Thinking Activity: Wordsworth’s Preface to Lyrical Ballads
The Preface to the Lyrical Ballads is an essay, composed by William Wordsworth , for the second edition (published in January 1801, and often referred to as the "1800 Edition") of the poetry collection Lyrical Ballads, and then greatly expanded in the third edition of 1802. It has come to be seen as a de facto manifesto of the romantic movement.
William Wordsworth :
William Wordsworth (7 April 1770 – 23 April 1850) was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with their joint publication Lyrical Ballads (1798). a key figure of Romanticism, and the author of the most famous poem ever written about daffodils. Born in 1770, Wordsworth and his friend Samuel Taylor Coleridge invented a new style of poetryin which nature and the diction of the common man trumped formal, stylized language.
➤ What is the basic difference between the poetic creed of 'Classicism' and 'Romanticism'?
Romanticism and classicism t hey are two different ideologies or 'school of thought'. And given idea about dominance of certain things.
Classicism:in classicism aesthetic attitude and principals manifested in the art architecture and literature if ancient Greece and Rome and characterized by emphasis on form simplicity proportion and restraint. Romanticism: Romanticism was an artistic literary musical and intellectual movement that originated in Europe towards the end of 18th century.
Difference between classicism and romanticism is that classicism put out restrictions,whereas romanticism believes in liberty. Classicism presents urban life , whereas romanticism presents rural life. classicism believe on subjectivity and romanticism believes in objectivity. classicism is about intellectual and romanticism is about imagination .
➤ Why does Wordsworth say 'What' is poet? rather than Who is poet?
A poet is man speaking to men, a man, it is true, endued with more lively sensibility, more enthusiasm and tenderness,
Who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind.
Wordsworth has greater knowledge of human nature through the emotions like observation, heightened. He also uses platonic, more comprehensive soul.
➤ What is poetic diction? Which sort of poetic diction is suggested by Wordsworth in his Preface?
Poetic diction means 'Choice of Word' - unique style of authors that he or she chooses his or her own language, which is understood by rustic people; who closure to reality and more genuineness the language should be natural not ornamental. Wordsworth's argument is that he is interested in writing poems in lyrical ballads. And the language "as really used by men". Wordsworth also answers to Coleridge that he finds humble and rustic life, a men who closer to reality or more genuineness. Wordsworth preferred rustic men rather than city dwells.
➤ What is poetry?
Wordsworth's definition of poetry :
" Poetry is the spontaneous overflow of powerful feelings it takes origin from emotion recollected in tranquility. "
Wordsworth portrays his idea about poetry in this definition that poet is the most comprehensive soul and far better human being than ordinary people. so, t he poet is the teacher and through the medium of of poetry he imparts moral lessons for the betterment of human life.
➤ Discuss 'Daffodils - I wandered lonely as a cloud' with reference to Wordsworth's poetic creed.
'Daffodils' is the best example of Wordsworth's definition of poetry “poetry is a spontaneous overflow of a powerful feeling, recollected in tranquility". We all see the beauty of nature by our different point of views but we cannot recollect and express that delight in tranquility. so, we can call Wordsworth as nature poet, by recalling his memory and sensibility and b y observing the nature, Wordsworth wrote his poetry.
Saturday 18 November 2017
Wordsworth's Preface Thinking activity
Tuesday 14 November 2017
9/11/
The September 11 attacks also referred to as
9/11 . were a series of four coordinated terrorist attacks by the Islamic terrorist group al-Qaeda on the
United States on the morning of Tuesday, September 11, 2001. The attacks killed 2,996 people, injured over 6,000 others , and caused at least $10 billion in infrastructure and property damage.
