Wednesday 22 December 2021

M. A. (English ) semester - 1 important material

All the important materials :-

Paper number -1

Elizabethan and restoration period.

The Rover :-



Macbeth :-



Macbeth's soliloquy,








Absalom and Achitophel :-




Paper number -2 

Neoclassical age

A tale of a tub :- 



The rape of the lock :- 



Lock of the hair symbols, themes, speech of Clarissa, difference between Belinda and clarissa, Rape of the lock as a epic and mock heroic epic. Difference between both, summary of The Rape of the lock etc. Everything here.

Robert Burns and Thomas Gray :-








Paper number :- 3

THE LITERATURE OF ROMANTIC AGE :-


frankenstein by mary Shelley :-









Wordsworth and Coleridge :-









Characters in THE RIME OF ANCIENT MARINER. By Coleridge 

Pride and prejudice :-


Keats, Shelley, Byron :-



Paper number - 4
Victorian Literature :- 

Unit - 1
(Hard times by Charles Dickens )


UNIT - 2 (The importance of being Earnest)

The importance of being earnest as a comedy of manner

Unit - 3
(Jude the obscure)




Unit - 4 
(Robert Browning and Lord Tennyson)







Paper number - 5 
(History of English Literature)

Unit - 3
Neo - classical age.





Neo - classical age as a age of prose and reason  with example of Daniel Dafoe and Jonathan swift as a prose writer and satirist.

Unit - 2
(Puritan and Restoration age)



Unit - 4 
(Romantic and Victorian age)


Unit - 1
(Elizabethan age)



    Question papers of 2021

Himanshi Parmar - No comments:

Monday 20 December 2021

Jude the Obscure


I am Himanshi Parmar, here i write a blog, as a part of thinking activity. The blog is about characters of Jude the Obscure.

Introduction :-

Jude the Obscure is a novel by Thomas Hardy, which began as a magazine serial in December 1894 and was first published in book form in 1895, though the title page says 1896. It is Hardy's last completed novel. The protagonist, Jude Fawley, is a working-class young man; he is a stonemason who dreams of becoming a scholar. The other main character is his cousin, Sue Bridehead, who is also his central love interest. The novel is concerned in particular with issues of class, education, religion, morality and marriage.

What is your reading of prominent female characters in Jude the Obscure?

1] Sue Bridehead :- 

The novel’s other protagonist and Jude’s cousin. Sue’s parents were divorced and she was raised in London and Christminster. She is an extremely intelligent woman who rejects Christianity and flirts with paganism, despite working as a religious artist and then teacher. Sue is often described as “ethereal” and “bodiless” and she generally lacks sexual passion, especially compared to Jude. Sue marries Phillotson as a kind of rebuke to Jude for his own marriage to Arabella, and is then repulsed by Phillotson as a husband. She is portrayed as inconsistent and emotional, often changing her mind abruptly, but she develops a strong relationship and love with Jude. Though she starts out nonreligious, the death of her children drives Sue to a harsh, legalistic version of Christianity as she believes she is being punished for her earlier rebellion against Christianity, and she returns to Phillotson even though she never ceases to love Jude.

It is easy for the modern reader to dislike Sue, even, as D. H. Lawrence did, to make her into the villain of the book. Jude, as well as Hardy, obviously sees her as charming, lively, intelligent, interesting, and attractive in the way that an adolescent girl is. But it is impossible not to see other sides to her personality: she is self-centered, wanting more than she is willing to give; she is intelligent but her knowledge is fashionable and her use of it is shallow; she is outspoken but afraid to suit her actions to her words; she wants to love and be loved but is morbidly afraid of her emotions and desires.

In short, she is something less than the ideal Jude sees in her; like him she is human. She is also a nineteenth-century woman who has given herself more freedom than she knows how to handle. She wants to believe that she is free to establish a new sort of relationship to men, even as she demands freedom to examine new ideas. But at the end she finds herself in the role of sinner performing penance for her misconduct. As Jude says, they were perhaps ahead of their time.If she is not an ideal, she is the means by which J tide encounters a different view of life, one which he comes to adopt even as she flees from it. She is also one of the means by which Jude's hopes are frustrated and he is made to undergo suffering and defeat. But it is a frustration which he invites or which is given him by a power neither he nor Sue understands or seems to control.

2] Arabella Donn :-

Jude’s first wife, a vain, sensual woman who is the daughter of a pig farmer. She decides to marry Jude and so tricks him into marrying her by pretending to be pregnant. Arabella sees marriage as a kind of entrapment and as a source of financial security, and she uses whatever means necessary to get what she wants. After Jude fails to provide for her, Arabella goes to Australia and takes a new husband there. She is often contrasted with the pure, intellectual Sue, as Arabella is associated with alcohol and sexual pleasure. When she wants Jude back she gets him drunk and forces him to marry her, and when he dies (or even just before) she immediately starts seeking a new husband.

She is so selfish, thoughtless, and manipulative that it's hard to take her seriously as a character in some ways she's like a cartoon villain or something. Of course, this isn't a romantic comedy, so Arabella's behavior gets a lot worse than backstabbing and prom antics.
Arabella tricks Jude into marrying her twice. In fact, it is almost impossible at times to know when if ever Arabella is telling the truth.


What is your reading of prominent male characters in Jude the Obscure?

1] Jude Fawley :- 

The novel’s protagonist, a poor orphan who is raised by his great-aunt after his parents divorced and died. Jude dreams of attending the university at Christminister, but he fails to be accepted because of his working class background. He is a skilled stonemason and a kindly soul who cannot hurt any living thing. Jude’s “fatal flaw” is his weakness regarding alcohol and women, and he allows his marriage to Arabella, even though it is unhappy, to distract himself from his dream. He shares a deep connection with his cousin Sue, but their relationship is doomed by their earlier marriages, society’s disapproval, and bad luck. Jude starts out pious and religious, but by the end of his life he has grown agnostic and bitter.

Jude is obscure in that he comes from uncertain origins, struggles largely unnoticed to realize his aspirations, and dies without having made any mark on the world. He is also obscure in the sense of being ambiguous: he is divided internally, and the conflicts range all the way from that between sexual desire and knowledge to that between two different views of the world. Jude is, therefore, struggling both with the world and with himself.

He is not well equipped to win. Though he is intelligent enough and determined, he tries to force his way to the knowledge he wants. Though well-intentioned and goodhearted, he often acts impulsively on the basis of too little objective evidence. Though he is unable to hurt an animal or another human being, he shows very little concern for himself and his own survival, often needlessly sacrificing his own good. He never learns, as Phillotson finally does perhaps too late, to calculate how to get what he wants. In short, he is more human than divine, as Hardy points out.

He is obsessed with ideals. Very early he makes Christminster into an ideal of the intellectual life, and his admitted failure there does not dim the luster with which it shines in his imagination to the very end of his life. He searches for the ideal woman who will be both lover and companion, and though he finds passion without intellectual interests in Arabella and wide interests but frigidity in Sue he maintains the latter as his ideal to his deathbed. Recognizing the Christminster holiday just before he dies, Jude says, "And I here. And Sue defiled!".

Jude is reconciled to his fate before he dies only in the sense that he recognizes what it is. In a conversation with Mrs. Edlin he says that perhaps he and Sue were ahead of their time in the way they wanted to live. He does not regret the struggle he has made-, at the least, as he lies ill he tries to puzzle out the meaning of his life. At the very end, however, like Job he wonders why he was born. But then so perhaps does every man, Hardy seems thonorable.

