AD's English Literature

Political Poetry of W. B. Yeats: Production of Illuminating Poetic Collections

The canvas of Yeats’ Muse is admittedly vast, combining within itself two apparently irreconcilable pigments. With a beginning which is reminiscent of Keats and the Pre-Raphaelites, Yeats moved forward with mighty strides towards the mature phase of the production of illuminating poetic collections which constitute sortie at the rare marvels in English literature. In between this early and the mature stage here is another period—that of transition which is equally reductive of scintillating poetry full of coruscating symbols.

Te bulk of his early poetry is languid, marked by tinge of romanticism and a pronounced note of escapism. It belongs to the dream-world which is essentially irresponsible and which implies an abnegation of the values of this mundane or terrestrial world. Yeats’s early poems are in the Victorian tradition which itself was a development from the Romantic Revival. Tennyson would not have some into being without Keats, Rossetti would not have come into being without Tennyson. Yeats would not have come into being without Rossetti. One of the chief characteristics of this line of poets—in their better poems—is “an autumnal, almost a morbid, langour”. Yeats’s early poems are dreamy, interspersed with poignant nostalgia. He loved to dwell upon the theme of love frustrated. The verbal music of his early poems is also sleepy, keeping in tune with the theme:
“Although our love is waning, let us stand
By the lone border of the lake once more.
Together in that hour of gentleness
When the poor tired child, Passion falls asleep
How far away the stars seem, and how far
Is our first kiss, and ah, how old my heart.”- Ephemera by William Butler Yeats

Historical Advantages of Fielding’s “Joseph Andrews” in the Purview of Novel Writing

 Introduction:

Fielding’s Joseph Andrews begun as a parody of Pamela. In November 1740, Samuel Richardson published his novel, Pamela. Fielding started a parody of this novel. But just as Pamela had grown under its author’s hands into something much larger than the original conception, so the parody grew beyond Fielding’s first intention till it became his first published novel, The History of the Adventures of Joseph Andrews, and of His Friend Mr. Abraham Adams. As Pamela was tempted by her master, Squire Booby, so her brother, Joseph Andrews, is tempted by his mistress Lady Booby, another member, of the family. Clearly, the fun of the inverted situation would soon be exhausted, and Fielding would soon retire of a milksop. Thus, before he had composed his title-page and his preface, Fielding’s whole design had changed. Of Lady Booby, we hear practically nothing after the tenth chapter. Andrews himself slips into the second place, and the principal position in the story is taken by the poor clergyman, Parson Adams.

The Character of Parson Adams:

Twice in the book, Fielding defends himself against the charge of drawing his characters from living originals; but Parson Adams could have been drawn directly from William Young, a clergyman of Gillingham, in Dorset. With all the contradictions in his nature, Parson Adams does not, however, show any of those lapses from verisimilitude which is usually the result of a slavish imitation of life. He is, in truth, one of the immortal characters in fiction. Wherever in fiction, simplicity, self-forgetfulness, charity, and hard riding of a hobby are combined in one person, there will be found traces of Parson Adams. He is often ridiculous ; the absurdist accidents happen to him, for Fielding, though he was nearly thirty-five when the book was published, had not yet lost his love of farce. But just as Cervantes preserved the dignity of Don Quixote, so this novel by preserving the spirit of comedy through all the episodes of farce, preserves the dignity of one of the most lovable of men. In the preface, Fielding ‘expresses the view that the only source of the ridiculous is affectation, arising either from vanity or from hypocrisy. Vanity and hypocrisy were the objects of Fielding’s life-long enmity; but it is unsafe to trust too much to Fielding’s own explanation of his motives. For Parson Adams is certainly free from affectation; and it is this very freedom which gives rise to all his misfortunes.

 Fielding’s Attitude towards Life:

In this novel we find, for the first time, the distinguishing characteristic of Fielding’s attitude towards life— his large-hearted sympathy. Hypocrisy he hated, together with all cruelty and unkindness; but, when he comes to exhibit a hypocrite, a scold, or a rogue of any kind, he betrays a keen interest, sometimes almost an affection, rather than hatred or scorn. Mrs. Slipsiop, that wonderful picture of a sensual, bullying, cringing lady’s-maid Peter Pounce, the swindling skinflint; Mrs. Towwouse, the scolding virago ; Parson Trulliber, the boor and brute—all are satirized genially, not savagely. Perhaps the one character invented by him for whom he shows hatred pure and simple, the one character at whom we are never allowed to laugh, is Blifil in Tom Jones.

