Dryden the author of Essay of Dramatic Poesy who has given us a fine specimen of descriptive criticism. Dryden’s literary strength and skill has been exquisitely displayed in this work as well as in his Preface to the Fables. There is no other literary giant who has more confidence in his own power and clarity of vision. He has clearly analyzed and tried to estimate and appraise all dogmatic rules and principles.

There are two other types of criticism, namely, “legislative criticism” which supplies the poet with stock material for discriminating what to write from what not to write and for comprehending the better and more graceful ways of writing. Another type, namely, ‘‘theoretical criticism” deals with the aesthetic aspects of literature. Dryden’s works have enough examples in them to convince any later critic how much he is indebted to Dryden for the full comprehension of the different aspects of literature.

The following lines of exquisite excellence from Dryden should be carefully considered by any serious student of literary criticism—“Let us therefore admire the beauties and heights of Shakespeare without falling after him into a carelessness and I may call it a lethargy of thought for whole scenes together. Let us imitate as we are able the quickness and easiness of Fletcher without proposing him as a pattern to us, either in the redundancy of his matter or the incorrectness of his language.... Let us ascribe to Jonson the height and accuracy of judgment in the ordering of his plots, his choice of characters and maintaining it to the end. But let us not think him a perfect pattern of imitation except it be in humor; for love, which is the foundation of all comedies in other languages, is scarcely mentioned in any of his plays. And for humor itself the poets of this age will be more wary than to imitate the meanness of his persons. To conclude all, let us render to our predecessors what is their due without confining ourselves to a servile imitation of all they write and without assuming ourselves the title of better poets. Let us ascribe to the gallantry and civility of our age, the advantages we have above them and to our knowledge of the customs and manner of it, the happiness we have to please beyond them.” This brilliant analysis of the three great dramatists of the Elizabethan age clearly points out that despite the fact that Dryden was fully conscious of the natural greatness of Shakespeare, the artistic vigor of Jonson and the stylistic elegance of Fletcher, he is not at all blind to their shortcomings and limitations.

Pioneer of comparative criticism. Another point to remember is the fact that Dryden also opened the new field of comparative criticism wherein he emphatically points out that the disposition of mankind varies at different times in the History of Man. Hence it involves variations in taste and art. In the History of World Literature, master-minds and giants of letters have their respective places, be they Sophocles and Euripides or Shakespeare and Fletcher and they enjoy their own manner of success and reputation.

As pointed out by Professor David Daiches in his Critical Approaches to Literature, Dryden’s ability to read any work under consideration with full and sympathetic understanding is superb. Personal bias and prejudice is scrupulously avoided by him with remarkable ability. His appraisal of Chaucer, Shakespeare etc. is epigrammatically attractive of attention and remarkably expository of the salient features of the concerned works. May these be noted: “Chaucer is a rough diamond and must first be polished ere he shines - Chaucer is a perpetual fountain of good sense, learned in all sciences and therefore speaks properly on all subjects”. What he says of Shakespeare is also truly characteristic of Dryden. “He was the man who of all modem and perhaps ancient poets had the largest and most comprehensive soul. Those who accuse him to have wanted learning give him the greater commendation; he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards and found her there.” He considers Jonson as the most learned and judicious writer who ever wrote for the stage. The way in which Dryden compares these two stalwarts of the dramatic field is worth careful study: “I must acknowledge him (Jonson) the more correct poet but Shakespeare the greater wit. Shakespeare was the Homer or Father of our dramatic poets; Jonson was the Virgil, the pattern of elaborate writing. I admire him but I love Shakespeare”. As Professor Daiches has observed, “the judicial balancing of virtues and faults, the sense that each of these writers has his own special gifts and is not necessarily to be censured for lacking qualities which another may have, the ability to summarise the total achievement of a writer, are all marks of a great critic.”

