Lady Augusta Gregory's "The Rising of the Moon" as an Irish Play of Patriotism


Patriotic Echoes: Unveiling Ireland's Spirit in Lady Augusta Gregory's "The Rising of the Moon"

Authentic Irish Voices: Gregory's Realism

Portrait of Lady Gregory, 1903

THE RISING OF THE MOON
is a beautiful one-act little play, written in 1904 by Lady Augusta Gregory who is best known for irish theme and lifelike  characterization. In fact, Her characters who are
specialized in realistic depictions of their native land are not at all romanticized, but are very realistic--one of her great talents was being able to catch the vocabulary, speech mannerisms and  rhythms of the Irish people, which she studied as she traveled throughout Ireland, seeking its rich oral tradition. In THE RISING OF THE MOON, one sees the deep conflict between the hearts of the Irish people, even those hired as policemen (who also longed secretly, in their heart of hearts, for freedom, as often as not), and their duty to maintain the status quo, with all the English gold and power and "good common sense" behind it.

Principal Features of Old English Language



Old English, a variant of West Germanic, was spoken by certain Germanic peoples (Angles, Saxons, and Jutes) of the regions comprising present-day southern Denmark and northern Germany who invaded Britain in the 5th century ad.  They gradually settle in England and regional dialects developed. Old English major dialects had four divisions– Northumbrain, dialect of  Northumberland, Mercian, subdivisions of the dialects spoken by the Angles, West Saxons , a branch of the dialect spoken by the Saxons; and Kentish, originally the dialect spoken by the Jutes;. West Saxon gradually gained ascendancy and the documents, which enable us to study Old English, are documents of West Saxon. By the 9th century, partly through the influence of Alfred, king of the West Saxons and the first ruler of all England, West Saxons became prevalent in prose literature. A Mercian mixed dialect, however, was primarily used for the greatest poetry, such as the anonymous 8th-century epic poem Beowulf and the contemporary elegiac poems.

An analysis of Bernard Shaw’s play "Arms and the Man" as an anti-romantic comedy


A Critical Examination of Bernard Shaw's Play 'Arms and the Man' as a Subversive Anti-Romantic Comedy

Satirical Deconstruction of Romanticism: Realism, Humor, and Anti-Idealism in 'Arms and the Man'

George Bernard Shaw calls "Arms and the Man," set during a war in the Balkans between the Bulgarians and the Serbians, an anti-romantic comedy. The main purpose of the dramatist is to satirize the romantic conception of life. Shaw has no faith in emotion and sentiment. Throughout the drama he denounces the idealism and insists on realism. He does it through humor of character and humor of situation at the same time.

Satirical Subversion: Shaw's Deconstruction of Romantic Ideals in 'Arms and the Man'

Even the very title signs an anti romantic bearing. Bernard Shaw borrowed the title from the opening line of Virgil’s great epic "Aeneid," which reads as follows: “Arma virumque cano", meaning “Of arms and the man I sing”. Shaw’s obvious purpose was to satirise and puncture the inflated balloons—the romantic ideas about war and love.   

 Deconstructing Romanticism and Challenging Conventions: Bernard Shaw's Subversive Approach in 'Arms and the Man'                                                                                              

This inflated balloons concern themselves with the problems of life—the maladies of society. Bernard Shaw presents those vividly before the audience/readers with a view to bringing about radical changes in the real situation. "Arms and the Man" can definitely be classified as a drama of ideas since it deals with the undesirable presentation of the romantic concept of love and war. Shaw however resorts to Ruritanian romance which takes its name from the imaginary country of Ruritania found in Hope's book. This type of story generally includes intrigue, adventure, sword fights, and star-crossed lovers, ingredients that are all found in "Arms and the Man." However, Shaw inverts the conventions of melodrama and inserts critical commentary on love and war into the cleverly funny lines of his play.

 Unveiling the Comic Irony: Deconstructing Romantic Love and War in Bernard Shaw's "Arms and the Man"

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In "Arms and the Man" the dramatist's intentions are comic irony and the use of anti-climax is the tool through which he achieves his comic intention. Sergius and Raina become comic figures as the insincerity of their romantic love and their romantic attitude is exposed. Raina and Sergius come down to the level of Louka and Bluntschli. The dramatist has succeeded in his comic intention. He shows that war is not heroic but something horrible and brutal because soldiers are not heroes but fools and cowards who fight only because they are compaled to fight. Sergius's heroic victory appears in a comic light when it is discovered that he could win only because the Serbian gunmen had the wrong ammunition with them. Sergius makes love to Louka as soon as Raina's back is turned, soon after "the higher love scene". This way Shaw has shown the flaw of romantic ideals of love and war, his purpose in writing the play. He has given a number of fun and humor for his readers and audience, but same time he has also achieved his serious purpose.