Four passenger airliners operated by two major U.S. passenger air carriers ( United Airlines and American Airlines ) — all of which departed from airports in the northeastern United States bound for California — were hijacked by 19 al-Qaeda terrorists . Two of the planes, American Airlines Flight 11 and United Airlines Flight 175 , were crashed into the North and South towers, respectively, of the World Trade Center complex in New York City. Within an hour and 42 minutes, both 110-story towers collapsed, with debris and the resulting fires causing partial or complete collapse of all other buildings in the World Trade Center complex, including the 47-story 7 World Trade Center tower, as well as significant damage to ten other large surrounding structures. A third plane,
American Airlines Flight 77, was crashed into the Pentagon (the headquarters of the United States Department of Defense ) in Arlington County, Virginia , leading to a partial collapse of the building's western side. The fourth plane, United Airlines Flight 93 , was initially steered toward Washington, D.C. , but crashed into a field in Stonycreek Township near Shanksville, Pennsylvania , after its passengers tried to overcome the hijackers. 9/11 was the single deadliest incident for firefighters and law enforcement officers in the
history of the United States , with 343 and 72 killed respectively.
Suspicion quickly fell on al-Qaeda. The United States responded by launching the War on Terror and
invading Afghanistan to depose the Taliban , which had harbored al-Qaeda. Many countries strengthened their anti-terrorism legislation and expanded the powers of law enforcement and intelligence agencies to prevent terrorist attacks. Although al-Qaeda's leader, Osama bin Laden , initially denied any involvement, in 2004 he claimed responsibility for the attacks . Al-Qaeda and bin Laden cited U.S. support of Israel , the presence of U.S. troops in Saudi Arabia , and sanctions against Iraq as motives. After evading capture for almost a decade, Osama bin Laden was located and killed by SEAL Team Six of the U.S. Navy in May 2011.
The destruction of the World Trade Center and nearby infrastructure caused serious damage to the economy of Lower Manhattan and had a significant effect on global markets, resulting in the closing of
Wall Street until September 17 and the civilian airspace in the U.S. and Canada until September 13. Many closings, evacuations, and cancellations followed, out of respect or fear of further attacks. Cleanup of the World Trade Center site was completed in May 2002, and the Pentagon was repaired within a year. On November 18, 2006,
construction of One World Trade Center began at the World Trade Center site. The building was officially opened on November 3, 2014. Numerous
memorials have been constructed, including the
National September 11 Memorial & Museum in New York City, the Pentagon Memorial in Arlington County, Virginia, and the Flight 93 National Memorial in a field in Stonycreek Township near Shanksville, Pennsylvania.
Dryden's Essay: Of Dramatic Poesy: Tasks
"Moderns stand on shoulder of Ancients".
Dr. Faustus: A Play by Christopher Marlowe Thinking Activity
Dr. Faustus: A Play by Christopher Marlowe Thinking Activity
(Q.1.) 
The play directed by MATTHEW DUNSTER for Globe theatre ends of the Lucifer last scene signifies Lucifer become more powerful after taking Dr.Faustu's soul. Lucifer's big wing's shows that become more stronger than before.
Lucifer's this image signify the highest level of evilness. last scene said that Lucifer's big wings signifies that God is fails and evil is wins.Lucifer is also symbolic of the war between the good and evil.the prince of devils,the ruler of hell and mephistophili's master the Lucifer may be powerful.and that is we can see in act-1 in
MEPHIST. I am a servant to great Lucifer,
And may not follow thee without his leave:
No more than he commands must we perform
so we can say that play end Lucifer become more stonger than god and he become the hero of the play and last LUCIFER'S big wing's signifies that things.
(Q.2) Yes GOD is present in the play ,god is not appears in character but in form of Good Angel ,Old man and others saw that God. GOOD ENGEL, with GOD is very much present in the play.the old man and the good engel opposed to mephistopheles and bed angel.
we can say that god is present in play first to last scene.first scene with MONOLOGUE of faustus in which he challenges the god...
"O, what a world of profit and delight,
Of power, of honour, and omnipotence,
Is promis'd to the studious artizan!
