Virginia Woolf

Vita and Virginia Woolf movie re

Virginia Woolf, original name in full Adeline Virginia Stephen, born January 25, 1882, London, England—died March 28, 1941, near Rodmell, Sussex, English writer whose novels, through their nonlinear approaches to narrative, exerted a major influence on the genre.

While she is best known for her novels, especially Mrs. Dalloway(1925) and To the Lighthouse (1927), Woolf also wrote pioneering essays on artistic theory, literary history, women’s writing, and the politics of power. A fine stylist, she experimented with several forms of biographical writing, composed painterly short fictions, and sent to her friends and family a lifetime of brilliant letters.

 1.How far do you feel that Orlando is influenced by Vita and Virginia’s love affair? Does it talk only about that or do you find anything else too?

👍Vita is love with  the Virginia and Orlando novel as same. In novel Orlando first is a man and after a week Orlando sleep and  change the Gender he became a women and love with a man. As same way movie vita and Virginia vita change the gander and affair with woman and man. She also love with Virginia. Orlando is influence vita and Virginia.

2.  Who do you think is confused about their identity Vita or Virginia? Explain with illustrations ?

 👍Vita is confused  about their Identity your Gender. Vita is many affair before Virginia Woolf Starts with love and after Virginia death after many affairs with men and women. Vita not identify his Gender because   day to day change his identity and she love with a men and woman both of you. vita attracted  the Virginia dance and fall in love. Virginia is a loyal in life with his partner.

 3. What is society’s thought about women and identity? Do you agree with them? If Yes then why? If no then why?

👍In society's thought about women is a household. Compare history condition in our society is better than now in society. woman as role of society is mother, wife, sister, and daughter etc. society  has identified woman has behave and dress. for example some Religion as dress code a woman and followed the his religion culture in his life time and she not followed religion rules and dress not accept this society. I am not agree with then.

 4. What are your views on Gender Identity? Will you like to give any message to society?

👍 Gender Roles in society means How were expected to act, speak, dress, groom, and conduct ourselves based upon our assigned sex. 

5. Write a note on the direction of the movie. Which symbols and space caught your attention while watching the movie?

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6. I "Vita and Virginia" had to be made into Bollywood Adaptation, who do you think would be fit for the role of Vita and Virginia?

👍According  to me vita is a Tabu  and  Virginia is Dipak Kakra.

modern literature

Fantasy Literature

What is modern Fantasy literature?

Modern fantasy has " Story elements that violate the natural, physical laws of our known world" events akin to magic. modern fantasy has known authors. Some miraculous elements found in modern  fantasy are talking animals, imaginary worids, fanciful characters, magical beings.

Fantasy Films:

Coms

Encanto

Aldin

Paheli

Indian 20th century literature

1Rabindranath Tagore. Famous As: Poet. 

2 Salman Rushdie.. Famous As: Novelist. 

3 Sarojini Naidu Famous As: Poet and Freedom Fighter. 

4 Mammootty. 

5 Ruskin Bond. 

6 Shreya Ghoshal.

7 R. K. Narayan. 

8 Meena Kumari. 

           Rabindranath Tagore

Famous As: Poet

Birthdate: May 7, 1861

Sun Sign: Taurus

Birthplace: Kolkata, West Bengal, India

Died: August 7, 1941

Rabindranath Tagore was an Indian polymath who contributed greatly to the fields of literature, art, and philosophy. Referred to as the Bard of Bengal, Tagore is credited with reshaping Bengali literature and music. The first non-European to receive the Nobel Prize in Literature, Tagore is also credited with composing the national anthems of India and Bangladesh.

Bengali polymath—poet, writer, playwright, composer, philosopher, social reformer and painter. He reshaped Bengali literature and music as well as Indian art with Contextual Modernism in the late 19th and early 20th centuries. poems, novels, short stories, dramas, paintings, drawings, and music that Bengali poet and Brahmo philosopher. 