Clash of Ideals: Idealism versus Realism in 'Arms and the Man'

In broad it is the conflict between idealism and realism. The romantic ideal of war as a glorious opportunity for a man to display courage and honor is dispelled when Sergius admits that his heroic cavalry charge that won the battle was the wrong thing to do. His notable action does not get him his promotion and Sergius learns the realism.Much of Bluntschli is made of realism—i.e., keeping chocolates instead of ammunition in his cartridge belt, showing contempt for sentimentality, and reacting in a practical manner to his father's death. However, Nicola is the consummate realist in the play. Nicola's message is: adapt, exploit, and survive. Bluntschli proves to have a romantic side, after all, and thus is the most balanced character in the play in that he seems to know when to temper his romanticism with realism and when to stick to his ideals.

Contrasting Characters: Idealism versus Realism in 'Arms and the Man'

In a set of characters these anti sentimental ideas are imposed on Shavian style. Shaw deliberately created Bluntschli as an anti-hero or unheroic hero, who exposes the false romantic ideas of love and war. He brings all the characters round back to the practical problems of life, doing which, he shows that he is truly heroic in the sense that happiness actually lies in that. He is radically rational and logical in his actions and views about life.G. B. Shaw created Saranoff Sergius as a romantic type made famous by the craze of Byronism in Europe, as a foil to Bluntschli in an obvious attempt to expose the hollowness of the conception of love and war, which, the character of the former believes to live by. Shaw shows that, in reality, Sergius is a romantic fool, a coward, full of contradictions. In spite of his higher love for Raina, he flirts with a maid-servant louka. In practical affairs, he fails utterly. Sergius accidentally won a battle in an unscientific and impractical manner. That is why he was not promoted to higher rank. To protest against this, he tells Catherine that he gave up the job. Now he intends to use his accidental victory to prove his heroism, which, in reality, is false.Shaw presents Raina as a young girl with as head full of false conceptions of love and war. But very quickly she learns the truth as she comes in contact with Bluntschli whom she rightly chooses as her husband free from all the illusions. But above all, Shaw endows her with all the attributes of a woman, of a mother, which Shaw later on necessary for the creation of Superman.

 Conclusion

 Further, Shaw wanted technical novelty for the modern drama which consists in making the spectators themselves the persons of the drama and the incidents of their lives its incidents. He disuses the old stage tricks by which audiences had to be induced to take an interest in unreal people and improbable circumstances.  Shaw believes that the most important peculiarity of modern art is the discussion of social problems. Shaw's greatest gifts are not in the sphere of poetry but in the field of wit, of ideas, of flashing intelligence. He neither can nor wants to imitate other dramatists as a creator of character, because he is too deeply concerned with social problems or issues.  

Key Points Discussed Here👉      
                         
 Bernard Shaw's play "Arms and the Man" stands as a captivating piece that challenges conventional romantic ideals and portrays itself as an anti-romantic comedy. 

Satirical portrayal of romantic ideals: 

Shaw uses satire to mock the idealized notions of love and war prevalent in romantic literature and society. He presents the characters as flawed and exposes the absurdity of their romanticized notions.

Deconstruction of heroism:

 The play subverts traditional notions of heroism associated with soldiers by portraying the protagonist, Captain Bluntschli, as a pragmatic and non-idealized character. He embodies practicality, survival instincts, and a disdain for the romanticized glorification of war.

Reversal of gender roles:

 Shaw challenges traditional gender roles by presenting Raina, the female protagonist, as a strong-willed and assertive character. She challenges societal expectations of passive femininity and engages in witty and intellectual exchanges with Bluntschli.

Critique of social class:

 Shaw critiques the rigid class distinctions of the time by juxtaposing the romanticized upper-class characters with the pragmatic lower-class characters. The play exposes the artificiality of class distinctions and questions the validity of societal hierarchies.

Unconventional love triangle:

 Instead of a conventional romantic love triangle, Shaw presents a complex web of relationships that challenge traditional romantic expectations. The characters' motivations are driven by self-interest, survival, and practicality rather than idealized notions of love.

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References

1. Full text of “Arms and the man; an anti-romantic comedy in three acts.” (n.d.). Full Text of “Arms and the Man; an Anti-romantic Comedy in Three Acts.” https://archive.org/stream/armsthemanantiro00shawuoft/armsthemanantiro00shawuoft_djvu.txt
2. George Bernard Shaw | Biography, Plays, & Facts. (n.d.). Encyclopedia Britannica. https://www.britannica.com/biography/George-Bernard-Shaw

"Break, Break, Break" : a sea elegy written by Lord Tennyson on the death of his university friend Arthur Henry Hallum


Break, Break, Break is a sea elegy written by Lord Tennyson on the death of his university friend Arthur Henry Hallum. Here, the ever-breaking sea, the fisherman's boy, the stately ships, etc. all show the permanence of the world around and yet they remain unaffected by the poet's personal grief. However, the thoughts contained in this elegy are not so elaborate and high as in In Memorium but the Current of thoughts is not less pathetic.