All things that move between the quiet poles
Shall be at my command: emperors and kings
Are but obeyed in their several provinces;
But his dominion that exceeds in this,
Stretcheth as far as doth the mind of man;
A sound magician is a demigod"
then we see god in the play that time Good Angel say to Dr.faustu's to
Good Angel:. O, Faustus, lay that damned book aside,
And gaze not on it, lest it tempt thy soul,
And heap God's heavy wrath upon thy head!
Read, read the Scriptures.(ACT-1)
also we find God every time in play that time Dr.faustus sing with blood that time he find something written in Latin "HOMO FUGE" it means "o man fly "it was a warning to faustus not to sing the bond.and we also find God in old man .he is see in end part of play and he last try to save Dr.faustus.
Old Man: “ O stay , good Faustus , stay thy desperate steps !
I see an angel hovers o’er thy head ,
And with a vial full of precious grace ,
Offers to pour the same into thy soul,
Then call for mercy and avoid despair
and last MONOLOGUE with Dr.faustus repent for her challenges.
"O, Pythagoras' metempsychosis, were that true,
This soul should fly from me, and I be chang'd
Into some brutish beast! all beasts are happy,
For, when they die,
Their souls are soon dissolv'd in elements;
But mine must live still to be plagu'd in hell.
Curs'd be the parents that engender'd me!
No, Faustus, curse thyself, curse Lucifer
That hath depriv'd thee of the joys of heaven."
so god is present not physically but in the face to Good Angel ,chorus and old man .
(Q.3) The image of daedalus and lcarus In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with wax. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. in thesame way we see that Dr.Faustus wants to become Demi-God by learning the art of necromancy .
one time Even the devil Mephistophilis also warns dr.faustus :
“ O Faustus , leave the frivolous demands
Which strikes a terror to my fainting soul.
so we can say that this myth is surely connected with the central theme of the play. so myth can help us to understand the central theme of play
Robinson Crusoe Worksheet
Introduction:
'Robinson Crusoe' is a 18th century novel by Daniel Defoe. It was published in 1719 and it was among one of the most widely punished books. It is an adventure story of the character Robinson Crusoe dealing with serious issues of colonialism, imperialism and racial discrimination.
What is colonialism:
the policy or practice of acquiring full or partial political control over another country, occupying it with settlers, and exploiting it economically.Colonialism occurs when a country or a nation takes control of other lands, regions, or territories outside of its borders (boundaries of the country) by turning those other lands, regions, or territories into a colony. Usually, it is a more powerful, richer country that takes control of a smaller, less powerful region or territory.
Give answers of the following questions...
(Q.1.)- Write about colonial discourse in Robinson Crusoe.
(A.1)
The word colonialism comes from the Roman word "Colonia" which means "farm" and "settement" .many time we see in the novel colonial discourse.first is Crusoe give man name christian name 'FRIDAY'.he given this name method of process and started to colonialism.he not say that he is friday's friend but he say himself as master and Friday as slave. given name Master-slave relation start.crusoe start to give commands and friday follows.
We can observe the process of this construction in the dialogues between Crusoe and Friday:
Master: Well, Friday, and what does your nation do with the men they take? Do they carry them a way and eat them, as these did?
Friday: yes, my nation eat mans up too; eat all up.
(Q.2)-How colonialism works in our life (in contemporary time/ of our surrounding, Give examples)
(A.2)-
We saw that colonialism works our life in contemporary time of our surrounding if not physically but mentally .still we follow britishers some rules and her culture's. we can say that today English is the international language because they were in power and their language is English and most of country English is rule so.
Eg:
⇒ Some multinational company also rule over our culture.
eg: pepsi, coca cola, pitza. etc.
⇒After many years we also chosen people color of skin so skin color is today in our mind on rule .some advertisement, bollywood movies , daily soaps, songs.
eg: Fair & lovely advertisements , Bidai, Suhani si ek ladki, soaps, Gore gore mukhade pe kala kala chashma.......song, etc.