2]Richardson phillotson :-

Jude’s schoolmaster at Marygreen who moves to Christminster and fails to be accepted at the university there. Phillotson remains as a teacher, and he later hires Sue and falls in love with her. They marry, but Sue finds she cannot live with Phillotson as a husband. Though Phillotson is a conservative man, he finds that letting Sue leave him feels like the most moral decision, and he sticks by it even when he is punished by society for his disgrace and loses his job and respectability. Phillotson is a kindly, ethical man, but Sue’s lack of love for him causes him great torment.

Phillotson is eminently the respectable man. Though he fails to achieve the same goals Jude pursues, his bearing and view of things do not change much. Even when Arabella encounters him on the road to Alfredston, now down on his luck and teaching at Marygreen because it's the only place that will have him, this air of respectability remains. It must be this which Sue can't stand about him, the respectability plus the legal right to make love to her.

Sue's opinion of him does not make him any less decent. He is like Jude in many ways: he is goodhearted and honorable he allows instinct to overrule reason; he is too accommodating for his own good; he is intelligent. Like Jude he is ill-equipped to get what he wants in life and soon resigns himself to mediocrity. However, unlike Jude he no longer is dazzled by ideals, perhaps because he is older. Maybe too late he learns to act on the basis of calculation, estimating that Sue's return will be worth the benefits it may bring.Phillotson, in short, is a man whom it is easy neither to like nor to dislike; he goes largely honorable.


Conclusion :-

If we analyze Arabela and sue we found both them totally opposite characters, similarly jude and Richardson are also opposite characters. Here we see four of them in detail.


Words :- 1608
Paragraphs :- 8
References :-

1) Litcharts.com
2) Cliffnotes.com
3) Wikipedia.com




Himanshi Parmar - No comments:

Mediaeval Drama, Or drama before Shakespeare.

 Mediaeval Drama, Or drama before Shakespeare.


Name :- Himanshi Parmar

Paper :- 105, History of English Literature.

Roll number :- 08

Enrollment number :- 4069206420210025

Email id :- himanshiparmar3004@gmail.com 

Batch :- 2021 - 23 (M. A. Sem 1)

Submitted to :- S. B. Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.
                                     
                                                


                                                  Introduction :-

A play, as most of you know, is where live actors get on a stage and act out a story in front of an audience. During Mediaeval times most plays were religious and were used to teach people about the Bible, the lives of saints, or how to live your life the right way. There were three different types of plays performed during mediaeval times; The Mystery Play, the Miracle Play and the Morality Play.

Mystery plays :-   

   Mystery plays were stories taken from the Bible. Each play had four or five different scenes or acts. The priests and monks were the actors. Each scene or act was performed at a different place in town and the people moved from one stage to the next to watch the play. The play usually ended outside the church so that the people would go to church and hear a sermon after watching the play.


 Miracle plays :-

The miracle play was about the life or actions of a saint, usually about the actions that made that person a saint. One popular Miracle play was about Saint George and the dragon.

Morality plays :-

Morality plays were designed to teach people a lesson in how to live their life according to the rules of the church.Sometimes these plays had elaborate sets, sometimes no sets at all. It didn't seem to matter. The people attended these plays. They didn't have to, but it was a break from their normal daily lives.



Mediaeval drama definition and meaning :-


Definition - 

"Mediaeval drama is something, which is relating to the Middle Ages : of or relating to the period of European history from about A.D. 500 to about 1500."


"Literature which is related to the characteristics of the Middle Ages."

Meaning -

With its roots medi-, meaning "middle", and ev-, meaning "age", mediaeval literally means "of the Middle Ages". In this case, middle means "between the Roman empire and the Renaissance" that is, after the fall of the great Roman state and before the "rebirth" of culture that we call the Renaissance. This same period used to be called the "Dark Ages", since it was believed that in these years civilization all but vanished. And indeed, for most Europeans in these centuries, it was a time of poverty, famine, plague, and superstition, rather than the age of magic, dazzling swordplay, towering castles, and knights in splendid armour displayed in today's graphic novels and video games.


       
 Origin and Development of Mediaeval Drama :- 


"As Christian Church grew in power, its opposition to the stage became more effective. Plays were prohibited and actors proscribed in city after city throughout the Roman Empire" (A History of English Literature, William Vaughn Moody, chapter 5)

Well before the Norman conquest, while the Roman empire was dissolving and the Christian Church was growing in power, the Roman drama was proscribed. The demand for spectacles did not decrease, though. People attended performances on market days (jugglers, minstrels) and at festival occasions (country folk plays, which contributed to the formation of traditional figures such as Robin Hood, maid Marian, the Green Dragon). Pageants were also organised near the city gate to welcome the official visit of the King or of people of rank. Pageants were pantomimes which involved traditional allegorical figures, i.e. they were spectacular displays with an elaborate scenic background.

Many scholars surmise it is from the regular service of the mass that the mediaeval drama emerged. The mass was conducted in a language most of the people could not understand: Latin. Moreover their knowledge of the Bible was quite superficial. For these reasons music and charts were used to underline a great part of the service. Painted rolls picturing the principal events of the Bible stories were also displayed since most of the people could not read.

Around the 11th century the services started being dramatised. At the beginning very few additions were made. Then episodes from Christ's life were performed in which the priests covered all the roles. When more episodes were added and more people took part in these Liturgical Plays (in Latin), the churches became too small to contain them all. The compositions were therefore displaced to the churchyard, later to the market places or the city streets.

In Europe the plays which dealt with subjects taken from the Bible were called Mystery plays while the plays which told the lives of the saints were usually called Morality plays. This distinction did not apply to English Liturgical plays which were currently called Miracle plays.

By the 12th century the roles, formerly held by the priests, were taken over by laymen. When the priests ceased organising the performances, the trade guilds took charge of them. Drama was still liturgical, but the plays were now performed in vernacular.

The greatest stimulus to the transformation from liturgical to non liturgical drama was the institution of the summer feast of Corpus Christi in 1311. On that occasion the guilds used to present a series of plays about the Christian story. Fear of death was the main theme.

By the 14th century miracle plays were so popular that they were performed in almost every large town. They were arranged in sequences or cycles and could last several days. Each guild assumed the entire charge of its own particular play.

For example :-

The Chester cycle (of 25 plays)

The Coventry cycle (of 42 plays)

The Wakefield cycle (of 31 plays)

The York cycle (of 48 plays)

The aforementioned four cycles have come down to us completely. These religious performances have reached their greatest popularity between the 14th and 15th centuries but continued to be represented until the sixteenth century.


       
                                                 Mediaeval literature :- 

The Mediaeval period runs from the end of Late Antiquity in the fourth century to the English Renaissance of the late fifteenth century.

The early portion of the Mediaeval period in England is dominated by Anglo-Saxons, whose language is incomprehensible to today's speakers of English. That early portion is known as the Old English period. The Old English period came to an end with the Norman Invasion of 1066. Normans spoke a dialect of French later called Anglo-Norman.

