The Renaissance Literature:paper-1

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NAME: Dodiya Meghana J.

ROLL NO: 13

SEMESTER: 1

COURSE NAME: The Renaissance Literature

ASSINGMENT TOPIC: Hamlet in Feminist

                                        Approach

EMAIL : mdodiya26@gmail.com

SUBMITTED TO: Department Of English

v     Introduction of writer:-

     William Shakespeare has become the most famous and influence author in English. He wrote thirty-eight plays, one hundred fifty-four sonnets and two epic poems. Her famous play is Hamlet.

Very little is known about Shakespeare’s early life. He was born around 1564 in Stratford-upon-Avon to a middle-class merchant family. He had become a successful actor and playwright in London and was famous among Londoners for the popularity of his plays. The plays are often categorized as tragedies, comedies, or histories.

v     Introduction of Feminist Theory:-

         Feminist theory is the extension of; feminism into theory is the extension of feminism into theoretical or philosophical discourse. It aims to understand the nature of gender inequality. It examines women’s social roles experience, interest chorus and feminist politics in a variety of fields. Such as anthropology and sociology, communication, psychoanalysis, home economies, literature, education and philosophy.

         Feminist theory focuses on analyzing gender inequality. Themes explored in feminism include discrimination, objectification,(especially sexual, objectification),oppression, stereotyping art history and contemporary at end aesthetics art and aesthetics.

    Feminist theory also closely examines the role of women in the development of popular culture, explore the question of whether a particular female language can be said to exist.

      A number of theorists rejects a number of the fundamental notion of psychoanalysis and contend that such is male-biased, anti-women, and patriarchal.

v      Application in Shakespeare’s Hamlet:

        A feminist theory based interpretation of Hamlet would focus, most particularly, upon the characters of Ophelia and Gertrude. A feminist theoretical reading of Hamlet might argues that Ophelia-who is driven to seeming madness throughout the play and, possibly ,eventual suicide-is figured as being repressed, abused, ignored, and renounce by male characters throughout the play because of her gender.

  Introduction:-

    The construction of female characters in Shakespeare’s plays reflects the Elizabethan society he also puts their representations into question, challenges, and also revises them.

v   Hamlet: Feminist Approach:-

   The play Hamlet applied in feminist theory .The title of essay Frailty, thy name is Hamlet: Hamlet and women ‘that applies theory of feminism in “A Handbook of critical Approaches to literature” by Wilfred l .Guerin et al demands details discussion.The authors metamorphoses one of the famouse dialogues by Hamlet which originally reads,

          “Heaven and earth,

          Must I remember? Why, she would hang on him

        As if increase of appetite had grown

        By what is fed on, yet, within a month-

         Let me not think on’t-Fraity, thy name is Women!”

              It is spoken in anger to Gertrude due to her hasty marriage.

·    By replacing women with Hamlet, it seems to me, the authors consider Hamlet’s inability to act as a feminine trait. Are the proponent of feminism themselves being anti-feminist? For me, simply “Hamlet and Women ‘title would be enough.It proves that to bring out someone’s fault, one has to relate him with feminine quality.

·    He is crushes under the burden of moral dilemma. Not only by means of title, Hamlet is psychologically castrated by his oedipal attitude and his act of letting loose his anger upon two father images, one is good and strong and another is bad and strong. Hamlet unnecessarily attacks on woman around him because he can’t act on his powerful uncle cum father Claudius.

·    Another reason her mother’s overhasty marriage and Ophelia’s support to his scheming father, unknowingly. It is very strange that her mother can’t get married in two three months of her husband’s death. After all, who is he to decide whom and when she should remarry? He is adult but still behaves like a kid. He still wants to have a control over his mother’s decision.

·    There is no ‘true’ Ophelia for whom feminist criticism must apart speak, but perhaps only a realistic Ophelia of multiple perspectives, more than the sum of all her parts.

·     Inessential to say, most of the character analysis of Hamlet focuses on the character of Hamlet himself. As we see in the section on religious interpretations of Hamlet Claudius and Polonius also are taken as having an freedom existence. Most often, this is not the case with Ophelia. She is most customarily inspect  in relationship to Hamlet, and her inspiration seems influence by the characters with whom she is interacts  until she is spins free  in her madness.

·    Otherwise, she seems to be a supportive and appealing pawn of the drama. The Freudian critic, Jacques Lacan provides us with an excellent example.

      I announced that I would speak

      Today about that piece of bait

       Named Ophelia, and I’ll be as

       Good as my word.

·    What is the point of the character Ophelia? Ophelia is obviously essential .She is linked forever, for centuries, to the figure of hamlet.

·    This attitude has caused no small amount of consternation amongst feminist critics such as professor Elaine Showalter of Princeton university.