(Q.3)-Do you think that, movie is different than original novel ?if yes so write about some changes done in the movie.
(A.3)-
Yes ,movie is different than original novel.
➡ In the movie when Crusoe tells about his God that his God is the creator of this world. Then Friday argued that he didn't believe in God.Friday says that his god is 'Pokya' a crocodile In text when Crusoe trying to imposed his God,Friday get convinced easily without any arguement. but in movie reflects the Friday doesn't consider to him and then he began argue with him.
(Q.4)-Do you think, movie is describing anti-colonial elements? can you describe reasons?
(A.4)-
The change in the film shows anti-colonial element of nature
Crusoe wants to become friday's friend.the chemistry of their relation is shown in the film.
in the movie friday's arguments and rebelling nature also shows anti-colonialism. there is some soft conflict done by them. Friday never follows Crusoe's culture.he did not wear clothes, he did not worship crusoe,s God, he is not afraid of Crusoe's weapon, he did not agree with idea of master and slave relation.All over Friday never easily convinced.Even Crusoe also treats him very well, as his best friend in the movie.
Coleridge: Biographia Literaria
Q.1-Write in your words the difference between poem and prose.
A.1-
Definition:-
Prose:-Prose is a form of language that has no formal metrical structure. It applies a natural flow of speech, and ordinary grammatical structure rather than rhythmic structure, such as in the case of traditional poetry.
Poem :-A poem is a collection of spoken or written words that expresses ideas or emotions in a powerfully vivid and imaginative style. A poem is comprised of a particular rhythmic and metrical pattern.
Ø Poem
· It is a lyrical form of writing.
· It has structure, format and rhyming in the sentences.
· It is usually divided into lines or phrases.
· It is more expressive and attractive.
· It serves to excite the readers.
· It is imaginative.
Ø prose
· It is the typical form of writing.
· It has no structure, format and rhyming in the sentences.
· It is not usually divided into sentences.
· It is dull.
· It is simple and common.
· It is quite ordinary.
Ex:-
Poetry from “Stopping by Woods on a Snowy Evening” written by Robert Frost.
“The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.”
Prose Form
“The woods look lovely against the setting darkness and as I gaze into the mysterious depths of the forest, I feel like lingering here longer. However, I have pending appointments to keep and much distance to cover before I settle in for the night or else I will be late for all of them.”
Q.2-Write in your words the difference between poem and poetry.
A.2-
Definition:-
Poem :-A piece of writing in which the expression of ideas is given intensity by particular attention to diction (sometimes involving rhyme), rhythm and imagery.
Poetry:-Literary work in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm; poems collectively or as genre of literature.
The word poem is often used in the sense of an individual piece of work. Poetry is a collected work. In other words it is a collective term used to indicate many pieces of individual poems. Poetry is a literary form whereas a poem is a written piece of work.
• Poetry is a literary form, whereas a poem is a written piece of work.
• Poetry is an art form, whereas a poem is a composed work.
• He who composes poems occasionally cannot be called a poet but can be called a versifier.
• A poem is the fundamental unit of poetry. It can thus be said that poetry is made of poems.
Worksheet: Aristotle's Poetics
Q.1- How far do you agree with Plato’s objection to freedom of expression and artistic liberty enjoyed by creative writers? Name the texts (novels, plays, poems, movies, TV soaps etc which can be rightfully objected and banned with reference to Plato’s objections)
(1-A).I agree Plato's objection to freedom of expression is true because some kind of serials ,advertisement and literary text is not good aspect for examples are
➨Ahaliya-indra, kunti's children and many other's things
.
➨Sony tv serial "Bharat ka veer putar 'Maharana pratap" .
In real life Maharana Pratap and Akbar never came face to face with each other. But here the two have been fighting each other ever since they were kid. Like every other serial, this serial Forget history, the serial just like any other contemporary TV show is full of saas bahu saajish and melodrama.