"Adonais" by Percy Bysshe Shelley: Pastoral Elegy on the Death of John Keats


Remembering "Adonais" by Percy Bysshe Shelley: A Pastoral Elegy for John Keats

Adonais: A Poetic Lament and Tribute to a Valuable Life

Pastoral Elegy is a song of grief in which the poet in the guise of a Shepherd mourns the death of some dear and near ones who are also presented as a Shepherd. As it is already stated, pastoral elegists mourn a subject by representing the mourner and the subject as shepherds in a pastoral setting. Representing all these conventions, Adonais is a Pastoral Elegy. It has been criticized on the ground that the expression of grief in it is not sincere, for one who sincerely mourns expresses his grief directly and does not run after metaphors or figurative expression (the dreams and fancies of Adonais as his mourners, to bring in the mountain shepherds, and to personify the power of nature may be good poetry but it is urbanely artificial) But as a matter of fact, Adonais is not an expression of personal sorrow. Shelley never claimed it to be so. It is a lament on the loss of a valuable life as ‘Lycidas’. Also, Keats and Shelley had never been intimate friend, and Shelley did not think highly of any of his of …. than, "Hyperior”.

Shelley's Sympathy and Personal Connection on Keats: Reviewers, and Sincere Grief

    Percy Bysshe Shelley was attracted by Keats because he founded in him a poet of promise, and because his sympathy was aroused of by the story, though wrong, that he had been killed by the brutal attack on his Endymion in the Quarterly Review. That is why we are not told so much of Keats as about the Reviewers who are supposed to have caused the death of a great poet.
However, it will have to be admitted that expression of grief has a greater ring of sincerity that that of Milton in Lycidas, who is more concerned with his friend. Shelley is more sincere than Arnold in Thyrsis, which was written five years after the death of his friend Clough, because Shelley has himself suffered at the hands of the same reviewers. As he himself tells us, he is a ‘partial mean’.

The Pastoral Tradition and Classical Influence in Shelley's 'Adonais': A Unique Elegy for John Keats

Shelley chose the Pastoral convention for his elegy, for he had such noble examples as his precedents as Milton’s ‘Lycidas and Spenser’s ‘Astrephel’. He used the classical form , so that he may connect his theme with the great poetic tradition of the world, and so that the may represent Keats as one of a long series of poets, all native of the same enchanted country and all children of the same mother, uranir.
Though Adonais has lose resemblances with lycidas, which can not be accidental, yet lycidas was not Shelley’s model. He went directly to Greek Masters. Shelley’s elegy is closely modeled upon Bion’s lament of Aphrodite for Adonais. But Shelley has changed the spirit and made the work entirely his own by the touch of his genius.

Pastoral Elements and Modern Departures in 'Adonais': A Subtle Interplay of Tradition and Innovation

As a pastoral elegy, adonais closely follows the classical machinery, of pastoral. It may bed divided into two parts. The first running up to the 38 th stanza, is cast in the pastoral mould ; there is the traditional of invocation to weep, sympathetic mourning in nature, procession of mourner consisting of the flocks of dead Shepherd, and his follow shepherd , personal digression and invective,. In the second part (17 stanza), Shelley strikes a modern note. There us change if mood, and final consolation.
In the first part the poet closely follows the Pastoral convention. There is the traditional invocation to weep; the procession of mourners consisting of the Dreams of Keats represented as him flock, nature objects, and contemporary poets, including Shelley. The portrait that Shelley gives of himself is unique in many ways. The quick succession of abstract images imparts an element of vagueness to the description of Shelley. The inactive (angry or abusive language) is a weak spot in the poem.
It may also be noted that while the general atmosphere is Pastoral, the Pastoral note itself is weaker and thinner, and lee consistent in ‘Adonais” than is the case with ‘Lycidas” and ‘Thyrsis”. In ‘Adonais’ the pastoral note is entirely absent from the first eight stangas , it is shuck for the first time in the ninth stanza, continues till the seventieth stanza, and then ceases for the nest twelve stanzas . It ageing begins in the twentieth stanza, continuer in the magnificent vein for six stanzas, and then dies out altogether.
Percy Bysshe Shelley
In the Second the note of sorrow changes to one of hope and joy. But the change is the not abrupt. It is gradual and the two parts have been artistically blended into a single whole. The transition takes place in the 38th stanza. The readers are asked not to mourn the death of Adonais who wakes a sleep with the part of the eternal. This thought reminds us of, naught we known of death, of the 20th stanza. In this way the two parts run into each other and the artistic unity of the whole is maintained.

Conclusion

The greatness ‘Adonais” are due primarily to that part of it, which steers clear of Pastoral convention.” It is so because in the first part Shelley’s fancy was chained down by the shackles of convention and in the second part he, ‘Soars aloft mighty wings”.
Thus the following point proves that Adonais is a Pastoral elegy.  Not only that, the in-depth use of the Spenserian stanza contributes much to the artistic perfection of this elegy.
References

Adonais : Shelley, Percy Bysshe, 1792-1822 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/adonaisshelley00shelrich

Critical Analysis of Rabindranath Tagore’s poem “Where The Mind Is Without Fear”


RabindranathTagore's writing is highly imagistic, deeply religious and imbibed with his love of nature and his homeland. RabindranathTagore’s poem, ‘Where the Mind is Without Fear’ ,included in the volume called Naibedya, later published in English ‘Gitanjali’ is a prayer to a universal father-figure, presumably, God to elevate his country into a free land. Here Tagore defines Freedom as a fundamental system of reasoning of a sovereign state of mind, established or accepted as a guide for governing the man in a nutshell. A freedom fixes the limits and defines the relations of the moral, ethical and powers of the state of mind, thus setting up the basis for life.

