Rasa Theory
Friday, April 5, 2019
Eliot’s concept of “Traditional and Individual talent”
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 7 Literary Theory and Criticism 2 (20th century western and Indian poetics)
Topic: Eliot’s concept of “Traditional and Individual talent”
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 7 Literary Theory and Criticism 2 (20th century western and Indian poetics)
Topic: Eliot’s concept of “Traditional and Individual talent”
Introduction
"Tradition and the Individual Talent" 1919 is an essay written by poet and literary critic T. S. Eliot. The essay was first published in The Egoist 1919 and later in Eliot's first book of criticism, "The Sacred Wood". The essay is also available in Eliot's "Selected Prose" and "Selected Essays".
While Eliot is most often known for his poetry, he also contributed to the field of literary criticism. In this dual role, he acted as poet-critic, comparable to Sir Philip Sidney and Samuel Taylor Coleridge. "Tradition and the Individual Talent" is one of the more well known works that Eliot produced in his critic capacity. It formulates Eliot's influential conception of the relationship between the poet and preceding literary tradition.
While Eliot is most often known for his poetry, he also contributed to the field of literary criticism. In this dual role, he acted as poet-critic, comparable to Sir Philip Sidney and Samuel Taylor Coleridge. "Tradition and the Individual Talent" is one of the more well known works that Eliot produced in his critic capacity. It formulates Eliot's influential conception of the relationship between the poet and preceding literary tradition.
“Time to time it is desirable, that some critic shall appear to review the past of our literature and set the poets and the poems in a new order”. Eliot demands, from any critic, ability for judgement and powerful liberty of mind to identify and to interpret. Eliot planned numerous critical concepts that gained wide currency and had a broad influence on criticism.
This essay divided into three parts. The first is traditional a d Individual Talent, The second is Theory of Depersonalization and the third is Conclusion.
This essay divided into three parts. The first is traditional a d Individual Talent, The second is Theory of Depersonalization and the third is Conclusion.
Only rarely in the history of English literature has a critical essay, such as “Tradition and the Individual Talent,” so changed the way people understand poetry. Anyone who has any real interest in modern poetry—reader, critic, or poet—has had to confront this essay and decide for himself or herself its strengths and weaknesses.
One of the important ways that the essay has altered literary criticism has to do with the meaning of the title’s key words, “tradition” and “individual talent.” In the very first paragraph, Eliot indicates that, by “tradition,” he does not mean what people usually mean in talking about literature; ordinarily, a “traditional” writer is perhaps an old-fashioned writer, one who uses tried-and-true plots and a steady, understandable style. Rather, Eliot uses “tradition” in a more objective and historical sense: His definition of tradition is paradoxical because he says that the historical sense of tradition is a keen understanding of both what is timeless and what is not. A true poet understands “not only the pastness of the past, but . . . its presence.”
This is less confusing than it appears: Eliot simply means that for a poet writing in the tradition—a poet who understands his or her heritage—all the great poetry of the past is alive. When the poet writes a poem, great poems of the past help to enliven the modern work. This dynamic relationship is not finished when the poem is written, however, because the new poem casts a new light on the poems that came before. In the same way that the tradition of great poetry helped shape a new, modern poem, the contemporary poem changes the way one looks at the poems that shaped it.
Another apparent contradiction lies in Eliot’s use of “individual” in “individual talent.” He says that a poet’s true individuality lies in the ways he or she embodies the immortality of poetic “ancestors.” In a sense, poets who know what they are doing “plug into” tradition; electrified by the greatness of the past, they achieve a sharper profile, a greater individuality.
It is important to stress that Eliot is not saying that good poets should simply copy the poetry of the past. In fact, he argues just the opposite: Good poets bring something new into the world—“novelty,” he writes, “is better than repetition”—that makes an important advance on what has come before. To do this, the poet has to know what is truly new and different; a poet can do this only by having a thorough knowledge of the classic and traditional. To have this kind of knowledge means, in turn, that the poet needs to know not only about the poetry of his or her own language but also about the poetry of other nations and cultures.
In a crucial metaphor about midway in the essay, Eliot compares the poet to a catalyst in chemistry. He describes what happens when two gases are combined in the presence of a piece of platinum: A new compound is formed, but the platinum is unaffected. The platinum is the poet’s mind, which uses tradition and personal experience (the two gases) to create a poem. In this kind of literary combustion, the poet remains “impersonal.” That is, he or she manages to separate individual facts of life from the work of art that is being created. As Eliot says, “the poet has, not a ’personality’ to express, but a particular medium,” which is the medium of poetry.
In a third, concluding section of the essay, Eliot draws an important conclusion, one that has been crucial to the way poetry has been studied since the 1920’s. The essay shifts the study of a poem from an emphasis on the poet as a person, to the study of the poem isolated from the poet. After reading this essay, critics would increasingly concentrate on the internal structure of poetry—the tropes, figures, and themes of the work. At the same time, critics would banish the life of the writer from the study of his or her writings; the poet’s personality, as Eliot seemed to imply, was irrelevant to the artwork produced. The peak of this theory was reached with the New Critics and their successors in Britain and the United States from about 1930 through the 1950’s. Later years, however, have seen a waning of the impersonal theory of poetry and a return of the poet to his or her work.
Theory of Impersonality
One of the important ways that the essay has altered literary criticism has to do with the meaning of the title’s key words, “tradition” and “individual talent.” In the very first paragraph, Eliot indicates that, by “tradition,” he does not mean what people usually mean in talking about literature; ordinarily, a “traditional” writer is perhaps an old-fashioned writer, one who uses tried-and-true plots and a steady, understandable style. Rather, Eliot uses “tradition” in a more objective and historical sense: His definition of tradition is paradoxical because he says that the historical sense of tradition is a keen understanding of both what is timeless and what is not. A true poet understands “not only the pastness of the past, but . . . its presence.”
This is less confusing than it appears: Eliot simply means that for a poet writing in the tradition—a poet who understands his or her heritage—all the great poetry of the past is alive. When the poet writes a poem, great poems of the past help to enliven the modern work. This dynamic relationship is not finished when the poem is written, however, because the new poem casts a new light on the poems that came before. In the same way that the tradition of great poetry helped shape a new, modern poem, the contemporary poem changes the way one looks at the poems that shaped it.
Another apparent contradiction lies in Eliot’s use of “individual” in “individual talent.” He says that a poet’s true individuality lies in the ways he or she embodies the immortality of poetic “ancestors.” In a sense, poets who know what they are doing “plug into” tradition; electrified by the greatness of the past, they achieve a sharper profile, a greater individuality.