·    The bait-and-switch game that Lcan plays with Ophelia is a cynical but not unusual instance of her deployment in psychiatric and critical texts. For most critics of Shakespeare, Ophelia has been an insignificant minor character in the play, touching in her weakness and madness but chiefly interesting, of course, in what she tells us about Hamlet…

·     A central encumbrance to declare Ophelia’s existence as an  independent character is that she is appear to have no past. With Hamlet, we know through exposition of his education, and we see him in relationship to old friends. However, we have none of these cues to gives us a sense of Ophelia’s past.

·    Shakespeare gives us very little information from which to imagine a past for Ophelia. She appears in only five of the play’s twenty scenes; the pre-play course of her love story with hamlet is known only by a few ambiguous flashbacks.

·     Recent feminist critics saw Ophelia’s lack of an independence will as representative of a suppressive double standard rooted in our traditions.

·    Polonius dispatches his son to the university to sow his wild oats, to learn through his errors how to be true to himself, and thus to other men.But his daughter must not rely on her own Judgement. Her conviction of hamlet’s sincerity arouses contempt: Affection.pooh! you speak like a green girl/unsifted in such perilous circumstance’ He advises her to Laertes expects Ophelia to heed his counsel that ‘best safety lies in fear’. Her whole education is meshed to relying on other people’s judgment, and to placing innocence and reputation for innocence above even the virtue of truthfulness.

·     Ophelia has no chance to develop an freedom conscience of her own, so stifled is she by the authority of the male world.

·    In an effort to conceive of Ophelia as a character with her own richness and goodness, interpreters of the role have often felt constrain to ascribe a past to her which is not evident from the text of Shakespeare’s hamlet itself’.  

·    Like many critic, victorians went  to the actual sources of the Hamlet story which were the probable ancestor of the Shakespeare version- to saxo grammaticus’Historia Danica and to Francois de Bellforest’s The Hystorie of Hamblet(1576).

·    Employing a mixture of these texts and imagination, they came up with their own Ophelia- including a past.

     Ophelia—poor Ophelia!

      Oh, far too soft, too good,

      Too fair, to be cast among

      The briers of this

       Working –day world, and

        Fall and bleed upon the

      Thorns of life! What shall

       Be said of her? For

       Her! Like a strain of sad,

       Sweet music, which

       Comes floating by us on

        The wings of night and

         Silence…..

         The love Ophelia,

         Which she never once

         Confesses, is like a secret

         Which we have stolen

          From her….

·      The situation of Ophelia in the story is that of a young girl who, at an early age is brought from a life of privacy into the circle of a court -- a court such as we read of in those early times, at once rude, magnificent, and corrupted. She is placed immediately about the person of the queen, and is probably her favourite associated. The devotion of the wicked queen for this gentle and innocent creature is one of those beautiful and redeeming touches, one of those penetrating glances into the secret springs of natural and feminine feeling which we find only is Shakespeare. 

·     

We can see this tendency, for example with the portrait of Ophelia created by Helena Faucit Martin.

Ophelia was one of the pet dreams of my girlhood - partly, perhaps, from the mystery of her madness.  - Helena Faucit .

•   It hurts me to hear her spoke of, as she often is, as a weak creature, wanting in truthfulness, in purpose, in force of character, and only interesting when she loses the little wits she had. And yet who can wonder that a character so delicately outlined, and shaded in with touches so fine, should be often gravely misunderstood?  -                                                                                                                                       Helena Faucit      Martin    played Ophelia against William Charles Macready's Hamlet in Paris, goes further in imagining a childhood for Ophelia. This imagined experience serves as a background for actually creating the part herself. "I had lived again and again through the whole childhood and lives of many of Shakespeare's heroines, long before it was my happy privilege to impersonate and make them, in my fashion, my own."  Here's the account of Ophelia's childhood that emerges from this process.

I pictured Ophelia to myself as the motherless child of an elderly Polonius. His young wife had first given him a son, Laertes, and had died a few years later, after giving birth to the poor little Ophelia. The son takes much after his father, and, his student-life over, seeks his pleasures in the gayer life of France; fond of his little sister in a superior way, in their rare meetings, but neither understanding nor caring to understand her nature.

The baby Ophelia was left, as I fancy, to the kindly but thoroughly unsympathetic tending of country-folk, who knew little of "inland nurture." Think of her, - sweet, fond, sensitive, tender-hearted, the offspring of a delicate dead mother tended only by roughly-mannered and uncultured natures! One can see the sweet child, with no playmates of her kind, wandering by the streams, plucking flowers, making wreathes and coronals, learning the names of all the wild flowers in glade and dingle, having many favourites, listening with eager ears when delight or lulled to sleep at night by the country songs, whose words (in true country fashion, not too refined) come back again realistic to her memory, with the fitting descant, as such things strangely but surely do, only when her wits have flown...