The Central Thought of Rabindranath Tagore’s poem "Have you not heard his silent steps? " (Gitanjali Songs Offerings No.45)


Even a cursory reading of RabindranathTagore’s Gitanjali (Songs Offerings) shows its deeply religious and devotional character. The one hundred and three songs in this celebrated book are written in prayers to God and were intended by Tagore as his personal tribute to his maker. Gitanjali has therefore to be valued and cherished as a book of religious poems which undoubtedly lift the reader spiritually and transport him to an altogether different world from the one in which he lives. In numerous occasions in his songs Rabindranath assures many a time that he is absolutely certain that he has been nothing but hollow bamboos, and God has been singing through him. He has been flutes, but the song is not his. It has flowed through them, but it comes from some unknown source. He has not hindered – that’s all he has done. But he has not created it. The paradox! And, in fact it is the power of supreme father.

Critical Commentry on John Keats' ‘La Belle Dame Sans Merci’



‘La Belle Dame Sans Merci’ is one of the finest ballads of art in English poetry. This remarkable baIllad written by John Keats, narrates the fascinating story of a mortal’s love with fairy. It presents the strange way and manners of these enchantresses who use to make fool of men. It is a sad tale of love betrayed; of a knight who was bewitched by her when he was asleep leaving him to wonder in the cold, crazed with love for her. It is thus a tale of melancholic yearnings and unfulfilled desire. It captivates readers with its enchanting and mysterious narrative. Through vivid imagery and evocative language, Keats explores themes of love, illusion, and the destructive power of beauty. However, upon closer examination, one can uncover a darker undercurrent within the poem that challenges conventional romantic notions.

The title word of the poem is in French which means ‘the beautiful woman without love and pity’. The title words are taken probably from a poem written by Alain Cartier, a fifteenth century court poet. The story of Keats poem has also a close resemblance with the medieval ballad called "Thomas the Rhymer" by Thomas of Erceldone. 

The poem unfolds as a dialogue between an unidentified speaker and a knight who has fallen under the spell of a beautiful and merciless fairy. The knight's infatuation with this otherworldly being leads him to a state of desolation and despair. Keats masterfully uses the knight's perspective to convey the seductive allure of the fairy, painting her as a bewitching figure with "wild eyes" and a "lovely face." This imagery highlights the transformative power of love and its ability to blind and ensnare the individual.

Reading out the story of the poem we finds a knight’s disappointed love with a mysterious elfish lady. Once a knight was wondering about in a sad and dejected mood by the side of lake, someone or the poet asked why he looked so pale and haggard. The knight replied that he had met a beautiful lady in the meadows and was fascinated by her looks and beautiful features. She also fell in love with him. Read More Poetry They both ridden horse back till they reached the cave of the fairy. There the lady expressed her love for him and lulled him to asleep. He saw a dream. In the dream he saw pale kings and warriors. All of them told him that the beautiful lady without mercy had captivated him. Their manners of warning terrified him. He woke up. Instead of finding himself in the cave of his lady love, wretchedly he found himself lying by the side of hill. This was the reason why he was pale and haggard. Frustration in love made the lover sad, dejected, pale and haggard looking. 

However, as the poem progresses, a sense of unease pervades the narrative. The fairy's name, ‘La Belle Dame Sans Merci," meaning "the beautiful lady without mercy," foreshadows her true nature. While initially depicted as a symbol of beauty and desire, she ultimately reveals herself to be a manipulative and destructive force. Keats explores the idea that beauty, when used as a weapon, can lead to suffering and heartache.

The poem can be seen as a critique of the idealized concept of love prevalent in Romantic literature. Keats challenges the notion that love is always a positive and uplifting force by presenting a cautionary tale of obsession and loss. The knight's encounter with the fairy becomes a metaphor for the deceptive nature of love, highlighting the dangers of surrendering oneself entirely to passion and desire.

Furthermore, 'La Belle Dame Sans Merci' can be interpreted as a commentary on the power dynamics between men and women. The knight's vulnerability and eventual downfall suggest a loss of agency and control, highlighting the potential for exploitation in romantic relationships. The fairy's enchantment over the knight reflects a sense of male disempowerment, as he becomes a victim of her seductive charm and manipulation.

The story of this love betrayal is set in the middle age and elfish enchantment. But side by side it has a warm human touch. It also reveals Keats’ unrequited love for his beloved Fanny Browne. Read More Poetry Just as the Knight of the poem could not achieve success in his love with the fairy, Keats also could not get success in his love. Thus the poem is marked with a concealed autobiographical note. This is also a beautiful dramatic and narrative poem where the story is narrated in succession of beautiful pictures while Knights languish is drawn in autumnal cold, grey, withered, hopelessness, Knight’s strength has been paralleled with the colour and life of summer. 