Alongside Anglo-Norman, Old English developed into Middle English. Middle English is a distinct variety of English, influenced in large part by Anglo-Norman French. For example, Old English speakers did not distinguish between /f/ and /v/. Just like speakers of Modern German, OE speakers would use both sounds ([f] and [v]) for the letter <f>. "Aefre '' was pronounced [ever]. But French speakers do distinguish these two sounds. (Vous means "you" and fou means ``crazy.") After the Conquest, English people had to distinguish between, for example, veal and feel. So, new sounds, new words, new syntax—all contribute to a significant change in the English language. And to a new literature.

The Invasion put French-speaking people at the highest levels of society. Families that ruled England also ruled and held land in France. William the Conqueror was also Duke of Normandy, and the English King continued to hold that office and its lands until the thirteenth century. Only a handful of Anglo-Saxon families remained in any positions of power. In England, French was the language of education and literature. It was not an obvious choice for Chaucer to write his Canterbury Tales in English. Consequently, the High Middle Ages in England were characterised culturally by their close relation to French and Italian arts. This will change in the late thirteenth century as England and France come to loggerheads.

Literary selections from various centuries will give you a very rough idea of the wide variety of literature circulating in Mediaeval England.

12th Century

In the twelfth century, perhaps the most accomplished vernacular writer was an English woman named Marie de France. She wrote in Anglo-Norman. (We will read her in an English translation.) Marie was one of the main forces behind the stories of King Arthur and the Round Table. In France, Chretien de Troyes was writing Arthurian romances for Marie of Champagne. Other Anglo-Norman writers are described in our authors page.

The works of Aristotle and other Greeks became widely available in the twelfth century. Translated into Latin for the first time, they fueled a renaissance. Universities in Bologna, Padua, Paris, Oxford, and Cambridge took up the teaching of logic and science. Most reading was done by cloistered clerics or by French aristocracy. There was almost no social cachet in being an author or in owning books.

13th Century

The thirteenth century marks the flowering of Latin literature in England. The reign of King John (1167–1216) is characterised in part by an increasingly deep cultural separation between France and England. Anti-papal attitudes (Oxford professor Robert Grosseteste called Pope Innocent IV the Antichrist) and a growing sense of nationalism helped to fuel native literary talent. English literature comes into its own. Still, very little survives, and most of it is in Latin.

The "preaching orders" of monks came into existence: the Dominicans and the Franciscans. Scholar A.G. Rigg says, "They formed a new kind of intellectual elite....Their evangelical fervour and commitment to academic training contributed to the rise of the English universities." Their squabbling and venal excesses do not become objects of widespread literary satire until the fourteenth century. In this century, they help to increase literacy and the stock of books in England.

14th Century

During the fourteenth century English literature comes into its own. This is the century of John Gower, Geoffrey Chaucer, and William Langland. We also have a number of surviving vernacular romances such as Sir Orfeo, as well as Sir Gawain and the Green Knight. (We will read these in the original Middle English.)

The Battle of Bannockburn (1314) and the defeat of the English by the Glorious Scots is only one of many upheavals and revolutions during this tumultuous century. Other calamitous events include the Black Death (or Plague) in the middle of the century; the Peasants' Revolt of 1381; and the Hundred Years' War.

Perhaps the single most important development for our purposes is the wholesale replacement of the French language in government and law by the English language. Anti-French attitudes (due to the war, among other things) helped displace French from polite society and from literature. John Gower, Chaucer's friend, wrote one of his major poems in Latin, another in French, and a third in English.

15th Century

1422 marks the death of Henry IV and a subtle shift from mediaeval to humanistic themes in literature. For our purposes, one of the interesting developments concerns the Mystery Plays. (Mysteries were unions or guilds.) These plays were performed in a number of towns and involved much of the working population. They retell the story of the Bible, sometimes humorously.

Another remarkable literary phenomena of the early fifteenth century is Scottish interest in Chaucer. Like today's "fan fiction," Scots authors copied Chaucer's style so well that for centuries some of their stories were thought to be Chaucer's own.

At the end of the century, a German silversmith named Johannes Gutenberg invented a moveable type. The printing revolution made books cheaper and more widely accessible. The first successful printer in England was William Caxton. He printed self-help books and romances, including the tales of King Arthur. He also printed a book on chess.



                                                  Conclusion :-


Thus to conclude, the point is clear that Mediaeval drama includes mystery, Morality, and Miracle plays. Mainly that kind of dramas were based on Religious theme. And as specially biblical stories. And widely popular among people of that time. And even now also.





Words :- 1980
References :-

https://www.literature-no-trouble.com/medieval-drama/

https://www.merriam-webster.com/dictionary/medieval

https://medievaleurope.mrdonn.org/plays.html
























Himanshi Parmar - No comments:

Various Narrations in English Literature

Various Narrations in English Literature. 





Name :- Himanshi Parmar


Paper :- 104, Literature of the Victorians.


Roll number :- 08


Enrollment number :- 4069206420210025


Email id :- himanshiparmar3004@gmail.com

Batch :- 2021 - 23 (M. A. Sem 1)

Submitted to :- S. B. Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.




                                      Introduction :-

Whenever we read a novel, short story, poem, or academic essay, we're looking at a form of narration. The art of storytelling (or academic writing) takes a lot of consideration. Choosing a topic isn't enough. We must also choose how to convey the topic to the reader. In a moment, we'll work through three types of narration: first person, second person, and third person. Each serves its own purpose.


 Difference between Narration and Narrative :-

Before I discuss various narrations in English Literature, it is very important to know the difference between narrative and narration. A narrative is a story. It recounts a series of events that have taken place. We see this a lot in narrative essays. These essays are telling a story in order to drive a point home. Narration, however, is the act of telling a story. Narration is like the voiceover.


  Types of Narration :-

1 - First Person - In this point of view, a character, typically the protagonist, is telling the story. There is a lot of use of "I" and "me" or "we" in first person narrations.

2 - Second Person - In this point of view, the author uses a narrator to speak to the reader. It includes a lot of "you," "your," and "yours" in second person narration.

3 - Third Person - In this point of view, an external narrator is telling the story. You'll notice a lot of "he," "she," "it," or "they" in this form of narration.


1] First person narration :-

First person narration allows you to "get personal" with your audience. It's as if one of the characters is speaking directly to his or her audience; we're able to listen in on their thoughts. The audience will understand how the narrator is feeling and how he or she interprets the events taking place around them. Let's take a look at a few samples of this form.

2] Second person narrations :-

Second person point of view isn't quite as popular in literature. It takes on more of an instructional tone. It uses a lot of "you should" or "you can." That said, it can forge a nice bond with the audience because it treats the reader like they're part of the story. Our first sample comes from a popular book that went on to become a movie and a play.

3] Third person narration :-

Third person narration is quite popular. It allows the author to open up the hearts and minds of several characters. With this form of narration, you could have two lovers, for example, who don't remain a mystery to the audience. Both of their thoughts and feelings are exposed to the reader and the reader is now able to take the journey to discovery or heartbreak.


 What is narrative? :-

 Narrative is writing that connects ideas, concepts or events. The definitions below show three important aspects of narration in storytelling:

1 ) It connects events, showing their patterns, relating them to each other or to specific ideas, themes or concepts.

2 )It is a practice and art in that when we tell a story, we shape the narrative – the connection between events.

3 ) Narrating a story involves shaping events around an overarching set of aims or effects (whether consciously or unconsciously). For example, in a comedic narrative, the overarching aim is to surprise/shock or otherwise lead the audience or reader to be amused.