When we first see her, we may fairly suppose that she has been only a few months at court. It has taken off none of the flush of her beautiful nature. That remains pure and fresh and simple as she brought it from her country home. One change has taken place, and this a great one. Her heart has been touched, and has found its ideal in the one man about the court who was likely to reach it, both from his rare and attractive qualities, and a certain loneliness in his position not very unlike her own. How could she help feeling exalted - drawn towards this romantic, desolate Hamlet, the observed of all observers, whose "music vows" have been early whispered in her ears? On the other hand, what sweet repose it must have been to the tired, moody scholar, soldier, prince, bothered with the world and all its ways, to open his heart to her, and to hear the shy yet expressive talk which he would woo from her - to watch the look, manner, and movements of this aesthic child of nature ...  


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Indian writing in English:PAPER-4

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NAME   : Dodiya Meghana j.                      
ROLL NO: 13
SEMESTER: 1st
COURS NAME: Indian writing in English
ASSIGNMENT  TOPIC : Narrative Technique in Kanthapura
SUBMITTED TO: Department Of English

→Narrative Technique of kanthapura:-
→Introduction of the Writer:-
                                                                                                       
                Raja Rao was born on November 8, 1908 in Hassan, in the state of Mysore in south India, into a well-known Brahman family. His native language was Kanarese, but his post-graduation study was in France and all his publications in book form were English. He lived in France from 1908n to 1939, and returned to India in1940, after the second world war .Kanthapura was his first novel in English, His other novels are “The Cow Of the Barricades, Great Indian way : A Life Of Mahatma Gandhi, A Passage to India , The Serpent and the Rope ,Cat and Shakespeare, The Chess master and His Moves”.
→Introduction:-
Narrative Techniques are the method that author use to tell their stories. When analyzing novel, it is important to identify these techniques in order to shed light on the ways in which they function in the story.

→Point of view:-
Point of view is the perspective from which an author chooses to tell the story.
First person point of view: The narrator is a character in the story who directly relates his or her experiences.