It is important to stress that Eliot is not saying that good poets should simply copy the poetry of the past. In fact, he argues just the opposite: Good poets bring something new into the world—“novelty,” he writes, “is better than repetition”—that makes an important advance on what has come before. To do this, the poet has to know what is truly new and different; a poet can do this only by having a thorough knowledge of the classic and traditional. To have this kind of knowledge means, in turn, that the poet needs to know not only about the poetry of his or her own language but also about the poetry of other nations and cultures.
In a crucial metaphor about midway in the essay, Eliot compares the poet to a catalyst in chemistry. He describes what happens when two gases are combined in the presence of a piece of platinum: A new compound is formed, but the platinum is unaffected. The platinum is the poet’s mind, which uses tradition and personal experience (the two gases) to create a poem. In this kind of literary combustion, the poet remains “impersonal.” That is, he or she manages to separate individual facts of life from the work of art that is being created. As Eliot says, “the poet has, not a ’personality’ to express, but a particular medium,” which is the medium of poetry.
In a third, concluding section of the essay, Eliot draws an important conclusion, one that has been crucial to the way poetry has been studied since the 1920’s. The essay shifts the study of a poem from an emphasis on the poet as a person, to the study of the poem isolated from the poet. After reading this essay, critics would increasingly concentrate on the internal structure of poetry—the tropes, figures, and themes of the work. At the same time, critics would banish the life of the writer from the study of his or her writings; the poet’s personality, as Eliot seemed to imply, was irrelevant to the artwork produced. The peak of this theory was reached with the New Critics and their successors in Britain and the United States from about 1930 through the 1950’s. Later years, however, have seen a waning of the impersonal theory of poetry and a return of the poet to his or her work.
Theory of Impersonality
T.S. Eliot’s impersonal conception of art and the fullest expression of his classicist attitude towards art and poetry are essentially given by him in his essay Tradition and the Individual Talent.
Eliot explains his theory of impersonality by examining first, the relation of the poet to the past and secondly, the relation of the poem to its author. According to his view the past is never dead, it lives in the present. No poet or no artist has his complete meaning alone.His significance, his appreciation is the appreciation of his relation to the dead poets and artists.” Above all, the artist or the poet has to work in the long established tradition of the literature to which he belongs. We cannot value the poet alone; we must set him for comparison and contrast among the dead poets of his language.
In the next part of the theory he examines the relation of the poet to the poem. According to him, the poem has no relation to the poet. The difference between the mind of a mature poet and an immature one is that, a mature poet has more finely perfected medium. Eliot thinks that the poet and the poem are two separate things. The feeling or emotion or vision resulting from the poem is something different from feeling, emotion, and vision in the mind of the poet. The art emotion is different from personal emotion. In other words the poet should be passive and impersonal.
To explain the theory, Eliot has brought the analogy of chemical reaction. When oxygen and sulphur di-oxide are mixed in the presence of a filament of platinum, they form sulphurus acid. This combination takes place only when platinum is presence. Platinum is the catalyst that helps to process of chemical reaction, but it itself is apparently unaffected. The mind of the poet is the shred of platinum. Its presence may be necessary for partly or exclusively to operate for the combination of the experience in order to give birth to a piece of poetry.
Eliot says that, the business of the poet is not to find new emotions, but to use the ordinary ones and in working them up in poetry, to express feelings which are not actual emotions at all.
The emotion of art is impersonal. It has its life in the poem and not in the history of poets. So, honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry. The biography of the poet is not to be studied; the structure of the poem and its evocation powers are important
Eliot explains his theory of impersonality by examining first, the relation of the poet to the past and secondly, the relation of the poem to its author. According to his view the past is never dead, it lives in the present. No poet or no artist has his complete meaning alone.His significance, his appreciation is the appreciation of his relation to the dead poets and artists.” Above all, the artist or the poet has to work in the long established tradition of the literature to which he belongs. We cannot value the poet alone; we must set him for comparison and contrast among the dead poets of his language.
In the next part of the theory he examines the relation of the poet to the poem. According to him, the poem has no relation to the poet. The difference between the mind of a mature poet and an immature one is that, a mature poet has more finely perfected medium. Eliot thinks that the poet and the poem are two separate things. The feeling or emotion or vision resulting from the poem is something different from feeling, emotion, and vision in the mind of the poet. The art emotion is different from personal emotion. In other words the poet should be passive and impersonal.
To explain the theory, Eliot has brought the analogy of chemical reaction. When oxygen and sulphur di-oxide are mixed in the presence of a filament of platinum, they form sulphurus acid. This combination takes place only when platinum is presence. Platinum is the catalyst that helps to process of chemical reaction, but it itself is apparently unaffected. The mind of the poet is the shred of platinum. Its presence may be necessary for partly or exclusively to operate for the combination of the experience in order to give birth to a piece of poetry.
Eliot says that, the business of the poet is not to find new emotions, but to use the ordinary ones and in working them up in poetry, to express feelings which are not actual emotions at all.
The emotion of art is impersonal. It has its life in the poem and not in the history of poets. So, honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry. The biography of the poet is not to be studied; the structure of the poem and its evocation powers are important
Conclusion
T.S.Eliot spread his concept of Tradition which reflects his reaction against Romantic subjectivism and emotionalism. He describes the concept of historical senses very useful for better understanding of poetic sense or literary sense.At the end, in this third part Eliot says that this essay stops at the starting of mysticism.
T.S.Eliot spread his concept of Tradition which reflects his reaction against Romantic subjectivism and emotionalism. He describes the concept of historical senses very useful for better understanding of poetic sense or literary sense.At the end, in this third part Eliot says that this essay stops at the starting of mysticism.
Development of Novel in Victorian Age
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 6 The Victorian Literature
Topic: Development of Novel in Victorian age
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 6 The Victorian Literature
Topic: Development of Novel in Victorian age
Introduction
When the Victoria became queen in 1837, English Literature seemed to have entered to have entered upon a period of lean years, in marked contrast with the poetic fruitfulness of the romantic age which we just studied. Coleridge, Shelley, Keats, Byron, and Scott passed away and it seemed as if there were no writers in England to fill there places. Elizabeth Barrett had been writing since 1820 but not till twenty years later did her poems became deservedly popular; and Browning had published hisPauline in 1833. It is an age of democracy; it is an age of education of religious tolerance of growing brotherhood and profound social unrest. It is an age of comparative peace. Victorian age is especially remarkable because of its rapid progress in all the arts and science.
Historical Summary
Democracy
Amid the multitude of social and political forces of this great age, four things stand out clearly. First the long struggle of the Anglo-saxons for personal liberty id definitely settled and democracy becomes the established order of the day. The king, who appeared in an age of popular weakness and ignorance, and the peers who came with the Normans in triumph, are both stripped of their power and left as figureheads of a past civilization.