In conclusion, John Keats' ‘La Belle Dame Sans Merci’ offers a thought-provoking exploration of love, beauty, and the complexities of human relationships. Through its haunting imagery and narrative structure, the poem challenges traditional romantic ideals, revealing the darker side of passion and desire. By delving into the destructive power of beauty and the potential for exploitation, Keats delivers a poignant critique of societal expectations surrounding love and relationships. Here in the poem there is the land of dreams and the land of reality side by side. The subtle music, narrative charm, simplicity of phrase and economy of expression are the other distinguished features of this poem. To crown all ‘La Belle Dame Sans Merci’ remains as one of the greatest poem in English literature.  

John Keats and Percy Bysshe Shelley : complete poetical works : Keats, John, 1795-1821, author : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/johnkeatspercyby0000unse

Critical Appreciation of T. S. Eliot’s "Preludes" :The Rottenness, the Corruption and Decadence of Contemporary Society



T. S. Eliot’s Preludes , which is included in Prufrock and Other Observations, 1977, a collection of poems ,is frankly satirical of modern society, and the love – theme, when it appears, receives an ironic treatment. The rottenness, the corruption and decadence of contemporary society is exposed with a rare poignancy here. It is not unfair to say that the author has miserably failed here to notice anything positive in life .This, however, does not in anyway reduce the significance of his poems, which are excellent poetic manifestations of the themes through their use of imagery.


            As it is already stated, in his Preludes Eliot depicts starkly the meaningless society of the slums at nightfall and in the mornings, and he might have Boston city in his mind. Simply, it depicts urban landscape expresses disgust with the rootlessness of modern life. The poem presents us with city scenes which mostly depict ugliness and squalor. In fact, any modern city can be identified with it. It vividly throws light upon the decadence of societal values and loosing bonds of humanity. Thus, we can easily identify the subject with that of Charles Louis Philippe’s who wrote about Paris as a city of degradation, poverty and gloom. In terms of several imageries Eliot tries to depict the modern society. There is an emotional unity out of fragmentary impressions and a note of ‘reverie’.

            The poem begins with a description of evening, dull and uninspiring and if we can say so, lifeless winter – its six o’clock – the burnt smell an unpleasant sensation for a modern man:
“ The winter evening settles down
With smell of steaks in passageways.”
 With a set of adjectives the scene appears grimy, withered, vacant, broken and lonely.

            The second stanza shifts to a morning scene where modern men with their false personalities resume their falsified days.
“….. With all its muddy feet that press
To early coffee stands.
With the other masquerades
That time resumes…………”

            The third stanza is more vivid with imagery. The stanza begins with the word ‘you’ which probably suggests as prostitute or a modern man. A modern man like that of a prostitute is no way out of the worn-out bed, backache, and a vivid waiting. With The thousand sordid images of waste soul between the shutters, a modern man lives a life of spend, waste and sentimentality. If a prostitute is selling her physical ruminants, the modern men are paralyzed of salvation or edification. The sparrow in the gutters suggests lechery, a show of spiritual degradation of modern man. Modern man finds himself on the verge of extinction on the bed’s edge. He hardly understands the goal of his life, roaming along the streets:
“you had such a vision of the street
As the street hardly understand;”

            The last stanza again shifts to evening in a balancing form. The spiritually starved modem man in their shabby surrounding find their mean in certain certainties i.e. small material gain. The poet is so moved by the dearth of spiritually in urban life that he feels the spiritual agony of the world like that of Christ:
“ I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.”

Thus in Preludes Eliot finds degeneration, decay, monotony in contemporary human life vividly portraying the metaphysical emptiness of men in modern metropolis. However he is determined to redeem the soul like “ancient women gathering fuel in vacant lots.” It looks like a vain attempt to do so. It’s a wait like Sicilian myth; we really feel pity for ourselves for the helpless and lonely situation of ours.

Key Points Discussed Here:

"The Love Song of J. Alfred Prufrock" showcases an aging romantic, trapped in a decaying society of superficial refinement, where pretense and appearance mask the underlying decay of genuine emotions and connections.

👉The Frustration of Paralysis: Prufrock's internal conflict and self-doubt hinder him from taking action or expressing his true desires, resulting in a state of stagnation and frustration.
👉The Loneliness of Modern Life: Prufrock's inability to connect with others and his profound sense of isolation highlight the alienation and disconnection prevalent in a modern, urbanized society.
👉The Boredom of Routine Existence: The poem explores the monotony and repetitiveness of Prufrock's daily life, portraying a sense of ennui and longing for something more meaningful and vibrant.
👉The Decay of Tradition and Morality: The poem critiques the decaying societal norms and values, presenting a world of pseudo-gentility where appearances and superficiality overshadow genuine emotions and authenticity.
👉The Fear of Rejection and Mortality: Prufrock's fear of rejection and his obsession with his own mortality contribute to his hesitancy and unwillingness to seize opportunities and fully engage with life.