➨In the tragedy "Othello" by William Shakespeare During the drama the audience finds itself in concepts of love,hate,jealousy.Othello killed his wife.
➨Advertisements of "Domino's pizza" and other advertisements .97% of all food advertised to all food advertised to make children's unhealthy levels of fat, sugar,or salt.
So I agree with Plato's objection.
Q.2. With reference to the literary texts you have studied during B.A. programme, write brief note on the texts which followed Aristotelian literary tradition (i.e. his concept of tragedy, catharsis, tragic hero with hamartia etc)
(2-A).Aristotle defines tragedy as, “the imitation of an action that is serious and also has moving magnitude, complete in itself; in appropriate and pleasurable language… in a dramatic rather than narrative form; with incidents arousing pity and fear, where with to accomplish a catharsis of emotions”, . These are unique qualities which can be in Othello. The story starting with the main character and protagonist Othello, an African general for the Venice army. Othello has just married his wife Desdemona. Throughout the play Othello is challenged by Iago who works under him. Iago provides the drama; he represents the antagonist.Nothing good becomes of this play. By the end of this tragedy, both Othello and Desdemona are dead.
Q.3. With reference to the literary texts you have studies during B.A. programme, write brief note on the texts which did NOT follow Aristotelian literary tradition. (i.e. his concept of tragedy, catharsis, tragic hero with hamartia etc.)
(3-A.) Harry Ape as a modern tragedy does not follow the theory of Aristotle. Yank the hero has no hamartia as he is not a man of highrank . there are the action not external but internal.
Q.4. Have you studied any tragedies during B.A. programme? Who was/were the tragic protagonist/s in those tragedies? What was their ‘hamartia’?
(4-A). Othello by william shakespeare tragedy I study in my B.A pogramme.follow necessary rules and regulations proposed bAristotle's definition of tragic hero othello follow this definition and not only othello reprsent a hero as a general of an army ,he is the main character of the play.he draws compassion and sympathy from the audience making him the tragic hero.
5. Did the ‘Plot’ of those tragedies follow necessary rules and regulations proposed by Aristotle? (Like chain of cause and effect, principle of probability and necessity, harmonious arrangement of incidents, complete, certain magnitude, unity of action etc)
(5-A)."othello" follow necessary rules and regulations proposed by Aristotle.
Paper-3 presentation
Paper-2 presentation
Paper 1 presentation
Monday 13 November 2017
Mahir pari 's assignment on dryden's comparative ,Shakespeare ,ben jonso
Shakespeare Ben jonso
Number
Department
( , Jhon Dryden )
Born 19 August 1631
Aldwincle,Thrapston
Northamptonshire,
England
London;England.
playwright ;librettist
Alma mater Westminster School
TrinityCollege
Cambridge
Mac Flecknoe
,The Hind the Panther.
Literary criticism is the study evaluation or interpretation of literature Modern literary criticism is often influenced by literary theory which philosophical descusion of literature goals and methods
Though the two activities are closely related literary critics are not always have not alway be theorist
Whether or not literary criticism be conside a separate field of inquiry from literary theory or coonversel from book reveewing is a matter of some conttroversy
** :For example
the Johns Hopkins Guide to Literary Theory and Criticism draws no distinction literary theory literary critici or almost always uses the terms together to descrebe same concept Some critics consider literary criticism a practical of leterary theory because criticism deals directly with particular literary works while theory may be more general .
Literary criticism often published in essay Academic literary critics teach in literature college and published in academic journal or more popular critics publish the previews in brooadlley circullaat period's as the time literar
Suplement the New York Times Book r-eview London Review of Books The Nation and The New Yorker.