Social Unrest
Second because it is an age of democracy , it is an age of popular education, of religion tolerance, of growing brotherhood and of profound social unrest. The salves had been freed in 1833 but in the middle of the century England awoke to the fact that slaves are not necessarily negroes, stolen in Africa to be sold like cattle in the market place, but that multitude of men, women, and little children in the mines and factories were victims of s more terrible industrial and society slavery.
The Ideal of Peace
Democracy
Amid the multitude of social and political forces of this great age, four things stand out clearly. First the long struggle of the Anglo-saxons for personal liberty id definitely settled and democracy becomes the established order of the day. The king, who appeared in an age of popular weakness and ignorance, and the peers who came with the Normans in triumph, are both stripped of their power and left as figureheads of a past civilization.
Social Unrest
Second because it is an age of democracy , it is an age of popular education, of religion tolerance, of growing brotherhood and of profound social unrest. The salves had been freed in 1833 but in the middle of the century England awoke to the fact that slaves are not necessarily negroes, stolen in Africa to be sold like cattle in the market place, but that multitude of men, women, and little children in the mines and factories were victims of s more terrible industrial and society slavery.
The Ideal of Peace
Third, because it is an age of democracy and education, it is an age of comparative peace. England begins to think less of the pomp and false glitter of fighting and more of its moral evils as the nation realizes that it is the common people who bear but=rden and the sorrow and the poverty of war, while the privileged classes reap most of the financial and political rewards.
Arts and Science
Fourth the Victorian age is especially remarkable because its rapid progress in all the arts and science in mechanical inventions. A glance at any record of the industrial achievements of the nineteenth century will show how vast are, and it is unnecessary to repeat here the list of education have their influence upon the life of a people and it is inevitable that they should react upon its prose and poetry.
Arts and Science
Fourth the Victorian age is especially remarkable because its rapid progress in all the arts and science in mechanical inventions. A glance at any record of the industrial achievements of the nineteenth century will show how vast are, and it is unnecessary to repeat here the list of education have their influence upon the life of a people and it is inevitable that they should react upon its prose and poetry.
Characteristics of The Age
An Age of Prose
The Victorian age is known as the age of prose. Though the age ha produced many poets (Tennyson and Browning) who deserves to rank among the greatest. This is emphatically an age of prose. John Ruskin, Carlyle, Macaulay, Matthew Arnold etc. were almost prose writers of this age.
An Age of Prose
The Victorian age is known as the age of prose. Though the age ha produced many poets (Tennyson and Browning) who deserves to rank among the greatest. This is emphatically an age of prose. John Ruskin, Carlyle, Macaulay, Matthew Arnold etc. were almost prose writers of this age.
Moral Purpose
Moral purpose is keynote of Victorian literature. The literature of this age both prose and poetry seems to depart from the purely artistic standard of ‘ Art for art sake’ and to be actuated by definite moral purpose Tennyson. Browning Carlyle not only masters of literature but also teachers of England. Perhaps for this reason Victorian age is known as age of realism rather than romance.
Idealism
It is some what customary to speak of this age as this age is age of doubt and pessimism following the new concept of man and of universe which formulated by science under the name of evolution. It is spoken about this age that this age is lacked in great ideas. Both these criticism seem to be judging a large thing that may be challenged when we closely study this .We may not agree with above judgments.
New Education
The education acts, making a certain measure of education compulsory, rapidly produced an enormous reading public. The cheapening of printing and proper increased the demand for books as a result from of literature was novel and the novelists with a will much of their works was a higher standard. A large number of reading people waiting for new novels.
An Era of Peace
It is an age of comparative peace. England began to think less of the pomp and false glitter of fighting and more of its moral evils Tennyson who came when the great reform bill occupied attention expresses the ideas of the liberals of his day who proposed to spread the gospel of peace.
Moral purpose is keynote of Victorian literature. The literature of this age both prose and poetry seems to depart from the purely artistic standard of ‘ Art for art sake’ and to be actuated by definite moral purpose Tennyson. Browning Carlyle not only masters of literature but also teachers of England. Perhaps for this reason Victorian age is known as age of realism rather than romance.
Idealism
It is some what customary to speak of this age as this age is age of doubt and pessimism following the new concept of man and of universe which formulated by science under the name of evolution. It is spoken about this age that this age is lacked in great ideas. Both these criticism seem to be judging a large thing that may be challenged when we closely study this .We may not agree with above judgments.
New Education
The education acts, making a certain measure of education compulsory, rapidly produced an enormous reading public. The cheapening of printing and proper increased the demand for books as a result from of literature was novel and the novelists with a will much of their works was a higher standard. A large number of reading people waiting for new novels.
An Era of Peace
It is an age of comparative peace. England began to think less of the pomp and false glitter of fighting and more of its moral evils Tennyson who came when the great reform bill occupied attention expresses the ideas of the liberals of his day who proposed to spread the gospel of peace.
