Paper no 04 Assignment

Assignment

 Name :- chauhan Urvashi N.

Roll no :-41

Paper no:-4

Topic:-  kanthapura as a Gandhian novel

Year :- 2018/20

Enrollment no:- 2069108420190008

Email Id:-urvashichauhan157@gmail.com

Submitted:- Smt. S.B. Gardi, Department of English MK Bhavnagar Uni.

Introduction

     “An epic is a long narrative poem and a great and serious subject related in an elevated style and center on a heroic or quasi divine figure on whose action depend the tale or tribe a nation or the human race “

-       M.H. Abraham

“ An epic is the greatest and most sublime from of poetry. The epic is a poem, divided into several books, celebrating the life, heroic deeds and achievements the life of a national hero whether historical or legendary.

 About Raja Rao

         Raja rao was an Indian writer of English-language novels and short stories, whose works are deeply rooted in metaphysical. The Serpent and the Rope (1960), a semi autobiographical novel  recounting a search for spiritual truth in Europe and India, established him as one of the finest Indian prose stylists and won him the sahitya akadamy aword  in 1964. For the entire body of his work, Rao was awarded the neustadt international prize for literature in 1988. Rao's wide ranging body of work, spanning a number of genres, is seen as a varied and significant contribution to Indian English literature, as well as World literature as a whole.

    Notable work

·    Kanthapura

·    The serpent & the rope

·     The cat and the Shakespeare: a tale of India

·    Comrade Kirillov

·    The Chessmaster & his moves companions

·    The little gram shop nimkes

·    On the Ganga ghat

·    Changing India

·    Tomorrow

·    Whither India

·    The meaning of India

·    The great Indian  Way

         There were three Indian modern writer of classic. Their contribution in classic is very significant.1. Mulk Raj Anand, 2.R.K. Narayan,3. Raja Rao those three person are great dramatist of the Indian Writing in English. In Indian literature we have many forms like Epic, Lyrics, Drama, Short stories and Fables but we should wit of Novel very long time.

Raja  rao's first novel kanthapura published in 1938,mainly portrays the freedom movement launched by mahatma Gandhi in the 1920s to liberate india from the imperialistic hegemony of the British. India struggle for independence, with its powerful impact on indian sensibility, froms of the novel. However a deeper probe into this work reflects raja rao’s abiding interest in philosophical themes. The raja roa sympathetically explores the Gandhian value of living ones enemies , non-violence and  abolition of  untouchability.

       In the early phase of his life,  raja rao was influenced by the Gandhian thought. Which  was of the most  challenging  philosophies of the era. the shaping the destiny of India in the pre- independence period. Then quit India movement was started by Gandhi. Raja roa was associated with the underground activity of young social leaders.

Three elements in kanthapura

  • Social Background

  • Religion Background

  • Political Background

POLITICAL BACKGROUND

       ‘Kanthapura’  novel political ideas also be found, Earlier, British ruled over India and then slowly and steadily education got reformation and Gandhian ideas started to apply by Moorthy.

First they ignore you,

Then they ridicule you,

Then they fight you, and

            Then you win…

Kanthapura  is the earliest example of Gandhian Novel. Raja Rao’s novel is the most powerful of Indo – Anglian novel, portraying the impact of the Gandhian Movement on the Indian people. Kanthapura is long narrative novel telling of heroic acts, the birth and death of a hero. So it is an Epic. Kanthapura is telling of impact that Gandhi had on the nation. He concerted the whole nation into an army of Freedom fighters. Gandhiji was no less than the hero of an epic, the freedom struggle of India was an epic struggle. Thousands of people sacrifice their lives. It was remaining in the background through the novel; Gandhi is no doubt the hero of movement on a small village Kanthapura. Here, in the Kanthapura Moorthy is the Gandhi and Hero of the village.

The main character of the novel is Moorthy. He is Brahmin boy who discovered a half buried ‘Ligna’ from the village and installed it. It is Moorthy who organize Gandhi work in the village, he is indeed life and spirit behind the movement in Kanthapura just as a Gandhi was the life and spirit of freedom struggle in India, but very soon the people of Kanthapura as a whole are actively involved and the novel becomes an account of their suffering and their heroic sacrifice. The people of Kanthapura has been enthused with spirit of Gandhiji and they march ahead heroically despite all the suffering and the hardship they have undergo.