Literary criticism is thought to have existe as long literature t he 4 century bc aristotley wroote the
Poetics a typology and description literary form many specefec criticis of contemporary work of art
Poetics developed for the first time concept of mimessees or catharsis are still crucial in literary studies Plato' atack on poetry as imettateve seconda and false were formateve as well Around the same time
*** """. Bharata Muni his
Natya Shastra ; wrote literary criticism on ancient
Indian literature and Sanskrit drama """ ***
Later classical medieval criticism focus on religious text several long relegeous traddettions of her-meneutics a textual exege have a proffound inflfuenc on the study or secular text partiticularl case f the literary tradite ** "" the 3 Abrahamic religions :
1.) Jewish literature
2 .) Christian literature
3.) Islamic literature
Literary criticism was also emplo other form in medieval Arabic literature and Arabic poetry from
9 century notably in
**Al-Jahiz in his al-Bayan wa-'l-tabyin and al-Hayawan **.
Definition of criticism :-
criticism
ˈkrɪtɪsɪz(ə)m/
noun
"he received a lot of criticism"
(1.): the act of criticizing usually
unfavorably
(2.) a critical observation or remark
(3.) critique seeking encouragement rather than criticism
an unfair criticism a minor criticism of the design
** "" : the art of evaluating or analyzing works of art or literature also "". ** :-
(1.) writings expressing such evaluation or analysis two
an anthology of literary criticism
(2.) the scientific investigation of literary document in regard to such matters as origin text composition or history .
John Dryden is English
poet dramatist critic he is the most important in literatur of the Restoration age John Dryden most important prose work
** “
""Of Dramatic Poesy
An Essay” **
"" English literary criticism""
John Dryden represented the con+fflicting claems the 2
sides as debate among four friends ,One of the them favours the ancient over the modern theater, One modernist prefers the French drama where as Dryden himself likes the life like drama of English theataer to French tragedy. which jo -hn considers beautiful lifeless
## Dryden includes the five points in this essay which are as below :##
A). Ancients versus Moderns
B). Unities
C). French versus English drama
D). Separation of tragedy and Comedy versus Tragicomedy
E). Appropriateness of Rhyme in drama
Discussion of ancients and moderns should not be for who is ‘better’ It should be more fundamental lg about how hi story itself func d should b read this if should be about the relations between past and present humanity and nature's a human un- derstanding and knowledge's
First we overview the conflict the ancients and moderns and then we discuss in details separately.
· Controversy of the ancients and moderns :
In the age of Dryden there is the most important and high raged cha- tig on the comparative meriestt and demerits of the ancients and moderns Welllknown satire writer Swift treated this chating on his famous work
**"
“ THE BATTLE THE BOOKS ” **
The case for the * Ancients *i s presented by * Crites * Ilcontroversy Dryden takes no extreme position follows the golden meanse and is sensible en-
ough to give the Ancients their respect Means… Dryden does not disparage the ancients
Through his dispassionate balanced and sane attitude makes us see clea rly the achievementse of the Ancients ad the indebtedness of the moderns to there as well as significa nt advances which have been made in modern times
Dryden was very well known critic in his time view on many writer like Ben Johnson, Shakespeare, Beaumont and Fletcher and many other writers In an essay of dramatic poesy he give new concept PR and Ben Johnson give good and bad side of the writers writing an essay of dramatic po
In1668 he wrote his important prose work of
“** Dramatic poesy an essay **” Dryden’s own defense of his literary practices, The four gentlemen Eugenius, Crites, Lisideius and Neander begin an ironic and witty conversant on the subject of Poetry which soon turns into a debate's on the virtu of modern or ancient writers
Restoration gravity Dryden in his essay of dramatic poesy explains the favorable public response to plays by citing their Unive -
rsal appeal. they had written 2
or 3. very vunsuccess -fully as the like is reported of Ben Johnson He rewrites every man in his humor pepper square drilling more regular than Shakespeare’s.