Here are two definitions of narrative via the Oxford English Dictionary that illustrate the above ideas:

1 ) A spoken or written account of connected events; a story.
The practice or art of telling stories.

2 ) A representation of a particular situation or process in such a way as to reflect or conform to an overarching set of aims or values.

 Now that we’ve clarified what narrative is, here are several types of narration,

               
  Common types of narrative :- 

1 ) Descriptive narrative

2 ) Viewpoint narrative

3 ) Historical narrative

4 ) Linear narrative

5 ) Non-linear narrative



1] Descriptive narrative :- 

Descriptive narrative connects imagery, ideas, and details to convey a sense of time and place.
1: To create a sense of setting, of time and place.

2: To convey the mood and tone of said time and place (e.g. threatening, peaceful, cheerful, chaotic).

When we describe a pastoral scene in a rural setting, for example, we might linger on specific images (such as a wide, empty field, an abandoned tractor) to build up an overarching mood (such as peaceful simplicity).

For example :-

The Colombian author Gabriel Garcia Marquez is a master of this type of narration. In Love in the Time of Cholera (1985), the third person narrator describes the unnamed seaside city in the Caribbean where much of the novel takes place. Marquez narrates the passage through the eyes of Dr. Urbino, one of the city’s most distinguished doctors:

2] Viewpoint narrative :-

Viewpoint narrative presents events or scenes to us so that we can understand them through narrators’ feelings, desires, beliefs or values.In omniscient narration, the narrator is able to share multiple characters’ private thoughts, even in a single scene. In limited narration, by contrast, we can only see events through a single person’s eyes at a time.

Viewpoint narrative has power. We might interpret story events the way the narrator does. Because we don’t have a different viewpoint for comparison, or because their voice is strong, self-assured.

For Example :-

Virginia Woolf is a master of filtering events via individual characters’ perceptions. She often switches between multiple characters’ viewpoints within a single page. This approach (called ‘stream of consciousness’) lets her reveal characters’ different fixations and personalities.Take, for example, this scene in Mrs Dalloway (1925). Septimus Smith is a World War I veteran whose mental health is crumbling. His Italian wife Rezia feels unease and longs for her home country. Woolf switches from paragraph to paragraph between Septimus and Rezia’s viewpoints, in third person. 


3] Historical Narrative :- 

One thing common to historical narrative in different genres is it shows historical process. It links causation from event to event, showing the chain reactions that lead to how things pan out.

This is why in historical narrative, such as narration sharing a character’s backstory, we often have words showing order of events. Arundhati Roy’s novel The God of Small Things (1997), about tragedies that strike twin siblings born in Ayemenem in India and their family, is full of rich historical narration.

4] Linear narrative :- 

Linear narrative is narration where you tell events in the order they happened, i.e. in sequence. This type of narrative is typical of realist fiction where the author wants to create the sense of a life unfolding as a character experiences day to day or year to year.

Linear narrative shows causation clearly. When we see what happened to a character yesterday, then today, then tomorrow, it's often easier to notice patterns and chains of cause and effect.

Stories told in a linear time-frame might be told mainly using past, present, or even future tense. Yet each event flows on simply from the previous incident described. Often this helps to create what Will Self calls ‘the texture of lived life’, as we see characters going through this, then that, then the next thing.

David Mitchell’s genre-bending Cloud Atlas (2004) spans multiple eras, settings and characters, and is nonlinear as a whole. Yet one section of his book, titled ‘Half-Lives - The First Luisa Rey Mystery’ is written as a mystery/thriller. This section in itself is a linear narrative, told in the present tense.

5 ] Nonlinear narrative :- 

Different types of narrative include narration that does not follow events in the order they happened.Chronological events (e.g. what happens in 1990 followed by what happens in 1991) don’t have to match up with the order of narrative events. The author might share key details from 1990 before going back to the events of 1987 in the story.

Non-linear narrative has various uses :- 

 1 ) It can represent the narrator’s emotional state or consciousness. For example, a severely traumatised narrator who has flashbacks might tell events in a jumble of chapters set in different years, out of sequence, as they try to piece together fragments and memories.

2 ) It can show stories with related arcs or themes unfolding in different places and times. In Michael Cunningham’s retelling (of a sort) of Woolf’s Mrs Dalloway, characters living in different time periods have personal experiences and tragedies that echo events from Woolf’s book as well as Woolf’s own life.

3 ) It can build suspense. For example, Donna Tartt opens The Secret History by telling the reader about a murder. We next meet the murder victim alive, as the story jumps back to the events leading to his killing.
Example :-

Donna Tartt’s prologue to The Secret History (1992) is a masterful piece of non-linear narration. Within the first page, we know there’s been a murder and the first person narrator is somehow complicit. Tartt’s opening paragraph reveals a lot but still builds anticipation.


Conclusion :-

Thus to conclude, here we see various types of narration along with the meaning and definitions of narration and narrative in Literature. With examples of various writers.

Words :-
References :-
1] https://www.nownovel.com/blog/narrative-examples-strong-narration/
2] https://examples.yourdictionary.com/examples-of-narration.html








Himanshi Parmar - No comments:

Various Movie adaptations of Mary Shelley's 'Frankenstein'.


       
   Various Movie adaptations of Mary Shelley's 'Frankenstein'.


Name :- Himanshi Parmar


Paper :- 103, Literature of the Romantics.


Roll number :- 08


Enrollment number :- 4069206420210025


Email id :- himanshiparmar3004@gmail.com

Batch :- 2021 - 23 (M. A. Sem 1)

Submitted to :- S. B. Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.




 Introduction :-

'Frankenstein; Or The Modern Prometheus', is a fabulous novel by Mary Shelley. Written in 1818. It is a Gothic novel, written in horror and science fiction, written by an English author. The novel is set in England, Ireland, Italy, France, Scotland, Switzerland, Russia and Germany in the late 18th century. Characters of the novel are, 1) The monster, 2) Victor Frankenstein, 3) Captain Walton, 4) Dr. Henry, 5) Clerval, 6) Elizabeth Lavenza etc.

   The novel tells a story of Victor Frankenstein, a young scientist who creates a creature, very ugly and horrible. And both the creature and Victor suffer.


 Summary of the Novel, 'Frankenstein' by mary Shelley :- 


Robert Walton, an English adventurer, undertakes an expedition to the North Pole. While on this expedition (which has been a lifelong dream of his), Walton corresponds with his sister by letter. Amid the ice floes, Walton and his crew find an extremely weary man travelling by dogsled. The man is near death, and they determine to take him aboard. Once the mysterious traveller has somewhat recovered from his weakness, Robert Walton begins to talk to him. The two strike up a friendship (Walton is very lonely and has long desired a close companion). The man is desolate, and for a long while will not talk about why he is traversing the Arctic alone. After becoming more comfortable with Walton, he decides to tell him his long-concealed story.

The speaker is Victor Frankenstein, for whom the book is named. He will be the narrator for the bulk of the novel. Born into a wealthy Swiss family, Victor enjoyed an idyllic, peaceful childhood. His parents were kind, marvellous people; they are presented­ as shining examples of the goodness of the human spirit. His father, Alphonse, fell in love with his wife, Caroline, when her father, a dear friend of his, passed away. Alphonse took the young orphan under his care, and as time passed they fell in love. He provides for his wife in grand style. Out of gratitude for her own good fortune, Caroline is extremely altruistic. She frequently visits the poor who live in her part of the Italian countryside. One day she chances upon the home of a family who has a beautiful foster daughter. Her name is Elizabeth Lavenza. Though they are kind, the poverty of Elizabeth's foster parents makes caring for her a financial burden. Caroline falls in love with the lovely girl on sight, and adopts her into the Frankenstein family. She is close in age to Victor, and becomes the central, most beloved part of his childhood. Elizabeth is Victor's most cherished companion. Their parents encourage the children to be close in every imaginable way ­ as cousins, as brother and sister, and, in the future, as husband and wife.