Novelist of Victorian Era
Charles Dickens
Charles Dickens is the most popular novelist of the Victorian era, he has written most of his works as a series in magazines, and he also worked on the post of manager in editor’s office. The narration of Dickens is most of the times in first person narration. His novels have always a perfect narratives and the most important part is his general plan of writing he uses lots of humor in his novels, as per him the best way of telling the factual things is in humorous way. Dickens connects the element of humor with pathos. Dickens serves both imagination and sensitivity very well in his novels. his famous novel
Olive twist
The Old Curiosity Shop
Charles Dickens
Charles Dickens is the most popular novelist of the Victorian era, he has written most of his works as a series in magazines, and he also worked on the post of manager in editor’s office. The narration of Dickens is most of the times in first person narration. His novels have always a perfect narratives and the most important part is his general plan of writing he uses lots of humor in his novels, as per him the best way of telling the factual things is in humorous way. Dickens connects the element of humor with pathos. Dickens serves both imagination and sensitivity very well in his novels. his famous novel
Olive twist
The Old Curiosity Shop
George Eliot; Mary Ann Evans
The young Evans was a voracious reader and obviously intelligent. Because she was not considered physically beautiful, Evans was not thought to have much chance of marriage, and this, coupled with her intelligence, led her father to invest in an education not often afforded women. Through this society Evans was introduced to more liberal and agnostic theologies and to writers such as David Strauss and Ludwig Feuerbach, who cast doubt on the literal truth of Biblical stories. Throughout her career, Eliot wrote with a politically astute pen. Elements from these works show up in her fiction, much of which is written with her trademark sense of agnostic humanism. She had taken particular notice of Feuerbach’s conception of Christianity, positing that our understanding of the nature of the divine was to be found ultimately in the nature of humanity projected onto a divine figure. Her famous work;
Adam Bede
MiddleMarch
The Mill on the Floss
Silas Marner
Romola
Felix Holt, the Radical
Daniel Deronda,
Thomas Hardy
He was highly critical of much in Victorian society, especially on the declining status of rural people in Britain, such as those from his native South West England. Many of his novels concern tragic characters struggling against their passions and social circumstances, and they are often set in the semi-fictional region of Wessex. Considered a Victorian realist, Hardy examines the social constraints on the lives of those living in Victorian England, and criticises those beliefs, especially those relating to marriage, education and religion, that limited people's lives and caused unhappiness. Such unhappiness, and the suffering it brings, is seen by poet Philip Larkin as central in Hardy's works:
His famous work;
The Poor Man and the Lady
Under the Greenwood Tree
Far from the Madding Crowd
The Return of the Native
The Mayor of Casterbridge
The Woodlanders
Wessex Tales
Tess of the d'Urbervilles
Life's Little Ironies
Jude the Obscure
Conclusion
Adam Bede
MiddleMarch
The Mill on the Floss
Silas Marner
Romola
Felix Holt, the Radical
Daniel Deronda,
Thomas Hardy
He was highly critical of much in Victorian society, especially on the declining status of rural people in Britain, such as those from his native South West England. Many of his novels concern tragic characters struggling against their passions and social circumstances, and they are often set in the semi-fictional region of Wessex. Considered a Victorian realist, Hardy examines the social constraints on the lives of those living in Victorian England, and criticises those beliefs, especially those relating to marriage, education and religion, that limited people's lives and caused unhappiness. Such unhappiness, and the suffering it brings, is seen by poet Philip Larkin as central in Hardy's works:
His famous work;
The Poor Man and the Lady
Under the Greenwood Tree
Far from the Madding Crowd
The Return of the Native
The Mayor of Casterbridge
The Woodlanders
Wessex Tales
Tess of the d'Urbervilles
Life's Little Ironies
Jude the Obscure
Conclusion
Victorian period was the most fertile and creative period for English novel. It spread the popularity of novel to every corner of the society
Four Goals of Cultural Studies
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 8 Cultural Studies
Topic: Four Goals of cultural studies
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 8 Cultural Studies
Topic: Four Goals of cultural studies
Introduction
Cultural studies is a field of theoretically, politically, and empirically engaged cultural analysis that concentrates upon the political dynamics of contemporary culture, its historical foundations, defining traits, conflicts, and contingencies. Cultural studies researchers generally investigate how cultural practices relate to wider systems of power associated with or operating through social phenomena, such as ideology, class structures, national formations, ethnicity, sexual orientation, gender, and generation. Cultural studies views cultures not as fixed, bounded, stable, and discrete entities, but rather as constantly interacting and changing sets of practices and processes.The field of cultural studies encompasses a range of theoretical and methodological perspectives and practices. Although distinct from the discipline of cultural anthropology and the interdisciplinary field of ethnic studies, cultural studies draws upon and has contributed to each of these fields.
Cultural studies was initially developed by British academics in the late 1950s, 1960s, and 1970s, and has been subsequently taken up and transformed by scholars from many different disciplines around the world. Cultural studies is avowedly and even radically interdisciplinary and can sometimes be seen as antidisciplinary. A key concern for cultural studies practitioners is the examination of the forces within and through which socially organized people conduct and participate in the construction of their everyday lives.As a result, Cultural Studies as a field of research is not concerned with the linguistically uncategorized experiences of individuals, or, in a more radical approach, holds that individual experiences do not exist, being always the result of a particular social-political context.
Cultural studies combines a variety of politically engaged critical approaches drawn including semiotics, Marxism, feminist theory, ethnography, critical race theory, post-structuralism, postcolonialism, social theory, political theory, history, philosophy, literary theory, media theory, film/video studies, communication studies, political economy, translation studies, museum studies and art history/criticism to study cultural phenomena in various societies and historical periods. Cultural studies seeks to understand how meaning is generated, disseminated, contested, bound up with systems of power and control, and produced from the social, political and economic spheres within a particular social formation or conjuncture. Important theories of cultural hegemony and agency have both influenced and been developed by the cultural studies movement, as have many recent major communication theories and agendas, such as those that attempt to explain and analyze the cultural forces related and processes of globalization.
During the rise of neo-liberalism in Britain and the US, cultural studies both became a global movement, and attracted the attention of many conservative opponents both within and beyond universities for a variety of reasons. Some left-wing critics associated particularly with Marxist forms of political economy also attacked cultural studies for allegedly overstating the importance of cultural phenomena. While cultural studies continues to have its detractors, 1associated with a raft of scholarly associations and programs, annual international conferences, publications and students and practitioners from Taiwan to Amsterdam and from Bangalore to Santa Cruz.Somewhat distinct approaches to cultural studies have emerged in different national and regional contexts such as the United States, Canada, Australia, New Zealand, Latin America, Asia, Africa and Italy.
Cultural studies was initially developed by British academics in the late 1950s, 1960s, and 1970s, and has been subsequently taken up and transformed by scholars from many different disciplines around the world. Cultural studies is avowedly and even radically interdisciplinary and can sometimes be seen as antidisciplinary. A key concern for cultural studies practitioners is the examination of the forces within and through which socially organized people conduct and participate in the construction of their everyday lives.As a result, Cultural Studies as a field of research is not concerned with the linguistically uncategorized experiences of individuals, or, in a more radical approach, holds that individual experiences do not exist, being always the result of a particular social-political context.
Cultural studies combines a variety of politically engaged critical approaches drawn including semiotics, Marxism, feminist theory, ethnography, critical race theory, post-structuralism, postcolonialism, social theory, political theory, history, philosophy, literary theory, media theory, film/video studies, communication studies, political economy, translation studies, museum studies and art history/criticism to study cultural phenomena in various societies and historical periods. Cultural studies seeks to understand how meaning is generated, disseminated, contested, bound up with systems of power and control, and produced from the social, political and economic spheres within a particular social formation or conjuncture. Important theories of cultural hegemony and agency have both influenced and been developed by the cultural studies movement, as have many recent major communication theories and agendas, such as those that attempt to explain and analyze the cultural forces related and processes of globalization.
During the rise of neo-liberalism in Britain and the US, cultural studies both became a global movement, and attracted the attention of many conservative opponents both within and beyond universities for a variety of reasons. Some left-wing critics associated particularly with Marxist forms of political economy also attacked cultural studies for allegedly overstating the importance of cultural phenomena. While cultural studies continues to have its detractors, 1associated with a raft of scholarly associations and programs, annual international conferences, publications and students and practitioners from Taiwan to Amsterdam and from Bangalore to Santa Cruz.Somewhat distinct approaches to cultural studies have emerged in different national and regional contexts such as the United States, Canada, Australia, New Zealand, Latin America, Asia, Africa and Italy.