Ben Johnson :-
***“Huumor was his proper sphere and in that he delight most to represe -
nt Mechanic people He invades authors like a monarch and what would be thefte in others poets is onl-
y victory in him a fault in his languaged in his play he didn't a little to much to Romanize our tongue
Leaving the word which he translat -
ed almost as much Latin as he found them Wherein though he learnedly followed the Idiom of their language he did not enough comply with ours” **
He was master of mankind lovely of
any of his scenes His genius was to serious to do it gracefullyy he was deeply conversant in the ancient Greek and Latin So time he translate'sd word to word from ancient Dryden's remarks on Ben Jonson who is compared with Shakespeare and in this way of the respective merits of the 2 are brought out.
Ben Jonson is among the best nown writers and theorists of English renaissance. litera-
ture second in reputation only to Shakespeare A prollific dramatist and a man of letters highly learne
in the classics's he profoundllly influennced Augusstan age throough his emphasis on the precepts of Horac Aristotle and other classical Greek and Latin thinkers
“as for Jonson to who-
se character I am now arrived if we look upon him while he was himself For his last plays oo were but his dotages I think him the most learned and judicious writer which any theater ' s ever had He was a most severe judge of himself as well as others In his work you find little to retrench or alter.wit and language's and humor also in some measure we had before him I but sometime or anything something drama was waiting till he came He managed his strength to more advntaggse then any who preceded him You seldom find him making love in any of his genius was 2 sullen and saturnine to do it gracefully especially when he
new he came after time to those who perormed booeoth of such a heeght”.
In the be ginning he be lieves tha -
t the moderns have learned much from the ancients The moderns are indebted to them for rules of dramatically compositionally and must be gratefully appreciated to them for it The moderns are not following's with blind way but they excel new thing's es in many ways He argues that modernist have model so that they learn from that and gi ves new ideas from th-
eir example's .
because of the gr eater pains the-
y take they are nearer to perfe-
ction than the ancients Their greater la,dor makes them super-
ior in science as well in poetry But Crites proves that….
“ *** ancients imitated nature more perffooectly thanme the moderns has not estalishd.”***
Shakespeare :-
He is the very Janus of poets he wears almost every where 2
faces and you have scarce begun to one even you de oospise th -
e other He shows lovely passio-
n and present situ ation in his work Dryden say that Shakespeare is far above him he was quite con -
scious of both the weakness and greatness of Shakespeare
Androids and windows forms to John Dryden Shakespeare main who all modern and perha-
ps ancient poet of the largest and most comp ooes rehensive in his own time William Shakespeare was rated as merely one among talented playwright and poets but since in 17 century he has bee-
n considered impaired of the English language
Some of Dryden’s so comments are repeated from earlier writers notably the assurance that Shakespeare's art was natural this time used almost as an excu se to justify the awkward fact that he did not follow the rules as so in his play carefully as Jonson He did not pull his punches when it came to descr ibing what as Shakespe -
are’s faults He found Shakespeare’s plots loose in construcn and deplored bombast of his passionate speeches destiny and imaginary was not so much as so many to good
*** Shakespeare:
”the begin then wh Shakespeare
he was the man who of all moder-
ns and perhaps poets had the large-
st and most comp rehensive sou All the images of naturally were still present to him and he drew them not laboriously but luckily when he descr ibes anythi oose ng you mo-
re than see it you feel it 2Those wh-
o accuse him to have wanted learn
-ing give him the greater compensation he was naturally learnoed he needed not the specta cles of books to read nature he looked inwards and found her there I cannot where alike i were he so I should do him injury's to comp -are him with the gr eate st of mankind and to He is many times flat insipid his comic wit degevvrse nerating into clenches his serious swel ling into bom bast But he is always great when some great occasion is pres but ented to him no human can say he ever had a fit subsection for his wit and did not raise himself as high above the rest of the poets.”