Victor's childhood years pass with astonishing speed. Two more sons, William and Ernest, are born into the family. At this time, the elder Frankensteins decide to stop their constant travelling: the family finally settles in Geneva. Though Victor is something of a loner, he does have one dear friend: Henry Clerval, from whom he is inseparable. The two have utterly different ambitions: Victor has developed a passion for science, while Henry longs to study the history of human struggle and endeavour. Eventually, Victor's parents decide it is time for him to begin his university studies at Ingolstadt. Before his departure, Victor's mother passes away. On her deathbed, she tells Victor and Elizabeth that it is her greatest desire to see the two of them married. Victor leaves for university, still in mourning for his mother and troubled by this separation from his loved ones.

Meanwhile, in Geneva, life goes on. Because Caroline was so generous, Elizabeth learns to be gracious as well. When she is old enough to know her mind, she extends housing and love to a young girl named Justine, whose mother dislikes her and wishes to be rid of her. Though Justine is a servant in the Frankenstein household, Elizabeth, Ernest and William regard her as a sister.

At Ingolstadt, Victor's passion for science increases exponentially. He falls into the hands of Waldeman, a chemistry professor, who excites in him ambition and the desire to achieve fame and distinction in the field of natural philosophy. Thus begins the mania that will end in destroying Victor's life. Victor spends day and night in his laboratory. He develops a consuming interest in the life principle (that is, the force which imparts life to a human being). This interest develops into an unnatural obsession, and Victor undertakes to create a human being out of pieces of the dead. He haunts cemeteries and charnel houses. He tells no one of this work, and years pass without his visiting home. Finally, his work is completed: one night, the yellow eyes of the creature finally open to stare at Victor. When Victor beholds the monstrous form of his creation (who is of a gargantuan size and a grotesque ugliness), he is horror-stricken. He flees his laboratory and seeks solace in the night. When he returns to his rooms, the creature has disappeared.

Henry joins Victor at school, and the two begin to pursue the study of languages and poetry. Victor has no desire to ever return to the natural philosophy that once ruled his life. He feels ill whenever he thinks of the monster he created. Victor and Clerval spend every available moment together in study and play; two years pass.

Then, a letter from Elizabeth arrives, bearing tragic news. Victor's younger brother, William, has been murdered in the countryside near the Frankenstein estate. On his way back to Geneva, Victor is seized by an unnamable fear. Upon arriving at his village, he staggers through the countryside in the middle of a lightning storm, wracked with grief at the loss of his brother. Suddenly, he sees a figure, far too colossal to be that of a man, illuminated in a flash of lightning: he instantly recognizes it as his grotesque creation. At that moment, he realizes that the monster is his brother's murderer.

Upon speaking to his family the next morning, Victor learns that Justine (his family's trusted maidservant and friend) has been accused of William's murder. William was wearing an antique locket at the time of his death; this bauble was found in Justine's dress the morning after the murder. Victor knows she has been framed, but cannot bring himself to say so: his tale will be dismissed as the ranting of a madman. The family refuses to believe that Justine is guilty. Elizabeth, especially, is heartbroken at the wrongful imprisonment of her cherished friend. Though Elizabeth speaks eloquently of Justine's goodness at her trial, she is found guilty and condemned to death. Justine gracefully accepts her fate. In the aftermath of the double tragedy, the Frankenstein family remains in a state of stupefied grief.

While on a solitary hike in the mountains, Victor comes face to face with the creature, who proceeds to narrate what has become of him since he fled Victor's laboratory. After wandering great distances and suffering immense cold and hunger, the monster sought shelter in an abandoned hovel. His refuge adjoined the cottage of an exiled French family: by observing them, the monster acquired language, as well as an extensive knowledge of the ways of humanity. He was greatly aided in this by the reading of three books recovered from a satchel in the snow: Milton's Paradise Lost, Goethe's Sorrows of Werter, and a volume of Plutarch's Lives. The monster speaks with great eloquence and cultivation as a result of his limited but admirable education.

He developed a deep love for the noble (if impoverished) French family, and finally made an overture of friendship. Having already learned that his hideous appearance inspires fear and disgust, he spoke first to the family's elderly patriarch: this honourable old gentleman's blindness rendered him able to recognize the monster's sincerity and refinement (irrespective of his appearance). The other members of the family returned unexpectedly, however, and drove the creature from the cottage with stones.

The monster was full of sorrow, and cursed his creator and his own hideousness. He therefore determined to revenge himself upon Frankenstein, whose whereabouts he had discovered from the laboratory notebooks. Upon his arrival in Geneva, the creature encountered William, whose unspoiled boyish beauty greatly attracted him. The monster, longing for companionship, asked William to come away with him, in the hopes that the boy's youthful innocence would cause him to forgive the monster his ugliness. Instead, William struggled and called the monster a number of cruel names; upon learning that the boy was related to Victor, he strangled him in a vengeful fury. Drawn to the beauty of the locket, he took it, and fled to a nearby barn.

There, he found Justine, who had fallen into an exhausted sleep after searching all day and all night for William. The monster's heart was rent by her angelic loveliness, and he found himself full of longing for her. Suddenly, he was gripped by the agonising realisation that he would never know love. He tucked the locket into the folds of Justine's dress in an attempt to seek revenge on all withholding womankind.

The monster concludes his tale by denouncing Victor for his abandonment; he demands that Victor construct a female mate for him, so that he may no longer be so utterly alone. If Victor complies with this rather reasonable request, he promises to leave human society forever. Though he has a brief crisis of conscience, Victor agrees to the task in order to save his remaining loved ones.

He journeys to England with Clerval to learn new scientific techniques that will aid him in his hateful task. Once he has acquired the necessary data, he retreats to a dark corner of Scotland, promising to return to Henry when the job is done. Victor is nearly halfway through the work of creation when he is suddenly seized by fear. Apprehensive that the creature and his mistress will spawn yet more monsters, and thus destroy humanity, he tears the new woman to bits before the monster's very eyes. The creature emits a tortured scream. He leaves Victor with a single, most ominous promise: that he shall be with him on his wedding night.

Victor takes a small rowboat out into the centre of a vast Scottish lake; there, he throws the new woman's tattered remains overboard. He falls into an exhausted sleep, and drifts for an entire day upon the open water. When he finally washes ashore, he is immediately seized and charged with murder. A bewildered Victor is taken into a dingy little room and shown the body of his beloved Henry, murdered at the creature's hands. This brings on a fever of delirium that lasts for months. His father comes to escort him home, and Victor is eventually cleared of all charges.At home in Geneva, the family begins planning the marriage of Elizabeth and Victor. On their wedding night, Elizabeth is strangled to death in the conjugal bed. Upon hearing the news, Victor's father takes to his bed, where he promptly dies of grief.