             Moorthy is not man of modern novel. He is a ‘very Prince’, ‘our Rama’ and ‘small mountain’…..

Like a thousand of young men all over the country Moorthy gave up his studies and joined freedom movement. He dedicated his life to the country after he followed the principal of Gandhiji. He burnet his foreign clothes and started using Khadi. He did not marry and devoted his life totally to the struggle for independence. He sacrifices his personal life and happiness for the sake of freedom fighters in the village Kanthapura.

Sociel  background of Kanthapura:

•Mythology

•Poverty and Illiterate of people

•Highly believed in  God and Goddess

•Celebration of different festivals

•No rights for women in societY

•Believed in Gandhism and Moorthy.

Religion background:

         Indian masses are deeply religious and so religion was freely exploited by Indian patriots all through the freedom struggle.The religious sentiments of the rural folk were fully exploited by B.G.Tilak, by introducing the Ganapati festival in Maharashtra and instilling in them courage, patriotism, discipline and unity.Students were also persuaded to take part in these celebrations. The festival was used as a suitable instrument for educating the masses and making them politically conscious.Tilak also started the Shivaji festival in 1895 to encourage the Marathas to emulate their beloved leader .A new longing for liberty and a firm resolution for a united national Government were fostered by festivals like these. Athletic performances, patriotic and religious songs, Kathas and ballads were recited on a large scale, resulting in a sense of pride in the glorious and worthy past of India. It may be mentioned that religionis used in this very way in the novel.There are recitals of Kathas, and holding of Harikathas and festivals. It is under the guise of a procession of Ganpati that the people of Kanthapura try to make good their escape.Religion played an important part in Indian struggle for independence, and so it does in the novel.

KANTHAPURA as a Gandhian novel:

       Kanthapura is the first novel of Raja Rao written in 1938 A.D. It describes the period in which the struggle against the foreign government was dominating the political scenario in India. At that time the Non-Cooperation Movement was in vogue.

Congress under the leadership of Gandhi was leading the movement. Raja Rao supported the ideas of Gandhi thus Kanthapura as a political novel is totally influenced by the principles of Gandhi. In the beginning of the novel, we come to know about the structure of village.

   We find that the village of Kanthapura is a caste-ridden village and the quarters of people are separated on the basis of casteism. The casteism is so prevalent in Kanthapura that if a Brahmin visits a Pariah’s house, he has to go to Kashi for purification.

Moorthy, the protagonist of the novel, who is a Brahmin, gives up his studies after being influenced by the Gandhian Philosophy by going through different pamphlets and newspapers. Hence we don’t see Gandhi in actual but his ideology and principles in the novel and Moorthy is the avatar of Gandhi.

Moorthy after adopting the Gandhian Ideology gives up his studies in the city and returns back to his village. He gives up foreign clothes and goods and wears hand-woven Khaddar. He encourages the people of his village to use native things and become independent of foreign goods.

    Moorthy believes in non-violence. He asks people to make their struggle non-violent. They should love their enemies even if the later may hate them or even act violently. Moorthy asks the people to speak the truth and remains loyal to Congress. he feels extreme discomfort and fife there and on returning back, he takes a religious bath for purification. Thus in real he accepts untouchability in spite of his struggle against it.

         The Gandhian Ideology which makes the plot of the novel to develop and not Gandhi himself. As Gandhi influences the politics at the national level, Moorthy becomes the Gandhi of Kanthapura and does the same things. Thus Kanthapura is a mini-nation with a Gandhi of itself  Moorthy.

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Paper no 03 Terms

Assignment

Terms

Name:- chauhan Urvashi N.

Roll no:- 41

Paper no:-  3

Year:-2018/20

Topic:- terms: hamartia, tragic Hero, expressive criticism, objective criticism,

Enrollment no:-2069108420190008

Email Id:- urvashichauhan157@gmail.com

Submitted to :-  Dilip  Barad

Smt. S.B.Gardi , Department of English MK Bhavnagar Uni.