References
1. The Love Song of J. Alfred Prufrock by T. S. Eliot | Poetry Magazine. (n.d.). Poetry Magazine. https://www.poetryfoundation.org/poetrymagazine/poems/44212/the-love-song-of-j-alfred-prufrock
2. The Love Song of J. Alfred Prufrock - Wikipedia. (2010, July 9). The Love Song of J. Alfred Prufrock - Wikipedia. https://en.wikipedia.org/wiki/The_Love_Song_of_J._Alfred_Prufrock

"Spring Offensive" of Wilfred Owen: Offensive and Its Outcome


 Wilfred Owen masters the group of war poets who have the first hand experienced of modern war fare. ‘Spring Offensive’ like other poems of Owen, is an eloquent protest against the cruelties and horror of war and it is drawn on Owen's own experience of the Anglo French offensive launched in April 1917 to attack the Germans who took shelter behind the river Somme in France.

"The Lake Isle of Innisfree" by W. B. Yeats: Prompted by Home Sickness


Introduction:

Lough Gill pic. by  Oliver Dixon- geograph.org.uk 

W. B. Yeats was in London when he wrote "
The Lake Isle of Innisfree" in 1890. The poem was prompted by a feeling of home sickness. Innisfree is a small island in Lough Gill, County Sligo, Ireland where as a young man Yeats had dreamed of a smooth life close to nature. He was standing on an actual London pavement (the pavements grey) when a jet of Walter in a chemist shop set him dreaming of this island.

A poem of escape in a sense:

In a sense this is a poem of escape. The poet wants to go away from the weary world of stress and strain to the peaceful island of Innisfree. The poet wants to go instantly with a heartfelt hyperbolic desire. In there he would build a cottage of clay and wattles and plant the nine bean-rows He would also have a hive for honey-bees.  All these suggest a self-sustaining and harmonious life close to nature. Peace and tranquility that he pines for will be enjoyed there:
 
"I WILL arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean rows will I have there, a hive for the honey bee,
And live alone in the bee-loud glade."

Yeats finds solace in the tranquility and peace that Innisfree offers. He describes the peacefulness as something that slowly descends upon him, dropping from the veils of the morning. The sounds of nature, such as the singing cricket, the glimmering midnight, the purple glow of noon, and the wings of the linnet, create a serene atmosphere that contrasts with the noise and busyness of the city:

"And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings."

The bee loud glade, the evening full of linnet’s wings, and morning to where the cricket sings – all such epithets convey the intensity of the poet’s desire to get away from the pavements gray of the London city. Though Innisfree looms larger than London in the poem, without the pavements gray it would be a poorer stock:

"....
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements gray,
      I hear it in the deep heart's core."

The opposite and discarded qualities, both of thought and emotion, which can be fused through the efforts of the poetic imagination, are beautifully being drawn here in this poem.

Again, the recurring refrain of "I will arise and go now" emphasizes Yeats' determination to leave his current surroundings and find solace in the natural beauty of Innisfree. He yearns for the sounds of lake water lapping against the shore, which symbolize the call of nature resonating deep within his heart.

A romantic poem:

The young Yeats has the parvenu of the romanticism and his ‘The Lake Isle of Innisfree’ is saturated with the romantic inclination. In fact he has romanticized the nature. In Innisfee he seeks tranquility and peace miles apart from suffering and pain of the world. He likes to sojourn amidst nature and its hue and smoothness. In this poem he amalgamates universality and personal emotion. Yet Innisfree cabin is alone a realm of imagination and on actual it is a Hill near Sligo. Nine bean rows refer to a kitchen garden which shows simplicity and a desire for home. His London is no place. In his cottage the bee loud glade is soothing music to our ear quite contrary to the voice of men. The message is clear that sights and sounds of nature are conclusive of peace. They aid marvel recreation of a mood.

Conclusion:

In term of its music hymning and nature painting "The Lake Isle of Innisfree" is one of the few modern poems that have so much artistry lavished upon them. This short lyric is indeed a spell of an enchanted atmosphere. R. L. Stevenson has rightly said of it( in a letter dated 14 April 1894, Vailima), “It is so quaint and airy, simple and artful and eloquent to the heart”. Again, "The Lake Isle of Innisfree" is a poignant portrayal of homesickness and the desire for a peaceful sanctuary amidst the chaos of the modern world. It reflects Yeats' longing for a simpler existence and a connection with the natural world that he felt was missing in urban life.
     

W B Yeats : a biography with selected poems : Lambirth, Andrew, 1959- : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/wbyeatsbiography0000lamb

Analysis of Lord Tennyson’s "Tithonus" : Immortality Consumes


Lord Alfred Tennyson's poem "Tithonus" explores the theme of immortality and its consequences. The poem tells the story of Tithonus, a figure from Greek mythology who was granted immortality by the gods. However, Tennyson portrays immortality as a curse rather than a blessing, emphasizing its destructive nature.

Lord Alfred Tennyson

Tennyson’s
"Tithonusrelates to the old Greek myth of Tithonus, a very handsome youth and the son of Laomendon, the king of
Troy. The legend tells that Tithonus was loved by the dawn goddess, Eos, who bore him a son, the hero Memnon, king of Ethiopia.  As his beloved was beloved was immortal, he requested her for the gift of immortality, Eos requested Zeus, the king of Gods, to grant this boon to her lover. Though immortality was granted, perpetual youth was not bestowed upon him. Thus Tithonus in his old age withered away to a decrepit and shriveled old man. Thus gradually he became old, infirm and ugly so that he pleaded finally to be released from life. At this given situation, the Tennyson’s "Tithonus" opens with a long soliloquy by title hero.