Having lost everyone he has ever loved, Victor determines to spend the rest of his life pursuing the creature. This is precisely what the creature himself wants: now, Frankenstein will be as wretched and bereft as he is. For some time, the creator pursues his creation; he had chased him as far as the Arctic Circle when Walton rescued him. Though he cautions the sea captain against excessive ambition and curiosity, he contradictorily encourages the sailors to continue on their doomed voyage, though it will mean certain death. His reason: for glory, and for human knowledge. Finally, he is no longer able to struggle against his illness, and dies peacefully in his sleep. At the moment of his death, the creature appears: he mourns all that he has done, but maintains that he could not have done otherwise, given the magnitude of his suffering. He then flees, vowing that he will build for himself a funeral pyre and throw his despised form upon the flames.


Various Film adaptations of mary Shelley's Frankenstein :-


  1. Frankenstein (1931) :- 

Boris Karloff, born William Henry Pratt, turned his back on a privileged upbringing to become a truck driver in Canada. Later lured to Hollywood, he was cemented in movie history with his role in Universal's Frankenstein movie. The image of the flat-topped, bolt-necked Karloff is arguably the most famous visual depiction of Frankenstein's monster, with director James Whale exploiting the actor's towering height to memorable effect.

2. Bride of Frankenstein (1935) :-

Bride of Frankenstein is a horror film directed by James Whale, which serves as a direct sequel to his 1931 film, Frankenstein. The screenplay was adapted and written by William Hurlbut. It was released in the United States on April 19th, 1935. Actor Elsa Lanchester proved just as iconic as Boris Karloff with her appearance in Bride of Frankenstein. With her flowing white robe and shock of electrified hair, Lanchester's appearance has been frequently parodied throughout the decades, notably in Mel Brooks spoof Young Frankenstein. But there's no denying the crackling, overwrought atmosphere of this sequel, directed by James Whale.

3. Abbott and Costello Meet Frankenstein (1948) :-

Abbott and Costello Meet Frankenstein (1948) is a horror comedy that parodies a plethora of Universal monster films, was directed by Charles Burton, produced by Robert Arthur, and written by Robert Lees, Frederick I. Rinaldo and John Grant. The film delivers a comical adaptation of typical horror/monster films through the comedy duo of Lou Abbott and Bud Costello and their romp with three notorious monsters: Dracula (Bela Lugosi), The Wolf Man (Lon Chaney, Jr.) and Frankenstein’s monster (Glenn Strange).Frankenstein is an adaptable story, and not all of its iterations fall under the horror genre. Beloved American comedy duo Abbott and Costello (famous for the "who's on first" sketch) encountered Mary Shelley's monster in the affectionately remembered Meet Frankenstein movie. In fact, the duo interacted with several classic Universal monsters throughout their movie career, including the Invisible Man and The Mummy.

4. Mary Shelley's Frankenstein (1994) :-

Upon its release, Kenneth Branagh's take on Mary Shelley's story was criticised for being a load of hysterical style over substance. But time has been somewhat kinder to Branagh's vision. It's pitched at a deliberately operatic register, with its frenetic editing and borderline-hysterical performances (including a regularly shirtless Branagh) almost pushing the material into parody. A memorably creepy Robert De Niro is the Creature, although he and Branagh are upstaged by Helena Bonham Carter as the doomed Elizabeth.

This motion picture version, which is largely faithful to the original novel by Mary Shelley, was released in the United States on November 4th, 1994. It was directed by Kenneth Branagh, who also stars as Victor Frankenstein. Screenplay was written by Steph Lady and Frank Darabont.

5. The Curse of Frankenstein (1957) :-

The Curse of Frankenstein was directed by Terence Fisher and written by Jimmy Sangster. It was released in the United States on June 25th, 1957.British horror studio Hammer became infamous for its lurid, gory, sexually-charged depiction to horror. Actors Peter Cushing and Christopher Lee became the standard-bearers for the studio, famously via the likes of Dracula. But they also tackled Frankenstein to memorable effect, with Cushing playing the mad scientist and a memorably off-putting Lee as the Creature.

6. Victor Frankenstein (2015) :-

Victor Frankenstein was released November 11th, 2015. It was written by Max Landis and directed by Paul McGuigan. Origin stories are currently all the rage, and Frankenstein has also fallen victim to the trend. In Paul McGuigan's overcooked horror, we're witness to the early days of the monster creator, as played by X-Men's James McAvoy. The movie also elaborates on Frankenstein's relationship with assistant Igor – often depicted as a hunchbacked oddball, he's played in this instance by the decidedly more handsome looking Daniel Radcliffe.

The film opens with a narration by Igor, telling his story as a friendless hunchback who belongs to the circus. During a performance, Lorelei, the acrobat Igor is infatuated with, falls from a broken trapeze. Igor, who is a medical autodidact, and Victor Frankenstein, who is an audience member, both rush to save her. Impressed with Igor’s medical knowledge, Victor rescues him from the circus and takes him to live with him in London. With Igor as his assistant, Victor attempts to create life. The narrative is told from Igor's point of view.


 Conclusion :-

There are also many movie adaptations of Frankenstein by Mary Shelley. Mary Shelley's Frankenstein is the most attractive plot for a director ever. And there were many movies produced based on this in various languages.







Words :- 2872
References :-

https://mary-shelley.fandom.com/wiki/Film_%26_Television

https://www.cineworld.co.uk/static/en/uk/blog/frankenstein-eleven-classic-movie-adaptations

Montalvo, Jessica, Suduiko,Aaron ed. "frankenstein Summary".Gradesaver, 12 June 2015 web.19 December 2021.















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Pamela; or the Virtue Rewarded


 Name :- Himanshi Parmar

Paper :- 102, Literature of the neo - classical period.

Roll number :- 08

Enrollment number :- 4069206420210025

Email id :- himanshiparmar3004@gmail.com

Batch :- 2021 - 23 (M. A. Sem 1)

Submitted to :- S. B. Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.





                                                      

 Introduction :-

   Pamela; or Virtue rewarded is an epistolary novel first published in 1740, by English writer Samuel Richardson. It is also known as the first true english novel. The novel reflects the idea of Richardson, about marriage, Class differences, and the condition of females of his time. If we see the full title, 'Pamela; Or the Virtue Rewarded', it simply indicates, that in the second part of the novel Pamela marries Mr. B and tries to acclimatise to her new position in upper - class society.

   Here we find that Richardson wants to give a happy ending to the novel. And give a happy, worthy life to his female protagonist. Which we find by the letters written by Pamela. 

                                     
  Plot overview of Pamela :-


      Pamela is a fifteen-year-old maidservant in Bedfordshire. She is innocent and virtuous. She serves Lady B, who is kind to her. Unfortunately, Lady B has just passed away. Pamela is nervous about her work situation, as she does not come from money. Lady B’s son, Mr. B, promises to keep her and all the other servants employed.

    Mr. B begins making advances towards Pamela. At first, they are just verbal, as she reports to her parents. She promises she will do everything to preserve her virtue. Her parents agree with her, but advise her if Mr. B ever makes physical advances towards her she should return home, despite their impoverishment. Soon thereafter, Mr. B makes a physical advancement towards Pamela, which she rebuffs. He attempts to pay her to keep her quiet, but she refuses and tells her friend the housekeeper, Mrs. Jervis.