              Literary terms refer to the technique, style and formatting used by writers and speakers to masterfully emphasize, embellish, or strengthen their compositions. Literary terms can refer to playful techniques employed by comedians to make us laugh or witty tricks wordsmiths use to coin new words or phrases. They can also include the tools of persuasion that writers use to convince and drive audiences to action. With their carefully crafted speeches geared towards both logical and emotional thinking, they challenge our everyday modes of thinking.

Literary terms also include powerful figurative language that writers use to summon emotion ranging from guilt to anger to bliss, and to allow us to see the world in new and magical ways. Words can be arranged to give poems, songs, and prose  alike, rhythm and musicality. They can animate a story with such wealth of detail, character development, and action that as readers, we are taken by a story, and feel as if the people on the page are real. Literary terms have a wide range of application, from the poet’s beauty, to the speaker’s persuasion, to the novelist’s story development.

Hamartia :-

    Hamartia is the tragic flaw or error that reverses a protagonist fortune from good to bad. Hamartia, pronounced hah-mahr-tee–uh, is derived from the Greek phrase hamartanein meaning “to err” or “to miss the mark.” Hamartia includes character flaws such as excessive ambition, greed, or pride which result in tragic consequences.

     Hamartia is a main element of the classic tragic play. Usually, this tragic flaw causes a complicated story to arise and develop. For a basic understanding of hamartia, though, consider these short story examples:

Importance of hamartia:

   Hamartia shapes the tragic plot. Without a fatal flaw, the protagonist would continue to live a flourishing life with little to no difficulty. It is the flaw that causes his or her good fortune to shift to bad fortune, usually at the most climactic point in the plot. Furthermore, hamartia emotionally-charges the tragic narrative , instilling pity and awe in the audience. The tragic hero is imperfect and therefore relatable to the audience, as we all have flaws. The dramatic and tragic effects of the flaw may serve as a moral lesson, showing the negative effects of hamartia that is unharnessed and yields terrible results.

Example

    Oedipus the King is one of the primary characters that come to mind when talking about hamartia examples. Oedipus expresses a certain hubris about his own intelligence and decision-making that, taken too far, leads to his downfall. Oedipus was made a fatal mistake in his understanding of vital information.he kills his own father and marries his mother out of ignorance. He has set a curse on the man who kills his father not knowing that it is he who has done so. The blind prophet, Tiresias, makes Oedipus aware of his tragic error and asserts that it is Oedipus himself who leads to his own downfall.

Tragic Hero

      Tragic hero is the protegonist of a tragedy in drama. In his poetics , Aristotle records the descriptions of the tragic hero to the playwright and strictly defines the place that the tragic hero must play and the kind of man he must be. Aristotle based his observations on previous dramas. Many of the most famous instances of tragic heroes appear in drama Greek literature, most notably the works of Sophocles and Euripides.

Aristotelian tragic Hero

     

    Aristotle suggests that the hero of a tragedy must evoke a sense of pity or fear within the audience, stating that the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity.

 

    He establishes the concept that pity is an emotion that must be elicited when, through his actions, the character receives undeserved misfortune, while the emotion of fear must be felt by the audience when they contemplate that such misfortune could possibly befall themselves in similar situations. Aristotle explains such change of fortune "should be not from bad to good, but, reversely, from good to bad.” Such misfortune is visited upon the tragic hero "not through vice or depravity but by some error of judgment." This error, or hamartia, refers to a flaw in the character of the hero, or a mistake made by the character.

        example of a mistake made by a tragic hero can be found in Sophocles' Oedipus rex . In the story, the character of Oedipus is given a prophecy that he will murder his own father and marry his own mother. Although he goes to great lengths to avoid fulfilling the prophecy, Oedipus learns that the life of a man he took, Laius, was actually that of his own father, and that the woman to which he is married, Jocasta, is actually his own mother.

      Aristotelian hero is characterized as virtuous but not "eminently good," which suggests a noble or important personage who is upstanding and morally inclined while nonetheless subject to human error. Aristotle's tragic heroes are flawed individuals who commit, without evil intent, great wrongs or injuries that ultimately lead to their misfortune, often followed by tragic realization of the true nature of events that led to this destiny. highly-admirable qualities that lead the hero into tragic circumstances. The tragic hero is snared by his or her own greatness: extraordinary competence, a righteous passion for duty, and the arrogance associated with greatness .