→Raja Rao’s narrative techniques:-

                             
           Main point is his ordianary style of storytelling.
In kanthapura Rao has use many numerous instance like Harikatha, Sankra-Jayanti, Payasana, Rohini etc.
Structure of the novel is strate forward.
 Raja Rao uses various other devices like, repetition, additional modification in sentence .We can say that kanthapura is a recreation of myth.
Raja Rao tries to historical figure with real situation, he also focus on Indian village life related with old tradition, religious matter.
Village reflects simplicity.
The small village show that how the nation was is touched by Gandhian ideas, we say that Moorthy’s character reflect passion for action, he turned into Gandhi man.
Kanthapura is ‘documatization’ of philosophy of Mahatma Gandhi, the tents of Hinduism, spirit of Nationalism, and the Recognition of common people in India.
His style of narration is puranic .
Raja Rao follows the oral tradition of storytelling without any break.
Raja Rao has used recollection of past to the action in present.
Rather than being a traditional novel with a neat linear structure and compact plot, kanthapura follows the oral-tradition of Indian sthala-purana or legendary history.
As Raja Rao explain in his originals foreword, there is no village in India, However mean, that has not a rich legendary history of its own in which some famous figure of myth or history his made an appearance. In this way, the storyteller, who commemorates the past, keeps a native audience in touch with its lore and thereby allows the past to mingle with the present ,the gods and heroes with ordianary mortals.
           →Old puranic style:-
Similarity, Kanthapura shares certain narrative techniques with the puranas. The story is told rapidly, all in one breath, it would seem, and the style reflects the oral heritage also evident in the puranas, which are disgressive and episodic, kanthapura contains disgressions such as pariah siddiah’s exposition on serpent lore.
The puranas contains detailed, poetic descriptions of nature; similarly, kanthapura has several descriptive passage that are so evocative and unified as to be prose poem in themselves, Examples are the coming of kartik (autumn), daybreak over the Ghats, and the advent of the rains. Finally, the narration of kanthapura has a simplicity and lack of self-consciousness reminiscent of puranas and quite different from the narrative sophistication of contemporary western novelist such as Virginia Woolf or James Joyce.
Kanthapura has also imbued with a religious spirit akin to that of the puranas. The epigraph of the novel, taken from the scared Hindu scripture the Bhagavad Gita, is the famous explanation of the Hindu notion of incarnation:  ”Whenever there is misery of  and ignorance ,I come”.
The doctrine of incarnation is also central to the puranas ,most of which are descriptive account of the avatars of Vishnu .The avatar in kantapura  is Gandhi, whole book, although he is himself not a character .Incarnation Great soul ,Gandhi, but extends into kanthapura itself, where Moorthy ,who leads the revolt ,is the local manifestation of Gandhi and ,by implication, of truth.
Sentence structure:- is operate  for syntactic and rhythmic effect, as in the 1st sentence of novel: ”our village –I don’t think you have ever heard about it-kanthapura is its name, and it is in the province of Kara.”
Kanthapura, with it ; Kannadized’. English, anticipates the lofty “sansakritized” style of The serpent and the Rope, which, stylistically, is Rao’s highest achievement.
            → Raja Rao’s compare meaning:-
Myth represents our tradition. Myths are the description of historical events in an idealized manner.
End of novel is very tragic.
In political background there is a Brutality of the British is shown in the novel.
Raja Rao is typing to create national identity.
He says that” episode follows episode and when our breath stops we move another thought .This is still the ordinary style of our story-telling. I have tried to follow it myself in this story.”
Kanthapura is the narration of nationhood. Gandhian ideas, transformation, Religion, Political and social movement, Religious matter, History etc.                                
            → Raja Rao’s used of myth:-
Raja Rao has used old story-telling style. His use of myth makes it different kind of thing. The myth is use of not new style of writing English writer like James Joyce and T.s.Eliot used myth in their worth. Raja Rao has used in this novel Kanthapura different myths from Indian epic Mahabharata and Ramayana, which makes it narrative simple to understand for the Indian reader. We can see that here for the progression of the story and narrator is an old woman so it’s inevitable that mythical character would not creep in.
Raja Rao has used interesting myth this novel Kanthapura. The myth he used are of Kenchamma, Rama, Shiva, Krishna etc.
           ●The 1st myth is myth of goddess kenchamma; she is the bread giver, rain giver, and their life giver and preserver. The villagers sing her charms and hymn.
          “Kenchamma, kenchamma,
          Goddess benign and bounteous
          Mother of earth, blood of life,
          Harvest-queen, rain –crowned
          Kenchamma, Kenchamma
Goddess benign and bounteous”
          Even when if there is any disease spread over the village the women prays her and disease vanished.
        “There may be smallpox or influence around you but you make a vow to goddess, the next morning you wake up and you find fever has left you.”
                    → Use Narrative style of English:-
Raja Rao create an Indian style of English to faithfully represent the social milieu of India.
In the ‘Foreword’ to the novel he mentioned difficulty of using a foreign language as a medium for telling the story “yet English is not really an alien language to us” and has been a part of our “intellectual make-up”. Achakka uses the literal translation of Indian phrases and idioms in English like ’traitor to his salt’, ’licker of your feet, ’sun fell into the river, ’stomach that has brone eight children.’ Etc.
This appropriateness of style one can notice  in Raja Rao also.
Even in the indianized English he brings out the different in the language used by the educated, uneducated, young and old  .
In Kanthapura Achakka uses language that is typical of an woman. she expresses her feeling without any inhibition:
          If rains come not, you fall at her feet and say, kenchamma,
           Goddess, you are not kind to us .our fields are full of younglings’ and
            You have given us no water.
           Tell us kenchamma why do you seek make our stomachs   burn.
         

                               
                    → Characterization:-
Raja Rao ideally describes all the characters in the novel. Achakka narrate the whole story.
Moorthy-Gandhi man passion for action though he is Brahmin boy he begun to mix freely with the pariah.
The young widow –Ratna is good helping of Moorthy.
Bade Khan-is a typical police officer in the service of the British government.
All the characters are described simple and life like.
The clear discrimination between :-
     -Brahmin
     -Sudra
     -Pariah
     -potters there are still mutual bonding between the villagers, they live happily with equal social and economical Bonding.
The character of police man who is” symbol of the oppressive soulless bureaucracy, made visibly repulsive”.
Moorthy, the Brahman protagonist of the villager’s struggle against the government, is a prototypal Rao hero. Gandhi man is a deep spiritual experience that is appropriately characterized by the narrator as a “conversion.”
                   → Conclusion:-
                                  Kanthapura is not an allegory because here comparison between Gandhi-British rule and Rama-Ravana. Situation is not elaborate and complete. It is only convenient comparison.
                                 It is explained throught fable or an episode an the Ramayana and Mahabharata or the Gita etc. The end like this all the villagers leave kanthapura to settle n kashipura.
                                 Writer use religious metaphor to explain the subtitle of the freedom fighting movement.
                                 Kanthapura is the best example of  Raja Rao’s narration..
                                  Thank You…………………

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Literary theory &Criticism:paper-3

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NAME: Dodiya Meghana J.
ROLL NO: 13
SEMESTER: 1st
COURSE NAME: Literary Theory and Criticism
SUBMITTED TO: Department of English
Discuss John Dryden’s Essay On Dramatic Poesy..
Preface :-