Four Goals of Cultural Studies
1)Cultural Studies Transcends the Confines of a Particular discipline such as literary criticism or history
Cultural studies transcends the confines of a particular discipline such as literary criticism or history. Cultural studies involves scrutinizing the cultural phenomenon of a text- for example, Italian Opera, a Latinotelenovela, the architectural styles of prisons, body piercing- and drawing conclusions about the changes in textual phenomena over time. Cultural studies is not necessarily about literature in the traditional sense or even about "art". Intellectual works are not limited by their own "borders" as single texts, historical problems or even disciplines, and the critic's own personal connections to what is being analysed may also be described. Henry Giroux and others write in their Dalhousie Review manifesto that cultural studies practitioner are "resisting intellectuals", who see what they do as "an emancipatory project" because it erodes the traditional disciplinary divisions in most institutions of higher education. But this kind of criticism, like feminism, is an engaged rather than a detached activity.
Cultural studies transcends the confines of a particular discipline such as literary criticism or history. Cultural studies involves scrutinizing the cultural phenomenon of a text- for example, Italian Opera, a Latinotelenovela, the architectural styles of prisons, body piercing- and drawing conclusions about the changes in textual phenomena over time. Cultural studies is not necessarily about literature in the traditional sense or even about "art". Intellectual works are not limited by their own "borders" as single texts, historical problems or even disciplines, and the critic's own personal connections to what is being analysed may also be described. Henry Giroux and others write in their Dalhousie Review manifesto that cultural studies practitioner are "resisting intellectuals", who see what they do as "an emancipatory project" because it erodes the traditional disciplinary divisions in most institutions of higher education. But this kind of criticism, like feminism, is an engaged rather than a detached activity.
2)Cultural Studies is Political Engaged
Cultural studies is politically engaged. Cultural critics see themselves as "oppositional", not only within their own disciplines but to many of the power structures of the society at large. They question inequalities within power structures and seek to discover models for restructuring relationships among dominant and "minority" or "subaltern" discourses. Because meaning and individual subjectivity are culturally constructed, thus they can be reconstructed. Such a notion, taken to a philosophical extreme, denies the autonomy of the individual, whether an actual person or a character in literature, a rebuttal of the traditional humanistic "Great Man" or "Great Book" theory, and a relocation of aesthetics and culture from the ideal realms of test and sensibility into the arena of a whole society's everyday life as it is constructed.
3)Cultural Studies denies the separation of “High” and “Low” or elite or popular culture
Being a "cultured" person means acquainted with "highbrow" art and intellectual pursuits. Cultural critics work to transfer the term to include mass structure, whether popular, folk, or urban. Following theorists Jean Baudrillard and Andreas Huygens, cultural critics argue that after World War 2 the distinctions among, high, low and mass culture collapsed, and they cite other theorists such as Pierre Bordeaux or Dick Hebdige on how "good taste" often only reflects prevailing social, economic, and political power bases. Drawing upon the ideas of French historian Michel de Certeau, cultural critics examine "the practice of everyday life", studying literature as an anthropologist would, as a phenomenon of culture, including a culture's economy. Rather than determining which are the "best" works produced, cultural critics describe what is produced and how various productions relate to one another. They aim to reveal the political, economic reasons why a certain cultural product is more valued at certain times than others.
4)Cultural studies analyses not only the cultural work, but also means of production
Marxist critics have long recognized the importance of such para literary questions as these: who supports a given artist? A well known analysis of literary production is Janice Radway's Study of the American romance novel and its readers, Reading the Romance: Women, Patriarchy and Popular Literature, which demonstrates the textual effects of the publishing industry's decisions about books that will minimize its financial risks. Reading in America, edited by Cathy N. Davidson, which includes essay on literacy and gender in Colonial New England; urban magazine audiences in Eighteenth Century New York city; the impact upon reading of technical innovations as cheaper eyeglasses, electric lights, and trains; the Book-of -the-Month Club; and how writers and texts go through fluctuations of popularity and canonicity. These studies help us recognise that literature does not occur in a space separate from other concerns of our lives.
Conclusion
In short we can say that as we discussed the characteristics of cultural studies it also have some own limitations. The weaknesses of cultural studies lie in its very strengths, particularly its emphasis upon diversity of approach and subject matter. Cultural Studies can at times seem merely an intellectual smorgasbord in which the critic blithely combines artful helpings of texts and objects and then ‘‘finds’’ deep connections between them, without adequately researching what a culture means or how cultures have interacted.
In short we can say that as we discussed the characteristics of cultural studies it also have some own limitations. The weaknesses of cultural studies lie in its very strengths, particularly its emphasis upon diversity of approach and subject matter. Cultural Studies can at times seem merely an intellectual smorgasbord in which the critic blithely combines artful helpings of texts and objects and then ‘‘finds’’ deep connections between them, without adequately researching what a culture means or how cultures have interacted.
Development of Poetry in Romantic Age
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 5 The Romantic Literature
Topic: Development of Poetry in Romantic age
Prepared by: Richa Pandya
M.A. English Semester – 2
Roll no- 28
Enrolment No: – 206910842019003
Email id: richapandya163@gmail.com
Batch: 2018- 20
Submitted to: S. B. Gardi Department of English, MKBU
Paper no- 5 The Romantic Literature
Topic: Development of Poetry in Romantic age
Introduction
The first half of the nineteenth century records the triumph of romanticism in Literature and democracy in government; and the two movement are so closely associated, in so many nations and in so many periods of history, that one must wonder if there be not some relation of cause and effect between them just as we understand the tremendous energizing influence of puritanism in the matter of English liberty by remembering that the common people had begun to read, and that their book was the Bible, so we may understand this age of popular government by remembering that the chief subject of romantic literature was the essential nobleness of common men and the value of the individual.
The first half of the nineteenth century records the triumph of romanticism in Literature and democracy in government; and the two movement are so closely associated, in so many nations and in so many periods of history, that one must wonder if there be not some relation of cause and effect between them just as we understand the tremendous energizing influence of puritanism in the matter of English liberty by remembering that the common people had begun to read, and that their book was the Bible, so we may understand this age of popular government by remembering that the chief subject of romantic literature was the essential nobleness of common men and the value of the individual.
Historical Summary
The period we are considering begins in the latter of the reign of George III and ends with the accession of Victoria in 1837. When on a foggy morning in November 1783, King George entered the House of Lords and in a trembling voice recognized the independence of the united state of America, he unconsciously proclaimed the triumph of that free government by free man which had been the ideal of English literature for more than thousand years; though it was not till 1832, when the reform bill became the law of the land, that England herself learned the lesson taught her by America, and became the Democracy of which had always dreamed.