   Mr. B continues to make advances towards Pamela, including trying to kiss her while she undresses for the evening after hiding in her closet. She faints, which dissuades Mr. B from continuing. Pamela threatens to return home to her parents. Mr. B is against this and thwarts her return. He offers Pamela more money, then marries a Lincolnshire clergyman named Mr. Williams. She refuses and packs her bags to return home. Mr. B tricks Pamela and sends her to his estate in Lincolnshire. He also writes to her parents telling them he has sent her away to preserve her virtue, as she has had an affair with a penurious clergyman. Pamela’s father does not believe him and attempts to retrieve her at the Bedfordshire estate, but she is not there.

    Pamela begins a journal in Lincolnshire, hoping one day her parents will read it and understand. She is virtually a captive there, under the watch of Mrs. Jewkes, the spiteful housekeeper. Mr. B writes to Pamela and invites her to be his mistress. She refuses. Pamela begins to plan her escape and enlists the help of Mr. Williams. They exchange letters, leaving them next to the sunflower in the garden. Mr. Williams tries his best to help her, even asking the local gentry for assistance. They refuse due to Mr. B’s social standing, advising Mr. Williams to marry Pamela.

      Mr. Williams asks Pamela to marry him to help her escape, but she refuses. Pamela is concerned when Mr. Williams is robbed, wondering if Mr. B set the robbery up to steal her letters. She is determined to escape but gives up on this idea when she is hurt during her attempt.

    Mr. B soon arrives at Lincolnshire. He again asks Pamela to be his mistress and she refuses. Mr. B and Mr. Jewkes come up with a plan for Mr. B to finally seduce Pamela. He dresses up as a female servant named Nan and pretends to be drunk. As Nan, he sneaks into Pamela’s bed. When Pamela realises what is happening, she has a violent fit, similar to a seizure.

    After Pamela’s fit, Mr. B’s demeanour changes. He seems regretful in his actions, but continues to pursue her, albeit without force. Pamela begs him to stop his advances. He admits that he loves Pamela, but feels he is unable to marry her due to the social gap. Pamela is shocked, but somewhat stirred by his confession. She hopes he means what he says. Mr. B leaves his estate for a few days. While he is gone, Pamela is stopped by a fortune teller who says Mr. B is trying to force her into a sham marriage. She rethinks her burgeoning affection for Mr. B.

    When Mr. B returns, Mrs. Jewkes gives him some of Pamela’s recent writings. After reading them, his affection for Pamela only grows. He feels guilty for the way he has treated her and promises to make things right by marrying her. Pamela is still suspicious of him and denies him, asking to return home. Mr. B is upset and angry, but allows Pamela to go home. Pamela feels strangely sad.


    On her way home, she receives a letter from Mr. B, imploring her to return and marry him. He speaks of reform and changing his ways, and Pamela, believing him, decides to return. On her return, they wonder how the gentry will react to their marriage, and Pamela tells Mr. B why she was wary of his proposal. He admits he thought of luring her into a sham marriage, but changed his mind.


The gentry accept Pamela easily, due to her charm. Her father comes looking for her, worried that she is now a mistress, but is happy and excited to see her engaged and content. Mr. B and Pamela are soon married. Pamela then has a hostile interaction with Mr. B’s sister, Lady Davers where she effectively holds Pamela hostage, disparaging her social status. Lady Davers forces Mr. B to confess to a dalliance he had as a young man. Pamela learns there was a child produced from this dalliance named Miss Goodwin. He introduces Pamela to Miss Goodwin, who believes Mr. B is her uncle. Miss Goodwin’s mother is happily married in Jamaica.

    Mr. B sets up Pamela’s parents to look after Mr. B’s estate in Kent. Lady Davers ultimately accepts Pamela. Pamela has many children with Mr. B and visits with her family often. She is happy and takes Miss Goodwin under her wing, ensuring that she becomes as pious as Pamela.


 About the author :-


     Pamela was Written by Samuel Richardson, it is widely regarded as one of the earliest novels in the English language. The author himself was one of the greatest ones in the 18th Century. The novel is also arguably the first novel to introduce Epistolary as a style of fiction writing. Let me first discuss the author in brief. And then about Pamela as an epistolary novel.


    Samuel Richardson was born on 19th August 1689, in Mackworth, Derbyshire, England. Along with Henry Fielding, Tobias Smollett, and Lawrence Stern, Richardson was one of the best authors of the 18th Century. It was an era that revolutionised the art of storytelling and introduced various genres and styles of writing. Richardson was an established printer and publisher and printed almost 500 different works in his lifetime. These include novels, journals, magazines, and more. His notable works, Pamela, Clarissa, and, The History of Sir Charles Grandison, are the epitome of Epistolary novels.

     Richardson got his education at Christ’s Hospital grammar school. However, from an early age, he confessed that he had a penchant for letter writing. In fact, Richardson himself admitted that helping people in his community write letters of correspondence for various purposes was one of his most favourite things to do.

     Unlike his contemporaries, Richardson did not belong to the higher class of clergy or nobles. Instead, he came from the working-class, and this was quite apparent in his writing. He was aware of the social evils present in the society, like class discrimination, and the exploitation of the underprivileged at the hands of those belonging to the upper class. In his novels, Richardson tries to depict the problems, and usually provides solutions to them, an approach that was quite unique during the period. Samuel Richardson passed away on 04th July 1761, in London, England.



          
What is epistolary novel :-

      The epistolary novel is a unique storytelling method that blends a nonfiction medium with a fictional narrative.Or in another words,

    'In an epistolary novel, the story is told through the form of love letters, diary entries, newspaper clippings, telegrams, or other documents'.
A modern novel in the epistolary form may include electronic documents such as emails or text messages.Epistolary fiction may be monologic in which the story is told exclusively through journal entries or letters of the main character, thus representing their point of view. Epistolary writing may also be dialogic or polylogic consisting of a series of letters or other correspondence between two or more characters, in which multiple points of view are represented through an array of documents.


 Pamela as an epistolary novel :-


     The novel is divided into seven volumes of letters of conversations. Pamela had with her parents, and others. That's why we are able to consider Pamela as a marvellous epistolary novel. And also it is considered the first original English language novel, which was written in this style of writing.

   In her initial letters written to her parents, she describes her state working for the mistress, the knight’s mother, and describes that she is quite happy. When the mistress passes away, Pamela shows her concerns in the subsequent letters, as she would have to go back to her parent’s village and live the life in poverty again. And when the knight informs the servants that wouldn’t terminate any of them, she expresses her joy and relief.

     As the story progresses, her letters become more and more intense. With each letter, one comes to know more and more about the characters, especially Pamela. Her feelings, her dilemma, her desire for a financially stable life, her determination to protect her modesty, etc, all her feelings grip reader, and being letters it comes straight out of the horse’s mouth.The novel also shows multiple conversations Pamela has, like with her parents, and with the man in the unknown town. In fact, with the latter, Pamela exchanged letters by hiding them in sunflower fields, as the meeting wasn’t a possibility. Each conversation gives an insight into her character from a different perspective, which is essentially an important characteristic of an epistolary novel.

     Even when Pamela suffers through her worst times in the unknown town, she continues to write the letters to her parents, though they never reach them. Somewhere deep inside, by the end of the novel, one realises the hidden desire she had for the knight, and the only thing that kept her from submitting to his demands was her wish to become a wife rather than a mistress. Subtly hidden throughout the letters, her desire to break from the lower class, and rise up to the higher ones was always there, though not intentionally. The length of the text is too large, and the premise of the story too common and predictable. However, that’s my analysis from a 21st Century perspective. Back in the day, Pamela was ground-breaking stylistically. It paved the way for a number of epistolary novels that followed, and continue to do so even today.