  John Dryden was an English poet, literary critic, translator and playwright. Who was made poet Laureate in 1668.he is seen as dominating the literary life of Restoration England to such a point the period came to be known in literary circle as the Age of Dryden. He was a Cambridge scholar Dr.Samuel Johnson quotes him as.
      “The father of English criticism,
        Who first taught us to determine
        Upon principle the merit of
         Composition”.
About Dryden’s life :-
John Dryden was 9 august, 1631 in the village rectory of Aldwincle near Thrapston in Northampton shire. In 1650 Dryden went up to Trinity College, Cambridge.  Her childhood time experienced a return to the religious and political ethos. He was died 1 may, 1770, London, England.
Dryden’s Work:-
‘Preface to the fables’
Preface to the Indian emperor’
‘The wild Galland’
‘An Essay on Dramatic Poesy’
‘All for Love’
‘The conquest of Granada’
‘The Indian Queen’
Marriage ’a la mode

                   He was a critic of current reality. His critical observation of current reality is reflected in ‘Mackflenoe’ (1682).Her ‘An Essay on Dramatic poesy’. In this essay there are four speaker each an argues strongly as which one is better.
“Ancient or Modern? And French or English?”
           Here, we can see that discuss only’ An essay on Dramatic Poesy’. let’s see in detail .Most of his critical interpretation are found in interest in general issue of criticism rather than in close reading of particular texts.
Dryden just puts prominence on the neo-classical rules.

An Introduction of an Essay n Dramatic Poetry:-
                       
John Dryden’s An Essay on Dramatic poesy recents a brief discussion on Neo-classical theory of literature .He fence the classical drama saying that it is an imitation of life reflects human nature clearly.
JOHN Dryden’s Dramatic poesy is an exposition of several of the major critical position of the time, set out in a semi dramatic form that gives life to the abstract theories of Dramatic poesy not only offers capsule summary of the status of literary criticism in the late seventeenth century; it also fed a clearly expressed view  of the tastes of cultured men and women of the period .
Dryden combine the best of both  English and particularly French criticism; hence  the essay is a single source for understanding neo-classical Attitudes towards dramatic art. Moreover, in his discussion of the ancients versus the modern, in his defense of the use of rhyme, and in his argument concerning Aristotelian prescripts for drama, Dryden depicts and reflects upon the taste of literate Europeans who shaped the cultural climate in France and England for a century.
Crites oppose rhyme in the plays and argues that though the modern excel in science, the ancient was a true age of poetry. Lisidieius defends the French playwright and against tendency to mix genres.
Neander speaks in approval of the modern and respects the ancients; he is however critical of rigid rules of dramas and approval rhymes.
Let’s see the few points of crites attack on Rhyme and Neander’s defence:-
Crites attack on Rhyme:-
Towards the end of ‘Essay’ the  discussion turns on rhyme and blank verse, and crites attack rhyme violently on the following grounds
Rhyme is not to be allowed in serious plays, though it may be allowed in comedies.
Rhyme is unnatural in a play for a play is in dialogue, and no man without premeditation speaks in rhyme.
Blank verse is also unnatural for no man speaks in verse either, but it is nearer to prose and Aristotle has laid down that tragedy should be written in  a verse form which is nearer to prose-“Aristotle” tis best to write  Tragedy in that kind of verse which is the least such, or which is nearest prose; and this amongst the Ancients was  the lambique, and  with us is blank verse.
Drama is a ’Just’ representation of nature, and rhyme is unnatural for nobody in nature expresses himself in rhyme.