What was New in Joseph Andrews:

 Fielding stated on the title-page that Joseph Andrews was “written in imitation of the manner of Cervantes.” By this Fielding meant, of course, that Parson Adams was a quixotic character. But he meant more than that. He meant that he was writing something new in English literature, though familiar to it from translations of Cervantes’s work. He explains, in the preface, that he has written “a comic poem in prose,” with a “light and ridiculous” fable instead of grave and solemn one, ludicrous sentiments instead of sublime, and characters of inferior instead of superior rank. 


Conclusion:

Thus, Fielding attempted to reproduce the common life of ordinary people. Until Joseph Andrews came out, that life had never been represented in English literature with so much sense of character, so keen an interest, and so clear an insight into motives, What the book owes to Cervantes is its form, in which the loosely-knit plot follows the travels and adventures of Adams, Joseph, and Fanny, and is summarily wound up when the author pleases. Fielding’s achievement in the construction was not yet equal to his achievement in the spirit of fiction. Nor could he yet be called the father of the English novel.

Ardhendu De

Reference: https://en.wikipedia.org/wiki/Pamela;_or,_Virtue_Rewarded

John Galsworthy as a Social Propagdandist: A Voice for Economically and Socially Oppressed

Introduction: 

John Galsworthy, the 1932 Nobel Laureate, is best known problem playwright and novelist in the 20th century. His is the collections which treats of a particular social or moral problems so as to make people think intelligently about it. It is usually somewhat tragic in tone in that it naturally deals with painful human dilemmas. It is a kind of writings that, by implication, asks a definite question and either supplies an answer or leave it to us to find. One of his best known plays The Silver Box deals with the inequality of Justice, Strife with the struggle between capital and labour, Justice with the cruelty of solitary confinement, The Skin Game with the different values of the old aristocracy and the newly rich businessman, Loyalties with class loyalties and prejudices and Escape with the inadequacy of the administration of justice and attitude of different types of people toward an escaped prisoner. His dramas frequently find their themes in this stratum of society, but also often deal, sympathetically, with the economically and socially oppressed and with questions of social justice. 

William Shakespeare is Reintroduced for Young Readers in Charles Lamb and Mary Lamb’s "Tales from Shakespeare"

Introduction:

 The romantic wave that swept Europe early in the 19th century also affected children's literature if it were indeed intended for doing so. Primarily these were for the newly educated common mass and the young ones of the upper classes apart for the general intelligentsia. Thus, William Shakespeare is relocated once again in Charles Lamb and Mary Lamb’s Tales from Shakespeare (1807) in simple words without losing the root interest in it. It is very common that a common citizen  much  suffer reading Shakespeare and that they always read simple summaries before reading the original plays, so it was very thoughtful of Lambs to bring a book that contains the most famous plays of Shakespeare retold in a very clear and easy-to-follow style.

Such a revival of interest in the works of English playwright William Shakespeare resulted in one of the most popular children's books, Tales from Shakespeare, a prose adaptation for children, consisting of versions of the Shakespeare stories by essayist Charles Lamb and his sister Mary Ann Lamb. Writing the stories was a project for Mary Lamb while in a sanitarium for murdering her mother. Her brother Charles Lamb faithfully visited his sister every day. They divided the tales up, each wrote half and they would read them to each other.

Shakespeare Simplified:

This is a wonderful introduction to the genius of Shakespeare. Generally, the book is pretty helpful for beginners.  An ESL student usually pick up a certain play and read it from this book before, during or after reading the original play to make sure they understood the play completely and perfectly. The tales in this volume are written for critical summarizations and have become literature in their own right. These stories are a perfect way to introduce new readers to Shakespeare’s plays.

John Galsworthy's Falder in "Justice": How does his Tragedy Prove Social Injustice?

 Introduction:

John Galsworthy's Falder in Justice is not a hero in the Aristotalian or Shakespearen sense. The dramatic action of Justice by Galsworthy revolves around Falder. He is in the middle of our attention of sympathy and pity. He is the tragic hero and the victims of social injustice which we all resent. He is the character of a man who is in the machinery of social injustice.
  