Tagore works

                           Gatanjali

Gatanjali, a collection of poetry, the most famous work by Rabindranath Tagore, published in India in 1910. Tagore then translated it into prose poems in English, as Gitanjali: Song Offerings, and it was published in 1912 with an introduction by William Butler Yeats.

Medieval Indian lyrics of devotion provided Tagore’s model for the poems of Gatanjali. He also composed music for these lyrics. Love is the principal subject, although some poems detail the internal conflict between spiritual longings and earthly desires. Much of his imagery is drawn from nature, and the dominant mood is minor-key and muted. The collection helped win the Nobel Prize for Literature for Tagore in 1913, but some later critics did not agree that it represents Tagore’s finest work.

The central theme of Gitanjali is devotional. It expresses the yearning of the devotee for re-union with the divine. It is in the tradition of the devotional poetry, but it finds a new and original treatment.

Gitanjali or “The Song Offerings” is a reflection of Rabindranath's consciousness, wisdom & philosophy. The original work, which was published on August 14 1910, comprised 157 songs. The English version was released in November 1912 by the India Society of London.

 

                      Kabuliwala

The theme of "Kabuliwala" is mainly friendship. Though, Rahamat was almost of the age of Mini's father, he and Mini shared a very unique bond of friendship. They used to share all there feelings and even understood each other to a great extent.

The story turns to a bitter end as Rahmat one day receives a letter from Kabul – saying his daughter is sick. He asks for his money back from someone who owed him as he had to return home. Instead of getting his money, a scuffle ensued. Rahmat ended up in prison for 10 years.

                                                   Gora

Amongst the long list of excellently written works by Rabindranath Tagore, Gora finely portrays the social, political and religious society of Bengal during the colonial rule of 1880s. It is Tagore’s fifth literary novel and brings forwards the profoundly created protagonist Gora who is fraught with philosophical questions, theological and political debate, as well as on the subjects of freedom, universal brotherhood, gender, female rights, the malaise of caste, class disparity, tradition and modernity, urban and rural gap, nationalism, colonialism, and much more.

Gora is a story set in the disruptive times when the Bengali society in Kolkata was starkly divided into the traditional orthodox Hindus and the modernized, liberal thinking Brahmos instructed by the Brahma Samaj. The Hindus followed their renascent practices and ceremonials while the Brahmos were in constant clashes with orthodoxy and vehemently opposed all idol-worships, caste system etc. But both the communities were not devoid of their own hypocrisies and contradictions. This story contains a number of characters each of which is unique and strongly individualistic. Through these various characters and their stories.

T.S.Eliot

Explain, quote, "Some can absorb knowledge, the more tardy must sweat for it. Shakespeare from Plutarch than most men could from the whole British museum".

Eliot wants to say about this quote that all writers  have the greatness of Shakespeare and his historical sense. It is not the necessary for a poet. The past but one has to have understanding of human nature. Shakespeare has absorbed his age, so, he seems to absorbed and lived through age and absorbed his age.

Explain, "Poetry is not a turning loose of emotion, but an escape from from emotion; it is not theexpression of personailty, but an escape from personlity".

In this quote Eliot does not deny personality or emotion to the poet only, he must depersonalize his emotions there should be an extinction of his  personality. This impersonality can be achieved only when poet surrenders himself completely to the work that is to be done.

Write two points on which one can write critique on T.S.Eliot as a critic.

Eliot's view of escape from emotion and escape from personality.

The idea of depersonalization that the msn who suffers and the mind which creates are different.

Wordsworth

What is the basic difference between the poetic creed of 'Classicism' and 'Romanticism' ?