Neander’s defence:-
It is the choice of words and the placing of them-natural words in a natural order-that makes the language natural, whether it is verse or rhyme that is used.
Rhyme is justified by its universal use among all the civilized nation of the world.
The great Elizabethan achieved perfection in the use of blank verse and they, the modern, cannot excel; them, or achieve anything significant or better in the use of blank verse.
Tragedy is a serious play representing nature exalted to its highest pitch; rhyme being the noblest kind of verse is suited to it, and not to comedy.
            Crites attack on Rhyme it said that rhyme helps the poet to control his fancy but one who has not the judgment to control his fancy in blank verse will not be able to control it in rhyme either and Neander’s defence Rhyme is an aid to ’Judgment’. Rhyme helps the judgment and thus makes it easier to control the free fights of their fancy.
Dryden’s definition of Drama:-
Dryden express his views on drama that what a play should be therefore he defines drama as
   “Just and lively image of human
                     Nature,
    Representing it’s passion and
                 Humours,
    An the change of fortune to
          Which subject,
   For the delight and instruction of
            Mankind”.
According to this definition, drama is an ‘image’ of ‘Human nature’ and that the image is ‘just’ as well as ‘lively’. By using the word ‘just’ Dryden seems to imply that literature imitates human actions. For Dryden, ’poetic imitation’ is different from an exact, servile copy of reality, for the imitation is not only ‘just’, it is also lively.’
Therefore, Dryden and his friend talks about what a play should be, further Lisideius convey his views about drama as a just and lively image of human nature, they start given the view about the advantages of French and English drama.
Violation of three unities :-
Dryden’s liberalism, his free critical dispotion, is best seen in his justification of the violation of three unities on the part of English dramatist and in his defense of English tragicomedy.
As regards the unities, his views are as under.
The English violation of the three unities lends greater copiousness and variety to the English plays.
The unities have narrowing and cramping effect on the French plays, and they are often betrayed into absurdities form which English plays are free.
The English disregard of unities enables them to present a more ‘just’ and ‘lively’ picture of human nature. Eg.SHAKESPEAR’S plays which are livelier and just image of life and human nature.
To the view that observance of the unities is justified on the ground that
Their violation result in improbability
That it places too great a strain on the imagination of the spectators.
The credibility is stretched too far, replies that are all a question of dramatic illusion.
The English when they do observe the rules as Ben Johnson has done in ‘The silent women’ shows greater skill and art then the French. It all depends upon the ‘genius’ or ’skill’ of the writer.
There is no harm in introducing ‘sub-plot’, for they impart variety, richness, and liveliness to the play. In this way writer can present a more ‘just’ and ‘lively’ picture than the French with their narrow and cramped plays.
Dryden defends the English tragi-comedy or mingling of ‘mirth with serious plot’.
Dryden is more progressive in his attitude towards the mingling of the tragic and comic. In this respect he, ‘ceases to be a classist and goes over to the other camp’. He defence tragi-comedy on the following points:-
Contrast when placed near, set of each other.
Continued gravity depresses the spirit, a scene of mirth thrown in between refreshnes.It has the same effect on us as music.In other words ,comic scene produces relief, thought Dryden does not explicitly say so.
Mirth does not destroy compassion, i.e. the serious effect which tragedy aims at is not disturbed by mingling of the tragic and comic.
Just as the eye can pass from an unpleasant object to a pleasant one,so also the soul can move from tragic to the comic ,and it can do so much more swiftly.
     Dryden view on tragi-comedy clearly, brings out of his liberal classicism and his greatness, shrewdness and penetration as critic.
Ancient verses Moderns :-
Crites argues 1st to defend the ancient and objects the moderns on many grounds. He says that modern writers are merely imitating the ancients and using the forms and Horace.
The three unity of time, place, and action. The unity of time suggests that the play should be completed within a single day, but English plats by modern use long time and sometimes years. About unity of place, says crites,that the setting should be the same place from beginning to end and entrance and exit of the character business on stage.
Modern writer don’t follow the three unities and therefore they are not able to reach to the height of a classical play.
‘Father Ben’ he followed three unities and attempted to give something  best  in English Drama but he could not offer anything new in term of ‘serious things” then.


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The age of Neo-classical poet

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                 NAME      : DODIYA MEGHANA   J.
                    SEM          : 1
                    ROLL NO: 13
                    SUB            : THE AGE OF NEO-CLASSICAL
                                           POETS
                    EMAIL        : mdodiya26@gmail.com

HISTORY OF NEO-CLASSICAL  AGE :-

        1) The Age of Neo-classical in English Literature.
        2) Neo-classical can be divided into three parts.
        3) Characteristic of the Neo-classical Age.
        4) Poetry
        5) Court poets
       6) Some poets of Neo-classical Age
          -Mathew prior
          -Alexander pope
          -James Thomson
          -Edward young
          -William Collins
          -Thomas Gray
          -Robert Burns
          -John Dryden
         -William Cowper
        -William Black

THE FEATURE OF NEO-CLASSICAL AGE:-
Neo-classical is term used to describe the writing of late 17th to 18th century author like Alexander pope, John Dryden, and others.
The style of writing mention to a “new” form of the “Classics” motivated by form ,function, and theme of originals from Greek and Roman literature.
This style took an attitude toward human nature and ideas, logic, structure of order, and other artistic kingdom which would enable the author to exact copy those originals from Greek and Roman literature.
Neo-classical poet wrote poetry without calling on feelings and imagination to help them create their literary work.
Plato was a significant soure for writers of the neo-classical era.
Poets of the neo-classical era, many who were well-educated made use of scholarly allusions in their work. They often made allusion to the classical writers such as Homer.
Being a realist to a great degree, neo-classical poets endeavored to present what they believed was a true, real picture of the society in which they lived, worked and played. This was in contrast to a romanticized view of society around them.
The Dunciad by Alexander pope is a good example and one of the most popular pieces of poetry from the neo-classical age.

→Court Poets:-
John Wilmot, second earl of Rochester, 1647-1680 poet courtier, libertine, wit-In many of his writing quality of being obscene substitutes for its wit and foulness for licentiousness for love and life constitute perhaps his greatest lyricism. irony against human race his figure containing skill and can specified place able.
Rochester is the demanding court poet, but has left love lyrics of smoothness and songs of contrast between similar things.
Charles Sackville:-(1638-1706)
-He was a poet and courtier, son of the 5th Earl of Dorest and 1st Earl of Middlesex.