Expressive criticism

     Expressive criticism treats a literary work primarily in relation to its author. It defines poetry as an expression, or overflow or utterance of felling or as the product of the posts imagination operating on his or her perceptions, thoughts and feelings. It tends to judge the work by its sincerity or its adequacy to the poet's individual vision or state of mind. It often seeks in the work evidences of the particular temperament and experiences of the author who consciously or unconsciously has revealed himself or herself in it. Such views were developed mainly by romantic critics in the early 19^th century. And remain current in our own time especially in the writing of psychological and psychoanalytic critics and in critics of consciousness such as George poulet and the Geneva school.

   

Practical criticism

  

 Practical criticism concerns itself with the discussion of particular works and writers. In an applied  critique the theoretical principles controlling the mode of the analysis interpretation and evaluation are often left implicit or brought in only as the occasion demands. Among the more influential works of applied criticism in England and america are the literary essays of Dryden in the restoration. Dr. Johnson’s  lives of the english POET’S . Coleridge’s  chapter on  the poetry of Wordsworth in Biographia Literatur  and his lectures on Shakespeare. William Hazlitt’s lectures on Shakespeare and the  english POET’S  in the second and third decades of the 19^th century. Matthew Arnold’s essay in criticism, Richard s practical criticism. Practical criticism is sometimes distinguished into  impressionistic and judicial criticism.

Objective criticism

       Objective criticism deals with a work of literature as something which stands free from what is often called “ extrinsic” relation to the poet or to the audience or to the environing world. Instead it describes the literary product as a self – sufficient and autonomous object or else as a world in itself. Which is to be contemplated  as it’s own end. And to be analyzed and judged solely by ‘ intrinsic' criteria  such as it’s complexity , coherence, equilibrium, integrity and the interrelations of its component elements. The general viewpoint of the self-esteem sufficiency of an aesthetic object was proposed in Kant's critique of aesthetic judgment see distance and involvement was taken up by  proponents of art for arts sake in the latter part of the 19^th century and has been elaborated in detailed modes of applied criticism by a number of important critics sine the 1920s including the new critics the Chicago school and proponents of European for malism.

   

Conclusion:

   

     This literary terms will helpful to understand the literature. It will help reader to understand literature with different perspective . This terms will helpful to see  the. Literature beyond the way it told. So by using these terms will help in see the literature in a new and different way.

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Paper no 2 development of novel and drama

 Development of novel and drama

Name :- chauhan Urvashi N.

Paper no :- neoclassical literature

Semester :- 1

Roll no:- 41

Year :- 2018/20

Topic:- development of novel and drama

Enrollment no :-2069108420190008

Email Id :- urvashichauhan157@gmail.com

Submitted to :- Smt. S.B.  Gardi , Department of English Mk Bhavnagar Uni.

Introduction

            Neoclassical literature was  written between 1670 and 1798. This time period broken down in to three parts: 1. Restoration period

           2. Augustan period

           3.johnson age writers of the neoclassical period tried to imitate the  style  of the romans  and Greek . Thus the combination of the terms 'neo,' which means 'new,' and 'classical,' as in the day of the Roman and Greek classics. This was also the era of The Enlightenment, which emphasized logic and reason. It was preceded by The Renaissance and followed by the Romantic era. In fact, the Neoclassical period ended in 1798 when Wordsworth published the Romantic 'Lyrical Ballads'.

Characteristics of Neoclassical Literature :

        Neoclassical literature is characterized by order, accuracy, and structure. In direct opposition to Renaissance attitudes, where man was seen as basically good, the Neoclassical writers portrayed man as inherently flawed. They emphasized restraint, self-control, and common sense. This was a time when conservatismflourished in both politics and literature.

Some popular types of literature included:

• Parody

• Essays

• Satire

• Letters

• Fables

• Melodrama, and

• Rhyming with couplets

The Restoration Period

     It is called the Restoration Period, as King Charles was restored in this era. The Restoration Period lasted from 1660-1700. Writers of this age, Dryden and Milton, endeavoured to use sublime, grand and impressive style, scholarly allusions, and mythology and curb the intense use of imagination.

The Augustan Age

      The Augustan Age is also called the Age of Pope. Pope was the leading poet in this age. The Augustan Age lasted from 1700 to 1750.