                                                  Conclusion :-

Here i discussed about the marvellous epistolary novel by Samuel Richardson. Which is devided into seven volumes of letters of conversion by pamela. And the plot is most interestingly portrayed by Richardson.



Words :- 1934
Paragraphs :- 8
References :-

1 - Masterclass.com
2 - Bombayreads.com
3 - Suppersummary.com

Himanshi Parmar - No comments:

Assignment- Paper 101 (Semester- 1) Shakespearean Tragedy .


Name :- Himanshi Parmar


Paper :- 101,  Literature of the Elizabethan and Restoration period.


Roll number :- 08


Enrollment number :- 4069206420210025


Email id :-  himanshiparmar3004@gmail.com


Batch :- 2021 - 23 (M. A. Sem 1)


Submitted to :- S. B. Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.






What is tragedy?



Word tragedy was derived from the Greek word,tragoidia,it means 'the song of the goat'. which is refers to ancient rituals, sacrifice of goat,which is associated with Dionysus,The ancient  Greek God.


According to Oxford Dictionary,


"Tragedy is an event causing great sadness,or suffering." Or we can say.


"Tragedy is a serious play with an unhappy ending."


   This is the general meaning of Tragedy,now let me discuss Shakespeare Tragedy.


  What is a Shakespearean tragedy?


       "Shakespearean tragedy is a play,which was written by Shakespeare himself,and  in his own different style."


         "Shakespearean tragedy is a play written by other authors,but is in the style of shakespeare." 


    Shakespear wrote 10 tragedies during his lifetime..


(1)Titus andronicus

(2)Romeo and Juliet

(3)king Lear

(4)Hemlet

(5)Othello 

(6)Julius caesar

(7)Macbeth

(8)antony and Cleopatra

(9)coriolanus 

(10)Timon of athens


        All these tragedies have a hero or we can say protagonist that must overcome external and internal obstacles and the end of all heroes are quite tragic, and miserable Shakespearean tragedy is a very different form of writing tragedies.

        This are the most important elements of shakespearean tragedy which are known as characteristics of shakespearean tragedy.


(1)THE TRAGIC HERO 

            

          A tragic hero is one of the important figures of Shakespearean tragedy. Mainly this kind of tragedy revolves around one person. Or we can say protagonist. The person or protagonist is either male or female, and he or she must suffer because of their cruel fate. Some flow their own or other characters. The hero is someone who is the most tragic person in the play. According to Andrew Cecil Bradley, notable 20th century Shakespeare scholar,Shakespearean tragedy is "essentially a tale of suffering and calamity conducting to death".


      Mainly the hero died in such kind of play. Also the hero or heroine of the play's is towering personality in state /kingdom/ Country, and holds the high position. May be such kind of figures are kings, princess, military, generals, and others. If we analyse Macbeth, we find he is a general or kingsman. Who later on became king. Also Hamlet, prince of Denmark, highly educated, sociable, charming and philosophic bent. At the end meet his own tragic end. So the heroes of Shakespearean tragedy, we always found unfortunate and most tragic personality among others.



(2)  STRUGGLE BETWEEN GOOD AND EVIL


Shakespearean tragedies always struggle between good and evil. Mostly the supremacy of evil. Suppress the good. Evil characters are always introduced as having the most solid personality and necessary existence. As Edward Dowden, poet of light century and Literary critic of the same age, noted that,


"Tragedy as conceived by Shakespeare is concerned with the ruin or restoration of the soul and of the life of man. In other words, it's subject is the struggle of good and evil in the world".

   The main character turns to evil at last and suffers terribly, and fails due to his fatal flaw. This we see in Macbeth also, as in starting he is shown as a good character and then turned into the evil. In between, we found him suffering from his own mental confusion, and conflicting mental States.


(3) HAMARTIA 


   We found the word complex because hamartia is a greek word,used for 'sin' or 'error',which derives from the verb hamatanein,it means 'to ear' or ''to miss the mark". In Shakespearean tragedy this word is used for tragic flaw. If we analyse Shakespearean tragedy, we must find that every hero fell, or died just because of his or her own tragic flaw, or we are also able to say that they have a strong deed Indeed and that's why they always met a tragic end at last. Sometimes they fall from high positions or sometimes fate leads them towards death. one good example of Hamartia we found in Macbeth where at last Macbeth died because of his extreme greed and fat also Lady Macbeth soon died.


(4) Conflict 


     There are two types of conflict in the Shakespearean tragedy.

1 external conflict

2 internal conflict


1 - External conflict:


    This type of conflict causes a mess in the mind of a tragic Hero. in a Shakespearean play every Shakespearean hero Suffered by the external conflicts.Hamlet we see,he wants to kill his uncle,Claudius as a revenge but because of his tight and effective security. Hamlet isn't able to translate his idea into action.


2 - Internal Conflict:


In Shakespearean tragedy,internal conflicts are reflected as an inner confusion in the mind of the hero. Internal conflict is mainly responsible for the hero's fall,along with fate or destiny. The tragic Hero can not make a decision,which will come out as his failure. Macbeth is a perfect example: somehow,he wants to kill the king, but somewhere, he was confused about his work. Similarly, Hamlet wanted to kill his uncle but felt inner conflict, ''Do, or not to Do'' which at the end led him towards his death.



(5)CATHARSIS 



       This is a remarkable feature of Shakespearean tragedy. mainly the work of catharsis is to help the audience to release their emotions by tragedy. For example, if we watch any play, we connect the character personally. and that gives us some opportunity to feel pity for a certain character and fear for another. when a villain is working against the hero,we feel disgust for him and when hero like Macbeth, Hamlet and Othello died,  we feel sorry for them and the same time we also feel happy that finally they received their punishment.


(6) SUPERNATURAL ELEMENTS 


    Supernatural Elements are always in the middle of Shakespearean tragedy. In the play they create a kind of atmosphere of wonder,fear,awe  etc. They generally used to advance the story and drive the plot, As we see in Macbeth. The three witches by their progressive lead the play ahead. Similarly in Hamlet,the ghost of king Hamlet leads the play.


(7)COMIC ELEMENTS 


      Shakespeare used comic scenes in his play. He didn't follow the footsteps of his classical predecessors..while writing tragedies, Greek and Roman writers didn’t use comic relief. But Shakespeare wanted to relieve the tension for the reader and lighten up the mood here and there. A few examples of comic relief scenes include the gravedigger scene in Hamlet, the drunken porter scene in Macbeth, the fool is smarter than the king dialogue in King Lear.




                                               Conclusion :-


Thus to conclude, we can able to say that, Shakespearean tragedy is fully different tragedy, introduced by William Shakespeare. He broke down all the stage rules and tried to write something which no one else wrote. And this came out as a Shakespearean tragedy. Most popular form and still playwrights used to write in this widely.







Words:- 1183


References :-


https://owlcation.com/humanities/Shakespearean-Tragedy-Definition-and-Characteristics-of-Shakespearean-Tragedy


https://www.bl.uk/shakespeare/articles/an-introduction-to-shakespearean-tragedy


Himanshi Parmar - 1 comment:
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