"The Rising of the Moon" by Lady Gregory as a Drama of Patriotism

"MAN [going towards steps]. Well, good-night, comrade, and thank you. You did me a good turn to-night, and I'm obliged to you. Maybe I'll be able to do as much for you when the small rise up and the big fall down . . . when we all change places at the rising [waves his hand and disappears] of the Moon."-The Rising of the Moon 
The Rising of the Moon by Lady Gregory is a play concerning patriotism and struggle for freedom in the background of Ireland political history involving two characters- one the disguised ballad singer and the other the sergeant in search of a run away prisoner. The Rising of the Moon carries a title well chosen from a popular ballad for the Irish Revolutionary who would relay round at the precise moment for same undertaking. Fenian poet John Keegan Casey composed his well known ballad with the following lines:
“Who would follow in their footsteps at the Rising of the moon”

Biographical and Autobiographical Writing in English Text: Preview of It's Journey

Biographical and autobiographical prose is more or less true-to-life stories and often bears great literary merits. They pervade the world of history, philosophy, psychology, ideology, propaganda, untold mysteries, confessions, criticism, travelogues etc. These works are conventionally classified into factual writing and fictional writing, or simply, true and semi true. The present essay deals with biography and autobiography and its truthfulness and literary merits. As a descriptive term, biography and autobiography is completely meaningless, since all story is beyond eyewitnesses when it first appears. Further, if one takes it as applying to all modern perceptions, one soon discovers that they differ so much among themselves that any simple definition of the school will exclude a number of important lies. One perception will emphasize close reading, another symbol, another morality, another psychology, sociology, and till another mythical as of criticism.

Now coming to the terminology into better introspection, the fertile of English biography emerged in the late eighteenth century, the century in which the terms "biography" and "autobiography" entered the English lexicon. The word autobiography was first used deprecatingly by William Taylor in 1797 in the English periodical the Monthly Review, when he suggested the word as a hybrid but condemned it as 'pedantic'; but its next recorded use was in its present sense by Robert Southey in 1809. The form of autobiography however goes back to antiquity. Biographers generally rely on a wide variety of documents and viewpoints; an autobiography, however, may be based entirely on the writer's memory.

A TO Z Literary Principles from History of English Literature: Note 103

A Set of Objective Questions & AnswersUGC NET ENGLISH QUESTION BANK

1.Oxymoron: A figure of speech made up of two seemingly opposite words.

2. John Dryden’s poems that describe the political and social events of the Restoration period: Astraea Redux, in celebration of Charles II’s return to the English throne and Annus Mirabilis giving a spirited account of the great fire in London . The title Annus Mirabilis means the wonders of the year .

3. Absalom and Achitophel: Dryden wrote Absalom and Achitophel. It is a political satire in the form of allegory. The historical figures hidden under the Biblical characters referred to in the title are Charles II, the Duke of York and the Earl of Shaftsbury.

4. Allusion: A passing reference to something outside of a literary work.

5. Restoration: Restoration indicates the restoration of monarchy. Charles II was restored the throne of England after a period of Puritan vale.

Significance of the Dumb Scene (Act III Sc. III) in John Galsworthy’s "Justice"

In John Galsworthy’s play Justice the exercise of social injustice in the name of legal justice has been criticized. And in the dramatic action of the Dumb Scene (Act III Sc. III)  of his play, Galsworthy has portrayed the deep agency of a sensitive prisoner kept in a solitary confinement. With a cudgel in hand here Galsworthy is merciless in his criticism of prison administration that treats prisoners not as humans but as dumb inhabitants of dungeon.


Roman Mob in William Shakespeare's "Julius Caesar" is Itself a Character

Introduction:

 In the group of Shakespearean  Roman plays, Julius Caesar remains an epic making work and like Coriolanus, their other theatrical play, Julius Caesar also has a strong opening scene of a crowd in commotion. In fact, the presence of Roman Crowd in their various characteristics can be felt throughout the play of Julius Caesar. However, it is in the opening scene and in the forum scene that they are actively instrumental in mounding the course of the play. Let us now have a close look of their characteristics under the following heads.

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