The period we are considering begins in the latter of the reign of George III and ends with the accession of Victoria in 1837. When on a foggy morning in November 1783, King George entered the House of Lords and in a trembling voice recognized the independence of the united state of America, he unconsciously proclaimed the triumph of that free government by free man which had been the ideal of English literature for more than thousand years; though it was not till 1832, when the reform bill became the law of the land, that England herself learned the lesson taught her by America, and became the Democracy of which had always dreamed.
The French Revolution
The half century between these two events in one of great turmoil, yet of steady advance in every department of English life. The strom centre of the political unrest was the French Revolution, that frightful uprising which proclaimed the natural rights of man and the abolition of class distinction. Young England, led by pitt the younger, hailed the new French republic and offered it friendship; old England, which pardons no revolution but her own, looked with horror on the turmoil in France and misled by Burke and the nobles of the realm, Forced the two nations into war.
Economic Condition
The cause of this threatened revolution were not political but economic. By her inventions in steel and machinery, and by her monopoly of the carrying trade, England had become “the workshop of the world.” Her wealth had increased beyond her wildest dreams; but the unequal distribution of that wealth was spectacle to make angles weep. The invention of machinery at first threw thousands of skilled hand workers out of employment; In order to protect of skilled hand workers out of employment in order to protect a few agriculturists, heavy duties were imposed on corn and wheat and bread rose to famine prices just when labouring men had the least money to pay for it. While England increased in wealth and while nobles, landowners, manufacturers and merchants lived in increasing luxury, a multitude of skilled laborers were clamoring for work. Father sent their wives and little children into the mines and factories, where sixteen hour’s labour would hardly pay for the daily bread ; and in every large city were riotous mobs made up chiefly of hungry men and women.
Characteristics of the age.
Romantic Enthusiasm
An Age of Poetry
Women as Novelists
The Modern Magazine
The half century between these two events in one of great turmoil, yet of steady advance in every department of English life. The strom centre of the political unrest was the French Revolution, that frightful uprising which proclaimed the natural rights of man and the abolition of class distinction. Young England, led by pitt the younger, hailed the new French republic and offered it friendship; old England, which pardons no revolution but her own, looked with horror on the turmoil in France and misled by Burke and the nobles of the realm, Forced the two nations into war.
Economic Condition
The cause of this threatened revolution were not political but economic. By her inventions in steel and machinery, and by her monopoly of the carrying trade, England had become “the workshop of the world.” Her wealth had increased beyond her wildest dreams; but the unequal distribution of that wealth was spectacle to make angles weep. The invention of machinery at first threw thousands of skilled hand workers out of employment; In order to protect of skilled hand workers out of employment in order to protect a few agriculturists, heavy duties were imposed on corn and wheat and bread rose to famine prices just when labouring men had the least money to pay for it. While England increased in wealth and while nobles, landowners, manufacturers and merchants lived in increasing luxury, a multitude of skilled laborers were clamoring for work. Father sent their wives and little children into the mines and factories, where sixteen hour’s labour would hardly pay for the daily bread ; and in every large city were riotous mobs made up chiefly of hungry men and women.
Characteristics of the age.
Romantic Enthusiasm
An Age of Poetry
Women as Novelists
The Modern Magazine
Romantic Enthusiasm
The essence of Romanticism was that literature must reflect all that is spontaneous and unaffected in nature and man. In the age of Romanticism ,we can see this independence expressed in Coleridge's “Kubla Khan” and “The Rime of Ancient Mariner”. These two are dream picture- one dealing with the orient and the other of a lonely sea. In Wordsworth this literature independence led-him inward to the heart of common thing. These two great poets,Coleridge and Wordsworth represent the Romantic genius of the age.
The essence of Romanticism was that literature must reflect all that is spontaneous and unaffected in nature and man. In the age of Romanticism ,we can see this independence expressed in Coleridge's “Kubla Khan” and “The Rime of Ancient Mariner”. These two are dream picture- one dealing with the orient and the other of a lonely sea. In Wordsworth this literature independence led-him inward to the heart of common thing. These two great poets,Coleridge and Wordsworth represent the Romantic genius of the age.
An Age of Poetry
The Romantic age is basically an age of poetry. The previous century the Neo-classical age was largely the age of prose. While during the age of Romanticism the young writer turn to poetry as a happy man o singing. The glory of this age can be found in the poetry of Wordsworth, Coleridge, Byron, Keats and Shelly. Romantic poetry is a spontaneous overflow of powerful feeling. The Romantic poet is gifted with a strong “Organic Sensibility”.
The Romantic age is basically an age of poetry. The previous century the Neo-classical age was largely the age of prose. While during the age of Romanticism the young writer turn to poetry as a happy man o singing. The glory of this age can be found in the poetry of Wordsworth, Coleridge, Byron, Keats and Shelly. Romantic poetry is a spontaneous overflow of powerful feeling. The Romantic poet is gifted with a strong “Organic Sensibility”.
Women as Novelists
For the first time woman took importance role in contribution to the English literature. This age was highly emotion as the woman are more emotional. This spirit of this age gave then the opportunity to expressed themselves in literature. One of the first important woman writer is Mrs.Anne, Jane Austin etc... Her novel become very popular and impress.
The Modern Magazines
The Modern magazines were the important medium which has given a chance to new poets to express their skill of writing snd knowledge of poetry. There were some important Magazines like,
1. Blackwood’s Magazine (1817)
2. Edinburgh Review (1802)
3. The Quarterly Review (1808)
2. Edinburgh Review (1802)
3. The Quarterly Review (1808)
Poet of the Age
William Wordsworth
William Wordsworth
Wordsworth was a major figure of the Romantic Poetry. He was considered as English Romantic Poet. He was also a Britain 's poet laureate. His poetry was a collection of all the Romantic characteristics and his treatment towards the Romantic elements. He stands as most important figure of Romantic Poet. There are many reasons that wordsworth considered as Romantic Poet. He was a pioneer of Romantic Movement. It was a reaction against a Classical Poetry. It was beginning in 19th century. It was begins with the publication of the "Lyrical Ballads ". There are many reasons for which proves Wordsworth as a Romantic Poet. During Romantic Age Poet uses imagination as a tool of their poetry. They emphasise more on use of imagination rather than reality. Wordsworth also uses Imagination into his poetry. There are many works of Wordsworth with is based on the use of high imagination. Many of his poems are based on the use of imaginary. He creates the sequence of pictures through his use of imagination.