→Satiric poets:-
Samuel Butler:
-Hudibras:-

Hudibras is an English mock heroic narrative poem from the 17th century written by Samuel Butler. It is a satirical poem ‘Hudibras’.
He wrote incomplete mock epic poem of more than ten thousand lines, like because interest deride the member by underhand the “humors” of the long faced Hudibras. Escort by his squire Ralpho.
Not the same daring experience involved in a something plot hard to follow through the complex dialogue and valid suggestion but the anti-puritan picture of the poem are value contract surface portraiture broadly comic current mock-solemn parade of knowledge.

→Some poets of Neo-classical Age:-

-e’mathew Prior :-( 1664-1721)
He wrote his 1st book (made debug) “Panther” in collaboration with Charles Montague.
He used his verse to comment on the event politics.
In “Alma’’ or the progress of the mind’’he reprehends worldly vanities even verging on the grotesque.
His verse society shows a light touch and a pleasing turn of exposition.
His poem ‘Henry’ and ‘Emma’ serves as a text for a study of the blunders of Neo-classical.

→Alexander pope:- (1688-1744)
He wrote one of the famous satirical Epic poem. He was a famous Essayist, critical and also a poet.
His work ‘The Rape of the lock’ (1714), a mock-heroic poem ridiculing the fashionable world of his day; contributions to the Guardian; and “Elegy to the memory of an unfortunate Lady” and “Eloise to Abelard.” the only pieces he ever wrote dealing with love.
Pannell, Tickell and Philips can be considered minor poets with one or two noteworthy verses.
His essays are also written in verse form and are as beautiful as his poems. Her poetry basically falls into three periods. The 1st includes the early long poetry.
-The pastorals (1709)
-Windsor forest (1713)
-The Essay on criticism.
A written in heroic couplet’s outlining critical tastes and standards.
Pope’s Essay is regarded, in poets as true genius is but prominent, true taste as a occasionally is the critic’s share.

→James Thomson-(1700-1748)
He was a Scottish poet and playwright, known for his masterpiece The seasons and the lyrics of “Rule, Britannia!”.
He was born in the pastoral village of Edman in Roxburghshire in September 1700.and the age of fifteen to Edinburgh university with the age of becoming a minister like his father..
His celebrated descriptive poem in four parts, ‘The season’ written in blank verse.
He is a habitual writer of verse.
As a writer he signalized the departure from the town to the country, chose the senseriasm stanza and blank verse as his medium and eschewed the stopped couplet that was ubiquitous in the realm of poetry at the time.
He wrote some noticeable work of arts,
-“winter”
-“spring”
-“summer” and
-“autumn” (The season) and in “The castle of the Indolence”.
His long poem a “Liberty”.
“The season” is a abnormally poetry of the nature. Castle of Indolence” is a half farcical description of the retreat at Richmond where he lived with some of his friends in indolence to lovely and close to him.
Liberty is a very good example of Blank-verse. This poem expresses Thomson attitude as a patriotic Whig.

→Edward young:-
Edward young was born June 1681, in the village of up ham, Hampshire.
He wrote a poem “Nine Thought” the complaint or, Night –Thoughts on life, Death and immortality.
This poem is published in nine parts between 1742 and 1745.The poem is written in blank verse dramatic monologue of nearly 10,000 lines. It was enormously popular. Night thought a long didactic poem on death.
The poem was inspired by the successive  death of his stepdaughter, in 1736; her husband ,in 1740;and young’s wife, in 1741.

The nine poems are:-
life, Death, and immortality
Time, Death and friendship
Narcissa
The Christian Triumph
The Relapse
The Infidel Reclaimed
The Nature, Proof, and Importance of the world Answers.
The consolation

 →William Collins:-
The English poet William Collins (1721-1759) excelled in the descriptive or allegorical ode. He also wrote classical odes and elegies and lyrics marked by dedicate and pensive melody.
Her poems :
In the downhill of life
the passions
ode to evening

Collin’s ode on passions; a wonderful example of allegorical form of poetry.
‘Ode to evening ‘is his masterpiece that creates all amazing and unbelievable picture at the evening.

Thomas Gray :
English poet whose “An elegy written is a country church yard” is one of the best known of English lyric poems.
Although his literary output was slight, he was the dominant poetic figure is the mid- 18th century and a precursor at the Romantic Movement.
Gray had begun to write English poems, among which Rome of the best were “ode on the spring.”
Thomas Gray was most famous of author.
This two famous Pindaric odes “the progress of poetry” and “the bard”. Gray seems to visualize the arrangement at the romantic poets. Some readers in Gray’s time found the odes illegible, but they are not so by modern standards.
Gray’s “letter”, published in 1775 “Journal “model of natural Depiction.
Gray’s poems divide into three periods –Gray’s liberty from the classic rules which had so long governed English literature.
- The best we his “hymn to adversity” and the odes “To spring” and on a distant prospect Eton college.