I want to clear this term that what is “Classicism” and what is “Romanticism”. Difference between this is that a romantic poem will be about love towards people while classical will be more old fashioned and be about other things. The romantic era was not about love at all. In fact it had nothing to do with romance of the conventional kind. It was imaginative and more related to democracy and nature than anything else. Had relations to human life, and was highly philosophical. It was most definitely not about love. The Classical age on the other hand was the complete opposite to the romantic age in some respects. It had no real interest in nature as it exists naturally. Satire and realism was present, as well as a strong union with politics. It was highly critical, unimaginative and intellectual as opposed to the spontaneity of the romantic age. 

The basic difference between the classicism and romanticism is that the former is based on intellect and the latter is based on imagination.

 Why does Wordsworth say 'What' is poet ? rater  than Who is poet ?

There is difference between Who and What. Generally we use that who is poet ?? means we connect poets identity with it that This person is poet or that person is poet like example Wordsworth is poet is answer of this question but when we speak What is poet ??? We cannot find answer of this question easily because this question ties with inner quality or strength of poet. That what qualities poet has to write some good poems and then he gives reply that poet is one who is a man speaking to man, endowed with more lively sensibility because everyone cannot create lively images in front of readers who real poets can do.

What is poetic diction? Which sort of poetic diction is suggested by Wordsworth in his Preface?

From Wordsworth’s point of view Diction means choice of language, selection of words and arrangement of words with the help of emotions. He says that the language of poetry should be the language means language of day to day life who can understand by everyone but with the selection of proper words poet cannot use mean language or slang or wrong words for poetry. Language has power to create certain images in readers mind so use proper word so with the help of that word appropriate images can immerge for poetry. The word selected by the poet must fit to his imagination. If he is truly inspired, then his imagination will enable him to select from the language which is used by men in routine life.

LITE R A R Y C R I T I C I S M OF JOHN DRYDEN

 L I T E R A R Y C R I T I C I S M OF JOHN DRYDEN

JOHN DRYDEN (1631 – 1700)

 John Dryden is rightly considered to be “the father of English Criticism”.

He was the first to teach the English people to determine the merit of composition upon principles. With Dryden, a new era of criticism began. Before, Dryden, there were only occasional utterances on the critical art. (e.g. Ben Jonson and Philip Sidney) Though Dryden's criticism was of scattered nature; he paid attention to almost all literary forms and expressed his views on them. Except An Essay of Dramatic Poesy, Dryden wrote no formal treatise on criticism. His critical views are found mostly in the prefaces to his poetical works or to those of others.

Nature of poetry

 Dryden upholds Aristotle's definition of poetry as a process of imitation. It imitates facts- past or present, popular beliefs, superstitions and things in their ideal form. Dryden defends Shakespeare's use of the supernatural founded on popular beliefs. For, it is still an imitation though of other men‟s fancies. According to him, poetry and painting are not only true imitations of nature but of the best nature (i.e.) a much greater criticism.

Function of poetry

 The final end of poetry, according to Dryden is delight and transport rather than instruction. To realize it, it does not merely imitate life, but offers its own of it – „a beautiful resemblance of the whole‟. The poet is neither a teacher nor a bare imitator – a photographer – but a creator. He is one who, with life or nature as his raw material, produces a new thing altogether, resembling the original in its basis but different from it in the super structure – a work of art rather than a copy.

Dramatic poetry

 Drama claimed most of Dryden's attention. On the introduction of 

unpalatable or incredible scenes such as battles and deaths on the stage, he says 

that death can never be imitated to a just height and it can be avoided. He sees 

nothing wrong in other physical action – battles, duels and the like.

 Dryden does not subscribe to the accepted interpretation of the three 

Unities; that the plot should be single, the time of action twenty four hours, and the 

place the same everywhere (where scene leads to scene in unbroken chain). He 

favours the weaving of a sub plot into the main plot. He feels that the time can be 

increased a little more to allow for a greater maturity of the plot. In the same way, 

the unity of place cannot be maintained as the time taken by the events of the play,

for it determines the location of the scene and the unity of place can be waived. 