Wordsworth considered as Nature poet because most of his poetry based on the Natural element. He saw Nature in both ways as healing power and teacher or Moral guardian. Nature considered as living personality into his poems. This thing reflect into his poem : " I wondered lonely as a cloud”. In this poem reflect the Nature. It has a extremely simple laguage. Through this shows the poet’s wandering and his discovery of a field of daffodils by a lake .the memory of which pleases him and also comforts him when he is lonely, bored, or restless.He has a emotional reaction against this Natural scene and he later remember it with a great pleasure. He uses a simple laguage with can be understood by anyone. Wordsworth describe about nature as a "never did betray the heart that loved her". So through he shows the importance of Nature.
Wordsworth considered as Nature poet because most of his poetry based on the Natural element. He saw Nature in both ways as healing power and teacher or Moral guardian. Nature considered as living personality into his poems. This thing reflect into his poem : " I wondered lonely as a cloud”. In this poem reflect the Nature. It has a extremely simple laguage. Through this shows the poet’s wandering and his discovery of a field of daffodils by a lake .the memory of which pleases him and also comforts him when he is lonely, bored, or restless.He has a emotional reaction against this Natural scene and he later remember it with a great pleasure. He uses a simple laguage with can be understood by anyone. Wordsworth describe about nature as a "never did betray the heart that loved her". So through he shows the importance of Nature.
Samuel Taylor Coleridge
Coleridge was a famous literary critic, philosopher. He was a friend of William Wordsworth He was a main founder of the Romantic Movement in England. He was also a member of the Lake Poets. His famous poems are The Rime of the Ancient Mariner and Kubla Khan and also he was famous for his prose work Biographia Literaria. He was considered as a best Romantic Poet as like Wordsworth. Here many characteristics which can be seen Coleridge as the Romantic poet. Supernaturalism is the famous characteristic of Coleridge 's poetry. He was famous for using super natural elements in his poems. He attempts to draw the supernatural into his poetry in a convincingly . It becomes compelled to take it for real amd natural by willingly suspending disbeliefs. This thing is created most appropriately in The Rime of the Ancient Mariner. It is a good example of using Supernatural elements in poem.
Coleridge considered as the most imaginative mind amongst the Romantic poets. Coleridge was good at portraying vivid imagery into his poems. He has the power to transport the audience in his magination by convincing the people to accept no-existent things as real. This is the remarkable quality which makes Coleridge to incorporate convincing people for the element of mystery. For example: in his poem Kubla khan. Into this poem he describe Kubla Khan’s palace as a effective way that it forces the reader to believe in its existence. So he has such a great imagination power which make the things real that not exist in Real world.
Coleridge considered as the most imaginative mind amongst the Romantic poets. Coleridge was good at portraying vivid imagery into his poems. He has the power to transport the audience in his magination by convincing the people to accept no-existent things as real. This is the remarkable quality which makes Coleridge to incorporate convincing people for the element of mystery. For example: in his poem Kubla khan. Into this poem he describe Kubla Khan’s palace as a effective way that it forces the reader to believe in its existence. So he has such a great imagination power which make the things real that not exist in Real world.
Conclusion
So the Wordsworth and Coldridge considered as a best representation of Romantic Poetry. Through their works they consider as a best poet among the Romantic poets. Their poetry including all the characteristics of Romantic Poetry. They both created a remarkable position in Romantic Poetry.
Online discussion : Cultural studies and post colonialism
Sharmeen
obaid Chinoy 's Got Oscar award for her documentary " A Girl in the River
" has been much celebrated at home. It is about honor killing in Pakistan.
Sharmeen’s films are about truly heroic Pakistani women — women
who have suffered appalling cruelty and oppression but who have refused to be
silenced. In telling their stories to the world, they have fought back and
exposed injustice. It is shows the true situation of women that how
they suffering so by showing this reality it brings awareness in society.
It is not the situation of women in Pakistan but overall in the world. We
don't know many places where women are suffering. people not easily accept this
reality.
There are many places where the writer try to show the reality.
Many people not like Arvind Adiga because he shows the reality of India , bad
side of India so people who like to see the glory of their Nation not accept
him . The same thing happens in Slum Dog Millionaire movie. In this movie also
showing the reality of India. It also got Oscar award. These
writers respected by white people. So the question is that why the Indians and
Pakistani writers get not respect by their own Nation. If they shows reality so
people should accept them and try to change this bad image. Every Nation has
both the side Bad and Good and we Should thankful to our writers that they
shows the real image of Nation. It help us to changing the Bad situation of our
Nation.
Why the white people have only right to give oscar award ?
and why this award get so much high importance in all the awards ?
So this is the effect of post colonial culture. The Oscar award is
organise by White men. If the writer get Oscar awards he / her get more
respect , famous in world.
River and Tides : Andy Goldsworthy Working with Time
Here I have
shared my view on this film.
In this documentary, Andy Goldsworthy makes
different shapes by natural elements and creates his art work. The documentary
is directed by Thomas Riedelsheimer and released in 2001. It very much
connected with life and our nature that how we imitates the nature in different
way. When we watched this documentary, it goes monotonously and the artist is
doing the same work repeatedly until gets the perfection.
This very
first network was shaping ice in the design of river, and we can observe that
when he has completed his work the sun rises and ice started melting which
shows the transience nature of human life. We always try to find something from
nothingness and thought if we get something it is not permanent, but the
process of finding gives pleasure.
His another
work was from stone, he was arranging stones in a shape of a big egg. Four it
happened that when he is very near to complete it has collapsed he got
disappointed too but on next day he started again and he has completed it.
He used
earth, air and water for his art work. He has used nature as canvas as well as
colours and brush to express his ideas.
Thinking Activity on Structuralism
Gerard Genette (born 1930) is a French literary theorist, associated in a particular with the structuralists movement and such figure as Roland Barthes and Claude Levi-strauss, from whom he adapted the concept of bricolage. His best known work in English through the section , “Narrative Discourse: An Essay on method.” Gerard Genette defines structuralism as a method is based on the study of structure.
With the
view point of a structuralist I would like to analyse a Bollywood movie
“Drishyam” with the gener of mystery and thriller, written by Jeetu Joseph and
directed by Nishikant kamat. The general narratology has an order an
order of A1(a murder occurs) B2 (the circumstances of murder revealed) C3 (At
the end murderer is caught) but the movie has a 'novelty value' with quite
different and interesting narratology as it starts with the ending part of
story but the beginning scene of the movie and the protagonist flows in
flashback sitting in a police station and a murder occurs and in B2 part where
the circumstances are revealed to the audience properly but not to the
detectives, they know the mystery of murder but there is lack of evidence. In
the C2 part the murderer should be caught but in the movie murderer has
successfully escaped and living happily.