The Age of Johnson

      The Age of Johnson lasted up to 1798, when the Romantic Movement was underway with the publication of Lyrical Ballads by Wordsworth and Samuel Coleridge.

Definition of neoclassical drama :

       A concept of drama that originated in the writings of 15th century Italian scholars and came to dominate the stage in 17th- and 18th-century France was the neoclassical drama. Neoclassical theorists advocated a return to the values and conventions of classical Greek drama as these were then understood. In particular, they ascribed a great importance to the Poetics of Aristotle, and to the unities of time, place, and action that they deduced from this work.

Neoclassical Dramatists:

COLLEY CIBBER

        Comedy of manners was severely attacked by Jeremy Collier of whom Colley Cibber was a close disciple. The comedies of Cibber have all the characteristics of Sentimental Comedy. His comedies end on a note of morality. His two sentimental comedies are Love’s Last Shift and Provoked Husband.

SIR RICHARD STEELE:

      Richard Steele, who popularised the Periodical Essay, was perhaps the great playwright of the sentimental comedy. He wrote three sentimental comedies viz. The Lying Lover, The Tender Husbandand The Conscious Lovers. 

HUGH KELLY

      He carried sentimental comedy after the middle of the century. His important comedy is False Delicacy. 

CENTLIVRE

       Mrs Centlivre, the wife of French cook to Queen Anne, kept alive the spirit of restoration comedy  in her plays. Most notable of which is A Bold Stroke about 30 plays, some of which were tragedies. His best sentimental comedies are The Brothers, The West Indian and The Fashionable Lover.

RICHARD CUMBERLAND

      Cumberland wrote about 30 plays, some of which were tragedies. His best sentimental comedies are The Brothers, The West Indian and The Fashionable Lover.

Characteristics of drama

Rise of Novel

     The main cause for the decline of drama, during the 18th century, was the popularity gained by the novel. The rise of novel  displaced the drama. The novel had become truly representative and free from most of the conventions that burdened the theatre. It, in a better way, depicted life, manners and ideas.

An Age of Actors and Actresses

      During this age, actors and actresses became more important than the playwrights. People were more attracted towards the performance of actors and actresses but never bothered about the qualities of the plays that were being produced. People went to theatres mainly by the fame of actors and actresses. Such fame of actors and actresses lowered the prestige of drama. This discouraged the playwrights to produce good plays. This was another cause for the decline of drama.

Revival of the old play

     The revival of old plays hindered the creation of new plays. The plays of Shakespeare, beaumont and fletcher were revived. A number of tragedies of Shakespeare like Romeo and Juliet, King Lear were given happy endings. Playwrights perhaps thought that writings of new plays would be useless since people of the age were more interested in the revival of old plays rather than the creation of new ones.

Lack of Support from Court

      The drama of the age failed to receive the support of the king. William-III was no patron of the theatre nor was Queen Anne; nor was the first two Georges. Without the support of the king, it was difficult for the dramatists to put their influence over the public of the day. This also led to the decline of drama.

    Moral Restraint

    During this age, the dramatists were restricted from presenting rude and offensive scenes. Thus they had not that freedom which the writers of Comedy manner enjoyed. Naturally, the scope of drama became restricted. Instead of broad humour of comedy, writers of the preceding age, sentiments emerged in the world of comedy. The comedies of the age bordered on sentimentality and everything that seemed to have the tone of fun. Humour was regarded as a matter of distaste by the public.

Heroic Drama

    Heroic Tragedy was also called “Heroic Drama”, but Dryden, the main supporter of Tragedy, called it “Heroic Drama”. These plays were written in the Classical model of the rhymed heroic couplet and later in blank verse tragedy. This tragedy was only near tragedy.

The theme of the heroic plays was based on the struggle between love and honour, the hero and heroine were cast on the grand scale and their dialogues consisted of elaborate speeches, in rhymed 10-syllabled couplets, full of emotional and bombastic of such kind that its parallel would not be found.

Novel

     The 18^th century is generally considered to be the first literary age during which we can speak of the novel as a well established in British literature. The period is difficult to name. It was called  contemporaries Augustan and neoclassical age.