Dryden considers that the unities of Time and Place are too rigorous and they leave 

little scope for the development of plot and character.

Tragedy

 Dryden's definition of tragedy is the same as Aristotle's: „an imitation of 

one, entire, great and probable action; not told but represented, which by moving 

us in fear and pity, is conducive to the purging of those two emotions in our 

minds‟. Dryden merely follows Aristotle and Horace in his remarks on the tragic 

hero and other characters in Tragedy. Dryden has no use for the group of 

characters called „chorus‟ in the Greek Tragedy.

Comedy

 Dryden has not much of his own to say on comedy. Following Aristotle, he 

calls it „a representation of human life in inferior persons and low subjects. To the 

question whether comedy delights or instructs, Dryden says that the first end of 

comedy is to delight and instruction only the second. The persons in comedy are of 

a lower quality, the action is little and the faults and vices are but the follies of 

youth and frailties of human nature; they are not premeditated crimes. Dryden 

wanted English comedy to be more refined than it was. According to him, Ben 

Jonson had only specialized in „Humour‟ and what it lacked was „wit‟. As repartee-

(wit) is „one of the chiefest graces of comedy‟, the greatest pleasure of the 

audience is „a chance exchange of wit, kept up on both sides, and swiftly 

managed‟. Beaumont and Fletcher were adept in the art. What Dryden wanted in 

comedy was „refined laughter‟ rather than the coarse one arising out of the display 

of „humors‟ or eccentric traits in individuals. While in a comedy of „humors‟ the 

spectators laughed at the „humorous‟ character, in a comedy of wit (or comedy of 

manners as it grew) they laughed with the witty one.

Epic

 Dryden is with the French critics in considering the epic superior to the 

tragedy. He asks, „what virtue is there in a tragedy which is not contained in an 

epic poem. He stresses that the epic is certainly the greatest work of human nature. 

Aristotle had preferred the tragedy to the epic. Regarding the visual appeal of the 

tragedy, Dryden urges three points: that it is the actor‟s work as much as the poet‟s 

and so the poet alone cannot deserve credit for it that the stage is handicapped to 

show many things – big armies, for instance – in words; and that while we have 

leisure to digest what we read in the epic, we miss many beauties of a play in the 

performance. Dryden disagrees with Aristotle again in insisting on a moral in the 

epic.

Satire

 In the first instance, the satire must have unity of design, confining itself for 

that purpose to one subject or principally one. In other words, the satirist should 

choose one vice or folly for his target, as the epic poet chooses one character for 

his special praise and make all others subservient to it. In the same way, he should 

extol „someone precept of moral virtue‟. For the manner of the satire, Dryden 

would prefer „fine raillery‟.

Criticism

 According to Dryden, a critic has to understand that a writer writes to his 

own age and people of which he himself is a product. He advocates a close study 

of the ancient models not to imitate them blindly as a thorough going neo-classicist 

would do but to recapture their magic to treat them as a torch to enlighten our own 

passage. It is the spirit of the classics that matters more than their rules. Yet these 

rules are not without their value, for without rules, there can be no art. Besides,

invention (the disposition of a work), there are two other parts of a work – design 

(or arrangement) and expression. Dryden mentions the appropriate rules laid down 

by Aristotle. But it is not the observance of rules that makes a work great but its 

capacity to delight and transport. It is not the business of criticism to detect petty 

faults but to discover those great beauties that make it immortal.

The Value of his criticism

 Dryden's criticism is partly a restatement of the precepts of Aristotle, partly 

a plea for French neo-classicism and partly a deviation from both under the 

influence of Longinus and Saint Evremond. From Aristotle he learnt a respect for 

rules. French Neo-classicism taught him to prefer the epic to tragedy, to insist on a 

moral in it and many of the things. And to Longinus and Saint Evremond he owed 

a respect for his own judgement.

 Dryden is a liberal classicist who would adjust the rules of the ancients to 

the genius of the age, to which a poet writes.