Dryden’s prose. Above all, Dryden’s inimitable prose adds pungency to his critical pronouncements. Dr. Johnson was a great admirer of Dryden’s prose. He says: “They (Dryden’s prose passages) have not the formality of a settled style in which the first half of the sentence betrays the other. The clauses are never balanced nor the periods modeled; every word seems to drop by chance though it falls into its proper place. Nothing is cold or languish; the whole is airy, animate and vigorous; what is little is gay, what is great is splendid. Everything is excused by the play of images and sprightliness of expression”.

Conclusion. His native sensibility, his classical liberalism, his catholicity of taste and broadness of outlook, his conversational ease, his animate and easy style, the gentlemanly tone all these entitle Dryden to the position of the Father of English Criticism.

# NOW LET'S DISCUSS THE DIFFERENCE BETWEEN DEFINITION OF ARISTOTLE'S TRAGEDY AND DRYDEN'S PLAY,.. 

Definition of Aristotle's Tragedy:-

(Here are 6 formative elements of a tragedy) 

“Tragedy,” says Aristotle, “is an imitation [mimēsis] of an action that is serious, complete, and of a certain magnitude…through pity and fear effecting the proper purgation [catharsis] of these emotions.” Ambiguous means may be employed, Aristotle maintains in contrast to Plato, to a virtuous and purifying end.

(For more Here is a tragic plot structure of Aristotle,) 

Aristotle, the ancient Greek philosopher, defined tragedy in his work "Poetics." According to him, a tragedy is a form of drama that involves the downfall of a noble or virtuous character due to a flaw in their character, known as hamartia. Aristotle's principles of tragedy include the concept of catharsis, where the audience experiences emotional purgation and empathy for the tragic hero's suffering. He also emphasized the importance of unity of time, place, and action in a tragedy.

1.Character Focus: 

Aristotle's definition of tragedy centers around the tragic hero, a noble or virtuous character with a fatal flaw (hamartia) that leads to their downfall. The audience experiences catharsis, a purging of emotions, through witnessing the hero's suffering.

2. Morality and Virtue: 

Aristotle emphasizes the moral and ethical aspects of tragedy. The hero's suffering is often a result of a moral error or character flaw, highlighting the consequences of one's actions and decisions.

3. Unity of Time, Place, and Action: 

While Aristotle didn't insist on strict unity, he did suggest that a tragedy should have unity of time (occurring within a single day), unity of place (in one z), and unity of b (a  n, continuous plot).

4. Pity and Fear:

 Aristotle believed that a successful tragedy should evoke feelings of pity and fear in the audience. Pity for the hero's undeserved suffering and fear of a similar fate.

Click here for more and detail explanation of Aristotle's definition of Tragedy

Definition of Dryden's Play:-

"A play ought to be a just and lively image of human nature, representing its passions and humours, for the delight and instruc."

# Dryden's Play:-

1.Unity of Time, Place, and Action: 

John Dryden, an English playwright during the neoclassical period, adhered rigorously to the "three unities." His plays took place in a single location, within a day, and had a unified plot. This was in contrast to Aristotle's more flexible approach.

2. Heroic Drama: 

Dryden was known for his heroic dramas, which often featured noble and virtuous characters but didn't necessarily lead to their tragic downfall. These characters typically faced external conflicts and often triumphed in the end, differing from Aristotle's tragic heroes.

3. Neoclassical Principles: 

Dryden followed the neoclassical principles of his time, which placed a strong emphasis on reason, order, and adherence to established rules in drama. These principles aimed for clarity, decorum, and a sense of decorum.

4. Emphasis on Language:

 Dryden was known for his skillful use of language in his plays. His works often featured elaborate and poetic dialogue, focusing on wit and eloquence.

In summary, Aristotle's definition of tragedy emphasizes the moral and emotional aspects of a noble character's downfall due to their flaws, while Dryden's plays, following neoclassical principles, prioritize unity of time, place, and action, often featuring heroic characters facing external challenges without the same tragic outcomes. Additionally, Dryden's plays are known for their linguistic sophistication and adherence to the rules of neoclassical drama.

Thank you for reading... 

Happy leaning... Exploring...