 The poem begins with an image of the dawn and describes the beauty of the young Tithonus, highlighting his relationship with the goddess of dawn, Aurora. However, as the poem progresses, it becomes evident that Tithonus's immortality has caused him to age and decay while Aurora remains eternally youthful. Tennyson uses vivid language to depict Tithonus's deterioration, describing him as "gray-haired with mortal age" and "withered," contrasting with Aurora's perpetual youth.

Tithonus laments his immortality, expressing his longing for death as a release from his eternal suffering.  Tithonus is trapped in a state of decay, witnessing the cycles of life and death in nature while being denied the release of his own mortality.The entire poem records ‘Tithonus’ yearning for death. The poem begins with the description of the process of death and decay in the nature. Happy are those things that have the book of death, the lover laments and yearns for an end to the relentless passage of time, stating,:
 “The woods decay, the woods decay and fall,
The vapours weep their burthen to the ground,
Man comes and tills the field and lies beneath,
And after many a summer dies the swan.”

          The lover then states his present ‘maimed’ condition before his beloved. He has become a shadow of his erstwhile glory and beauty. By the cruel hand of time he is now a ‘waste’ ‘maimed’ creature. He is now faded ill-suited to be a lover of Kaleidoscopic Eos.

          Now the lover begs, “Let me go, take back thy gift.” The beloved moves into pity and sheds tears. But the gift of immortality once granted by the Gods cannot be reversed. “The Gods themselves cannot recall their gifts.” Once earned immortality is now or cruelty to him. At the end of the poem there is an account of the sad separation of the lovers. The desperate lover now adds that happy are those men who have power to die. Thus he pleads that the happy conclusion of his life would be his death. And even then his graveyard will be visited by the Goddess of Dawn every morning. In a moving words he thus requests–
          “Thou seest all things; thou will see my grave,
          Thou will renew thy beauty morn by morn”.

          Even though Tithonus was a lining being, an earthy substance, he begged immortality to equal himself with the God. His desire was fulfilled but only to mourn in later years. The boon of immortality has gradually consumed his being totally in the late years. In our life both birth and death are two greatest phenomena. As birth is resource of joy, mirth and gala, death is also enjoyable. Mortal being dies only to get release from pains and pangs. But in Tithonus’s case these pains and pangs of the dying years have been made perpetual, so as to extend his agony and frustration on life. The boon of immortality has now become a bane to his life.

The poem concludes with Tithonus recognizing the ultimate irony of his situation. He realizes that immortality has not brought him wisdom or enlightenment, but rather a prolonged and agonizing existence. He pleads with Aurora, asking her to listen to his plea for release from his immortal state, but the poem ends with the haunting repetition of the idea of death.

Overall, Lord Tennyson's "Tithonus" presents a somber and thought-provoking exploration of the consequences of immortality. It portrays immortality as a curse that consumes and deteriorates the body and mind, leaving the immortal trapped in an eternal cycle of decay and longing for release. Through vivid imagery and poignant language, Tennyson invites readers to reflect on the nature of existence and the limitations of human mortality.


References

The complete works of Alfred, lord Tennyson .. : Tennyson, Alfred Tennyson, Baron, 1809-1892 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/completeworksofa00tenn

"How to Buy a House" by Lawrence Durrell: The Character of Sabri Tahir


Introduction:-
 In Durrell’s story How to Buy a House Sabri Tahir appears as the central character with impressive characteristics. With the help of Sabri Tahir the author is able to purchase a house and it is the very story in a nutshell. It is Sabri whose practical ability as a businessman is a cardinal feature of his character and around him revolves the entire story. Now let us sum up his characteristics under the following heads.

"The Mark on the Wall" by Virginia Woolf : Narrated in ‘Stream of Consciousness’ Technique


Virginia Woolf

With Dorothy Richardson, James Joyce, William Faulkner, Virginia Woolf also accepts the stream of consciousness technique in her writing. To record the flaw of consciousness this technique is brought into perfection by certain use of symbols and imagery where plots relegate into the second position. Her present essay
The Mark on the Wall is well distinguished by a capacity for a deep and complex response to the experience of the moment, stressing the subtle to and fro activity of the mind.

  The Mark on the Wall  is narrated using the stream of consciousness technique, which is a narrative style that attempts to depict the continuous flow of thoughts, feelings, and perceptions of a character. In this story, Woolf delves into the mind of an unnamed narrator as they contemplate a mark on the wall of their room. The story unfolds through a series of associative and often fragmented thoughts, giving readers a glimpse into the inner workings of the narrator's mind.