Aristotle's Poetics

What is you understating  about Aristotle’s Poetics ?

In Poetics, Aristotle discusses poetry—both in general and in particular—and he also considers the effects of poetry on those who consume it and the proper way in which to construct a poetic plot for maximum effect. He explores each component part of poetry separately and addresses any questions that come up in the process. Aristotle starts with the principles of poetry, which he says is only “natural.” He enumerates the different types poetry: epic, tragedy, comedy, dithyrambic poetry, and music by pipe or lyre. Additionally, he claims that all poetry is a form of imitation that only differs in three ways: its medium, its object, and/or its mode of imitation. The medium of imitation depends on the kind of art (a painter or a sculptor uses color or shape as a medium), whereas a poet uses the medium of rhythm, language, and melody—each of which can be used alone or together to create some desired effect. The object is the thing that is imitated in a work of art—in this case, in a poem. Objects, which include people, things, and events, can be either admirable or inferior, meaning that objects are either morally good or morally bad. Lastly, an object’s mode of imitation is the way in which an object is imitated. In epic poetry, an object is imitated through narration; however, in tragedy, an object is imitated via actors on a stage.

Aristotle argues that human beings have a natural proclivity for imitation, and since humans learn lessons through imitation from a young age, he maintains that people have a strong tendency to imitate people and things. Furthermore, people take pleasure in viewing distressing images from a safe distance, such as a stage. The pleasure people feel in viewing an imitation is in large part due to understanding. A person views an imitation, recognizes the thing being imitated, and finds pleasure in this understanding. Aristotle further argues that human begins also have a natural proclivity for rhythm and melody, so it is no wonder they tend to create imitations like poetry, which relies on language that has both rhythm and melody. Tragedy was born from dithyrambic poetry, which incorporates both poetry and dance. From there, tragedy evolved into what it is in Aristotle’s time—which he refers to as tragedy’s “natural state.

Comedy imitates inferior people, Aristotle claims, but such characters are not inferior in every way. Characters in comedy are guilty of “laughable errors”; however, such errors do not elicit painful emotions in the audience. A comedy does not imitate pain, and it should not provoke these emotions in others. Conversely, tragedy and epic poetry imitate admirable people, but epic uses only verse and is in narrative form. Plainly put, an epic does not involve song, and it is usually told through the lens of a single character narration. Epics are usually long, whereas a tragedy is often restricted to the events of a single day. Those who have a firm understanding of tragedy will also have a firm understanding of epic, as everything present is epic is also present in tragedy. However, all that is present in a tragedy cannot be found in an epic poem.

A tragedy is an imitation of an admirable action that has unity and magnitude. Tragedy is written in language that has rhythm and melody, and it is performed by actors, not by narration. Most importantly, tragedy purifies the audience by producing in them the emotions of fear and pity in a process known as catharsis. A tragedy has six components—plot, character, diction, reasoning, spectacle, and lyric poetry—and these components determine a tragedy’s quality. Plot, however, is the most important component part of tragedy. Tragedy imitates actions, not people, and these actions are the events that make up the plot. Plus, the most effective way in which a tragedy produces catharsis is through recognition and reversal, which are both part of the plot. A tragedy must be “whole,” and it must have a definite beginning, middle, and end. A tragedy must have magnitude, meaning it must produce astonishment in the audience, but its imitation cannot be arbitrary. If the action being imitated in a tragedy is too big or too small, the entire plot cannot be appreciated at once, and unity is forfeited. An imitation has unity if it represents a complete action, and the same goes for plot—a plot is only unified if it imitates a complete action.