         The great types of literature, like epic, drama, the romance, and the drama were first produced by other nations. but the idea of the modern novel seems to have been worked out largely on english. The novel is a long prose fiction having a plot, a number ofcharacters and the plot developing and coming to a logical conclusion through the characters interaction with one another. J.B. Priestley defines a novel “as a narrative in prose treating chiefly of imagery characters and events”. Many critics divided the novel into two classes: stories and romance the story being a form of which relates certain incidents of life with as little complexity as possible and the romance describes life as led by strong emotions in complex and unusual circumstances,  but the critics have divided the NeoClassical novels in the following categories The novel started with Travelogues the stories relating the adventures of the travelers or voyagers in unknown and unchartered seas. The earliest of them is Daniel Defoe’s Robinson Crusoe; and Swift’s Gulliver Travels. The next is The Picaresque Novel in which the hero is rouge or a bad character who wanders from place to place and encounters many adversaries who are equally roguish, for example the heroine of Defoe’s Moll Flanders. The Epistolary Novel comes next in which plot develops and comes to an end through the medium of letter Richardson’s Pamela. there is very little dialogue amongst the characters because they exchange their views and thoughts through their letters and replies. In Neo-Classical novel, the controversy between rules and taste continued because the novel had new lyemerged and had no theory or rules of its own available in any ancient or Augustan period, but Fieldingwas only conscious artist who tried to forge a theory of the novel.

    Four wheels of novel

     The  group of the first novelist of Augustan Age.  1) Richardson, 2) Smollett, 3) fielding and 4)  Sterne . They are  called four wheels of novel.  beginning of novel writing is made with an enthralling and mysterious figure, Daniel Defoe . who gives us travelogue novel Robinson Crusoe . Heregards the novel, not as a work of imagination, but as a true relation and even the element of fact decreases, he maintains the close realism of pseudo-fact. The combination of these qualities has given Robinson Crusoe its immediate and continuous appeal. The next development in the novel, and possibly the most important in its whole history in England, comes by the ancient, Samuel Richardson. who is famous for Epistolary Novel Pamela in which plot develops and comes to an endthrough the medium of letters. Richardson has suffered from the appearance of contemporary, who disliked his work, and who took an early opportunity of satirizing it, named Henry Fielding, who published Andrew Joseph to ridicule Richardson’s Pamela. he contrived this satire by revering the situation in Richardson’s novel. The next wheel, Tobias Smollett was Fielding contemporary, though he is not of equal stature. If he brought to the novel nothing that was new inform, he was able to introduce a new background, in accounts of sea in the livid days of the old Navy in Roderick Random .which portrays the life of rogue hero until his marriage with the loyal, beautiful and incredible Narciss. Of the eighteenth century novelists, the strangest, and the most variously judged, is Laurence Sterne, who is known for Life and Opinion of Tristram Shan in which the reader has to wait until the third book before the hero is born, and even then his future life remains undefined. After the work of these four masters, the stream of fiction broadens continually, until it reaches the flood with which no single intelligence and contended.

    Samuel  Richard

      Richardson was a skilled letter writer and his talent traces back to his childhood.Throughout his whole life, he would constantly write to his various associates. Richardson had a "faith" in the act of letter writing, and believed that letters could be used to accurately portray character traits. He quickly adopted the epistolary novel  form, which granted him the tools, the space, and the freedom to develop distinctly different characters speaking directly to the reader.The characters of Pamela, Clarissa, and Grandison are revealed in a personal way, with the first two using the epistolary form for "dramatic" purposes, and the last for "celebratory" purposes.

In his first novel, Pamela, he explored the various complexities of the title character's life, and the letters allow the reader to witness her develop and progress over time. The novel was an experiment, but it allowed Richardson to create a complex heroine through a series of her letters. When Richardson wrote Clarissa, he had more experience in the form and expanded the letter writing to four different correspondents, which created a complex system of characters encouraging each other to grow and develop over time. However, the villain of the story, Lovelace  is also involved in the letter writing, and this leads to tragedy. Leo Braudy described the benefits of the epistolary form of Clarissa as Language can work letters can be ways to communicate and justify By the time Richardson writes Grandison, he transforms the letter writing from telling of personal insights and explaining feelings into a means for people to communicate their thoughts on the actions of others and for the public to celebrate virtue. The letters are no longer written for a few people, but are passed along in order for all togetherness. There are many novelist and Dramatists in neoclassical age. So that is development of novel and drama in neoclassical age.

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