Central Theme of William Shakespeare’s "Sonnet No. 18" (Shall I Compare Thee To a Summer’s Day)


According to Francis Meres, a contemporary of William Shakespeare, “mellifluous and honey-tongued” Bard of Avon who equals to the Roman Ovid, is a master artist of sonnet writing. Out of 154 of such Shakespearean sonnets, the first 126 sonnets are addressed to a handsome youth, his fair friend. The first 126 sonnets reveal “a story of brief intoxication by a friendship with a young aristocrat of quick disillusion; of a renewal of friendly relations on a quite different basis, when Shakespeare was economically independent of a gradual decay of the relationship”. Shall I compare Thee to a Summer’s Day (sonnet No. 18),” which ranks among the most famous love poems of all time can also be read from the above perspective.

Character of Diggory Venn (The Reddleman) in Hardy’s Novel, "The Return of the Native"


The Reddleman's Tale: Unveiling the Heart of Diggory Venn in Hardy’s Novel, "The Return of the Native"

The Scarlet-Clad Philosopher: Diggory Venn

Venn's Journey: Transformation and Redemption

Thomas Hardy

A reddleman is one who sells a red ochre colour to the farmers for redding their sheep. Such a reddleman we find in Thomas Hardy’s Novel, The Return of the Native. In fact, Diggory Venn is the real name of the reddleman. He was a dairy farmer by his profession before he became a reddleman. He is now called the “reddleman” because he deals in reddle, a dye used by sheep farmers; as a result of handling it, his clothes, skin, and everything he owns are dyed red, giving him a devilish look. Such a character Venn functions as an image of the traditional rustics of Egdon Heath with a philosophic essence of love, faith and natural proximity. According to Hardian precept of fate and morality, he is destined to win the race of life in ultimatum.

Diggory Venn, also known as the Reddleman, who plays a significant role in the novel "The Return of the Native" by Thomas Hardy. Throughout the story, Venn undergoes a transformation, displaying qualities of perseverance, loyalty, and love. He is initially portrayed as an outsider, ostracized due to his occupation and appearance. However, as the plot progresses, Venn becomes a catalyst for change, working behind the scenes to help the other characters and ultimately finding redemption for himself. This alternative title highlights Venn's personal journey and the redemption he achieves through his actions and choices.
Venn is a local man that has been in love with Thomasin since childhood. As such, he frequently works behind the scenes to protect her and assure her happiness. The reddleman chanced to meet Thomasin in her wretched condition, while moving about a mile out of Anglebury. She looked pale and faintly sought help from the reddleman and told that she was in trouble and needed his help to ride her down to her name. The girl had returned home alone from Anglebury, where she and Wildeve went to marry earlier in that particular day. But a mistake in the license stopped the marriage. Thus at the first scene we find Thomasin Yeobright inside the reddleman’s van.

Thomasin is Clym  Yeobright's cousin. She is in love with the charismatic Wildeve and is disappointed when he puts off their marriage. She considers marrying Diggory Venn, the reddleman who is in love with her. Yet she takes his devotion for granted and is still attracted to Wildeve. Eventually she does marry Wildeve, but their union is not a happy one. However, Diggory Venn, the reddleman loved Thomasin to the core of his heart and also proposed her. Thomasin Yeobright rejected his proposal and wrote him a letter. But Venn’s love for Thomasin did not wane. He tried her best to ensure Thomasin’s happiness.

In the way of Thomasin’s happiness the only obstruction was the illicit relationship between Eustacia and Wildeve. Venn tries his best to nullify this affair only to secure Thomasin’s happiness. In one instance, When Diggory Venn finds out that Wildeve has been seeing Eustacia, Venn pressures him to marry Thomasin; though it means he cannot have Thomasin for himself, it would be the best thing for her reputation. Moreover, he offers to arrange a job for Eustacia so that Wildeve will go back to Thomasin and make her happy.

In fact, the reddleman’s uncle had been a trustee of a rich widow at Bud mouth for twenty five years and the reddleman offers a job there for Eustacia. The rich lady lived in a beautiful house facing the sea and was looking for a young company keeper as she was old and lame. The lady would jump to get Eustacia and his uncle would arrange everything.

However, Eustacia rejected his offer mainly due to her overwhelming desire of living in a gay town as a sophisticated lady according to her own tastes and interests. She rejected the offer as she would have to work and live at Bud mouth to please others which was likely to lower her present position. A girl like Eustacia is conscious of her freedom and therefore she comes to think of pleasing an old woman below her dignity.

Again For other instances, After Wildeve wins the money that Christian was supposed to deliver to Clym and Thomasin, Venn wins it back and gives it to Thomasin. When Wildeve has run off with Eustacia, Venn helps Thomasin find them. When Venn arrives he jumps in too, pulling out Clym and Wildeve. Wildeve and Eustacia are dead, but the doctor is able to revive Clym.

When he has saved up enough money, Diggory Venn quits the reddle business and buys a large dairy farm. Diggory Venn loved Thomasin unconditionally and remained by her side until she was free to marry him. Eventually he proposes to Thomasin and they marry. The climactic conclusion in the last act pleases general audiences that wanted to see everything turn out all right in the end. Venn receives the pleasures that he truly deserves for his devotional love for Thomasin.
         

   References

     The return of the native : Hardy, Thomas, 1840-1928 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/returnnative03hardgoog  

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