Poetry does not imitate “what has happened,” Aristotle argues, it imitates “what would happen,” as long as it is probable or necessary. Historians and poets are not different because one writes in prose and one in verse; they are different because the former writes what has happened, while the latter writes what would happen. Even if all historian wrote in poetic verse, their writing would still not be considered poetry. It is a poet’s job to make plots, and those plots can include the sort of thing that has happened, since the sort of thing that has happened is likely to happen again. It is not enough for a tragedy to simply imitate a whole action—the imitation must also provoke in the audience the emotions needed for catharsis, and catharsis is most effectively produced through events that are unexpected.

Every tragic plot involves a change of fortune, and such plots can be either complex or simple. A reversal “is a change to the opposite in the actions being performed,” which, of course, occurs because of “necessity or probability”—that is, in a way that seems likely and that follows logically from the story’s previous events. Recognition “is a change from ignorance to knowledge, disclosing either a close relationship or enmity, on the part of the people marked out for good or bad fortune.” The best plot, according to Aristotle, is one in which recognition and reversal occur at the same time, as they do in Sophocles’ Oedipus Rex. Recognition combined with reversal involves fear and pity, which are the very foundation of tragedy, and either good fortune or bad fortune will be the outcome of such a combination. Tragedies that involve human suffering, such as in war, are also effective in bringing about catharsis.

The best tragedies, according to Aristotle, are those with complex plots. A good tragedy should not depict an overly moral character undergoing a change in fortune from good to bad, as this upsets audiences and does not inspire fear and pity. Similarly, an overly wicked character should not undergo a change of fortune from bad to good, as such a change isn’t tragic and will not inspire fear or pity either. Still, a good tragedy does include a change in fortune from good to bad, as such plots are more tragic than plots that end in good fortune and will therefore elicit more fear and pity. Tragedy includes acts that are “terrible or pitiable,” and these acts can occur between people of a close relationship between enemies, or between neutrals. There is maximum fear and pity in “terrible or pitiable acts” between close characters, such as the murder of one’s father or son.

Aristotle next considers characters within tragedy: he defines four things that go into the construction of a character. The first is goodness, or the moral essence of a character’s actions and disposition. A character’s imitation must also be appropriate, and it must have likeness, or similarity. Lastly, a character must be consistent, and if it is necessary or probable that a character behave in an inconsistent way, they should be “consistently inconsistent.” Poets should always visualize a plot as they construct it so that they can spot inconsistencies and inappropriateness. A tragedy must also have complication and resolution, and both complication and resolution should be constructed with equal care and attention. A tragedy includes reasoning and diction, which can be broken down further into several of its own component parts, including nouns, verbs, and utterances. Clarity is most important in diction, as long as there isn’t “loss of dignity.” Clear diction includes standard words in common usage; however, using only common words in a poem is unoriginal and inartistic and leads to a “loss of dignity.” Thus, a balance must be struck between standard words in common usage and “exotic expressions,” which are coined by the poet or are otherwise non-standard. Good poetry uses all forms of diction, especially metaphor and uncommon words.

According to Aristotle, objections to poetry usually involve one of the following: a poem is impossible, irrational, harmful, contradictory, or incorrect. Often, that which seems impossible or irrational isn’t as impossible as it may seem, especially since it is paradoxically likely for unlikely things to happen. Furthermore, that which seems contradictory or incorrect might be an imitation of an object as it should be or as it is thought to be, not as it actually is. In other words, Aristotle easily dismisses each of the usual objections to poetry. People might ask if tragedy is superior to epic, and Aristotle maintains that tragedy is absolutely superior. An epic poem lacks spectacle and lyric poetry, which are a “source of intense pleasure,” and a tragedy is shorter. Aristotle argues that “what is more concentrated is more pleasant than what is watered down by being extended in time.” For instance, if Sophocles’ Oedipus Rex were as long as Homer’s Iliad, it would be much less impactful. Lastly, since an epic is so much longer than a tragedy, unity in an epic can be difficult to achieve. Because of this, Aristotle considers tragedy superior; however, he argues that it is fear and pity, and the subsequent catharsis, that really make tragedy superior to epic poetry.