- Norse Poems:
“The fatal sister” and familiar with all the intellectual interest of his age.
Gray’s work has much of the absolute and polish of the classical school, but he shares also the reawaked interest in nature, in common man, and is primitive culture.
His work is by and large romantic and both in style and is spirit.
Robert Burns : [1759-1796]
Robert burns was born 25 Jan, 1759, Alloway,Ayrsbire, Scotland.
He was a poet, lyricist, farmer and Excise man.
He is the best known at the poets who have written in the Scots language.
He also written is English language and is these writings his political or civil commentary is other at its bluest.
His father was an excellent type at scotch peasant of those days poor, honest, god-fearing man.

poems :
Tam o’ shauter (1791)
to a mouse
A red, red rose
to a louse
sweet atton
To a mountain dairy
Her Books :
The poetical works of Robert burns
Kilmarnock volume (1786)
“Cotter’s Saturday night and the rant and riot of the jolly beggars”.
Her poem :
 To a louse :
“To a louse, on seeing one on a lady’s bonnet at church” is a Scott language Poems. This poem is probably written in 1785. This is one of the most remarkable of burns poems.
 The poem opening with its exclamatory suddenness carries us right into the situations:

Ha! where ye gaun, ye crawling ferlie!
Your impudence protects you sairly;
I canana say but ye strunt rarely,
owre gauze and lace;
Tho’s, faith! I fear ye dine but sparely
On sic a place.
The poem is animate with bright descriptive touches and an all-embracing Humour.

A Red, Red Rose :
“A Red, Red Rose” a poem opens with the speaker comparing his love, published 1794.
O my loves like a Redired rose
That’s newly spring in June
O my love’s like the mlodie
that’s sweetly Play’d in tune.
The lyric at rang are simple effective. 1st two ling describe the love is both fresh and long lastic.

her Notable work :
“ Auld long Syne”
“A man’s a man for a that”
“Ae fond kiss”
“the battle of sherramuir”
“Halloween”
John Dryden : (1631-1700)
John Dryden was an English poet, literary, critic, translator, and playwright who was made poet laureate in 1668.
Dryden was the central literary figure in the English restoration period.
her  play : heroic play :
All for love (1667)- greatest tragicomedy
the conquest of Granada
marriage a la mode
the wild gallant
The Indian Emperour.

His works are, “Absalon and Achitophel”.
   “ode to st. cecillia’s day”
“Alexander’s feast” (1647)
“Annus mirabills (1667)
Annus mirabilis was his 1st poem
He also wrote the critical essay on dramatic poesy. Its prose work.
As a playwright, Dryden published the wild gallant In 1663.
Her other work at retire and he received significant praise, include Absalom and achitophel (1681) and the medal (1682).
Dryden wrote of dramatick poesie (1668).
Dryden died on 1 may, 1700 and was initially in st. Anne’s cemetery.
William Cowper : (1731)
William Cowper was born on 26, Nov, 1731, in berkhamsted, hertfordshire, England.
He was the foremost poet of the generation between Alexander pope and William Wordsworth.

William Cowper’s  books :
the task
the diverting history of john Gilpin
William Blanks : (1757-1827)
He was born 28 Nov, 1757, soho London, Great Britain.
He was an English poet, painter and printmaker.
He is considered a seminal figure in history of the poetry and visual arts of the romantic age.
Although blank was examined mad by instant for idiosyncratic views.
His painting and poetry have been characterized as part of the Romantic Movement.
her notable works :
song of innocence and of experience,
the marriage of heaven and hell,
The four 20 as, Jerusalem, Milton, and did those feel in ancient time.
The poetical skehetcher contain of 19 lyrical poems in all. The Nineteen poems together is called.

miscellaneous poems :
His song of clear conscience and of expertise is all allegorize collection of poems. This poem was originally a complete work first printed in 1789 it is abstraction collection of 19 poems interwoven in a same work of art.
Blank’s “the French revolution (1791) has a acceptable connotation.
In this poem Blake describes the problems of the French monarchy.
He also wrote a poem called “Milten”.
This poem is written in 1804 and 1810.
This poems concept is much impressive
And Innovative. Milton returns from heaven and unities with black to analyze the relationship between living writers and their prototype and to undergo a imaginary journey to right his own spiritual errors.

 Conclusion :-
            In conclusion the neo-classical poets of eighteenth century made poetry more social than personal more intellectual than emotional and imaginative, more rule-based than Spontaneous, more formal than familiar, elegant but not simple and frank, generalized but not personalized. Then in their poetry, they described only the superficial things of life and didn’t touch its deeper issues. Poetry was used as a vehicle for instruction rather than for pleasure.

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