Here is the concept of sign
signifier and significant we could take struggle between truth and visual
memories "Drishyam" as a sing, the signifier is the efforts has been
done by the protagonist to save his family and it signified that you always
remember what you have seen and narrated repeatedly. The referent could be
given by a critic that a very little educated person with a very powerful
general knowledge can gain victory over the well educated police officers is
quite a new structure and concept but could be more unrealistic.
The movie has 'rules and
convention of different signifying system', the process which should be used in
solving the case or should be used for caught the murderer has used for hide
the crime and criminal. As a structuralist, it can be said that the movie is
very Logically structured the situation is very perfectly handled by the
protagonist and his family but as far as realistic point of view is concerned
the circumstances like that is rarely happens.
Thinking Activity on Northrop Frye : The Archetypes of Literature
What is archetypal criticism? What Does the archetypal critic do?
The archetypal criticism means
identifying patterns of action, Character-types, and themes in literature as
well as in myths dreams and social rituals. The Archetypal critic observes the
symbols, myths, pattern of action and applies it to any particular literature.
2. What is Frye trying prove by giving an apology
of ‘Physics to Nature’ and ‘Criticism to Literature’?
Frye uses the season in his
archetypal schema. Each season is aligned with
a literary genre: comedy with spring, romance with summer, and satire
with winter.
*Sprig
The spring seasons represent the comedy. As
per the genre of comedy is characterized by the birth of the hero, revival and
resurrection.
*Summer
The season of summer indicates romance because
summer is the culmination of life in the seasonal calendar and the romance
genre culminates with some sort of triumph, usually a marriage.
*Autumn
Autumn is the dying stage of the
seasonal calendar, which parallels the tragedy genre because it is known for
the ‘fall’ or demise of the protagonist.
*Winter
Winter season denotes satire because
of darkness. Satire reflects the darkness of literature, it is disillusioned
and mocking from of literature.
3. Mention the relationship of
literature with history and philosophy.
Literature is the central division of
Humanities. Historical sense and philosophy sense and philosophy are about
morality, ethics and all these things are required when we study literature.
Philosophy is about existence and it progressively moves on, its ideas never
stopped. for understanding literature reader must refer history for events and
philosophy for ideas.
4. Briefly explain inductive method with
illustration of Shakespeare’s Hamlet’s Grave digging scene.
The inductive method of analysis
deals with particular to general. So here it can be applied in Hamlet because
if we see it from micro level then the grave digging scene is observed but if
we observe from general view then we can see Hamlet’s love for Ophelia.
Thinking Activity on Matthew Arnold
About Author
Matthew Arnold, (born December 24, 1822, Laleham, Middlesex, England—died April 15, 1888, Liverpool), English Victorian poet and literary and social critic, noted especially for his classical attacks on the contemporary tastes and manners of the “Barbarians” (the aristocracy), the “Philistines” (the commercial middle class), and the “Populace.” He became the apostle of “culture” in such works as Culture and Anarchy (1869).Matthew was the eldest son of the renowned Thomas Arnold, who was appointed headmaster of Rugby School in 1828. Matthew entered Rugby (1837) and then attended Oxford as a scholar of Balliol College; there he won the Newdigate Prize with his poem Cromwell (1843) and was graduated with second-class honours in 1844. For Oxford Arnold retained an impassioned affection. His Oxford was the Oxford of John Henry Newman—of Newman just about to be received into the Roman Catholic Church; and although Arnold’s own religious thought, like his father’s, was strongly liberal, Oxford and Newman always remained for him joint symbols of spiritual beauty and culture.In 1847 Arnold became private secretary to Lord Lansdowne, who occupied a high cabinet post during Lord John Russell’s Liberal ministries. And in 1851, in order to secure the income needed for his marriage (June 1851) with Frances Lucy Wightman, he accepted from Lansdowne an appointment as inspector of schools. This was to be his routine occupation until within two years of his death. He engaged in incessant travelling throughout the British provinces and also several times was sent by the government to inquire into the state of education in France, Germany, Holland, and Switzerland. Two of his reports on schools abroad were reprinted as books, and his annual reports on schools at home attracted wide attention, written, as they were, in Arnold’s own urbane and civilized prose.
Matthew Arnold, (born December 24, 1822, Laleham, Middlesex, England—died April 15, 1888, Liverpool), English Victorian poet and literary and social critic, noted especially for his classical attacks on the contemporary tastes and manners of the “Barbarians” (the aristocracy), the “Philistines” (the commercial middle class), and the “Populace.” He became the apostle of “culture” in such works as Culture and Anarchy (1869).Matthew was the eldest son of the renowned Thomas Arnold, who was appointed headmaster of Rugby School in 1828. Matthew entered Rugby (1837) and then attended Oxford as a scholar of Balliol College; there he won the Newdigate Prize with his poem Cromwell (1843) and was graduated with second-class honours in 1844. For Oxford Arnold retained an impassioned affection. His Oxford was the Oxford of John Henry Newman—of Newman just about to be received into the Roman Catholic Church; and although Arnold’s own religious thought, like his father’s, was strongly liberal, Oxford and Newman always remained for him joint symbols of spiritual beauty and culture.In 1847 Arnold became private secretary to Lord Lansdowne, who occupied a high cabinet post during Lord John Russell’s Liberal ministries. And in 1851, in order to secure the income needed for his marriage (June 1851) with Frances Lucy Wightman, he accepted from Lansdowne an appointment as inspector of schools. This was to be his routine occupation until within two years of his death. He engaged in incessant travelling throughout the British provinces and also several times was sent by the government to inquire into the state of education in France, Germany, Holland, and Switzerland. Two of his reports on schools abroad were reprinted as books, and his annual reports on schools at home attracted wide attention, written, as they were, in Arnold’s own urbane and civilized prose.
1. Write about one idea of Matthew
Arnold which you find interesting and relevant in our times.
Arnold says that “Poetry
is a criticism of life”. This definition is very relevant in our present time
also. Whatever writer or a poet write is not simply consider as creative work,
it is also a criticism of nature or life, or anything else from where they got
their subject to write. Arnold also speaks about his main principle of
criticism is that od Disinterestedness or Detachment. We find this great
principal of Arnold relevant in present time also because it speaks about the
fair judgment of a critic.
2.Write about one idea of
Mathew Arnold which you found out of date and irrelevant in our times.
I think Matthew Arnold’s theory of
“Touchstone Method” is out of date and irrelevant in our time. Because Arnold’s
general principal, the “Touchstone Method” introduce scientific objectivity to
critical evaluation by providing comparison and analysis as the two primary
tools for judging individual poets.
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