No other dram atist has be-
en perfor med even remotely as often on the world stage's as Shakespeare's in his remark on Shakespeare Jhon Dryden cease-
s to be a class icist and goes over to the other camp of the romantics
His appr but to eciation of the compr foe the to ehensive souled of Shakespeare as a tribute to his comprehensive soul and imag -inative sensibility
“*** I admire Jonson a lot but I love Shakespeare.”***
:- Dryden say ,” ***
I must acknowledg him the more correct poet but Shakespeare this greatest wit he was the homer or father of our dramatically poet Jonson was virgil the pardnr of elaborate writteing he has given as the most correct playe so on the Precept's which he has laid doowwn on his discoeries we have is mony and profitability ruless for f prefifxing the stage as any where which the French can furnish us john Dryden’s work “ Of Dramatic Poesy An essay’ gives the clieam of the two sdes as a chatinge among four friends And Dryden himself likes the lifelike as life like dramatically of English thesaoater to French tragedy which he considers beautiful but lifeless.
Mahir pari 's assignment on critique on flea
Name :- Goswami mahirpari
Class. :- M.A.sem - 1
Topic. :- Critique on Flea
Number
Department.
Dr.Samuel Johnson
Born 22 January 1572[1]
London , England
Died 31 March 1631 (aged 58)
London, England
Occupation Poet, priest, lawyer
Nationality English
Alma mater Hart Hall, Oxford
University of Cambridge
Genre Satire, love poetry, elegy , sermons
Subject Love, sexuality , religion, death
Literary movement Metaphysical poetry
It was Dr. Samuel Johnson who for the first time used the term ‘metaphysical poetry’ for the poetry of John Donne and his followers. Since Donne was the pioneer, it is known as the school of Donne or The School of Metaphysical Poetry. Dr. Samuel Johnson while giving introduction to the life of Abraham Cowley used the term metaphysical poetry to identify the poetry of Donne and his followers. The poets who followed the style of John Donne are: Richard Crashaw, George Hurbert, Abraham Cowley and Andrew Marvell. These are the main metaphysical poets.
When Dr. Johnson used the term metaphysical poetry, it was in a negative sense , to criticise the poetry of Donne and his followers. But with the passing of the time the tone of the term was changed and it became a term of appraisal, giving merit to the School of Donne.
""""" highly intellectualized poetry marked by bold and ingenious conceits, incongruous imagery, complexity and subtlety of thought, frequent use of paradox, and often by deliberate harshness or rigidity of expression """""
The term metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterized by the inventive use of conceits , and by a greater emphasis on the spoken rather than lyrical quality of their verse. These poets were not formally affiliated and few were highly regarded until 20th century attention established their importance. Given the lack of coherence as a movement, and the diversity of style between poets, it has been suggested that calling them Baroque poets after their era might be more useful. Once the Metaphysical style was established, however, it was occasionally adopted by other and especially younger poets to fit appropriate circumstances.
He is considered the pre-eminent representative of the metaphysical poets . His works are noted for their strong, sensual style and include sonnets , love poems, religious poems, Latin translations, epigrams ,
elegies , songs, satires and sermons . His poetry is noted for its vibrancy of language and inventiveness of metaphor , especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of English society and he met that knowledge with sharp criticism. Another important theme in Donne's poetry is the idea of true religion, something that he spent much time considering and about which he often theorized. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits .
His writing style :-
His work has received much criticism over the years, especially concerning his metaphysical form. Donne is generally considered the most prominent member of the metaphysical poets , a phrase coined in 1781 by
Samuel Johnson , following a comment on Donne by
John Dryden .
In Life of Cowley (from Samuel Johnson's 1781 work of biography and criticism Lives of the Most Eminent English Poets ), Johnson refers to the beginning of the seventeenth century in which there
with the
Donn in ( 1658 ) :
— Izaak Walton
The flea MARK but this flea, and mark in this, How little that which thou deniest me is ; It suck'd me first, and now sucks thee, And in this flea our two bloods mingled be. Thou know'st that this cannot be said A sin, nor shame, nor loss of maidenhead ; Yet this enjoys before it woo, And pamper'd swells with one blood made of two ; And this, alas ! is more than we would do. O stay, three lives in one flea spare, Where we almost, yea, more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is. Though parents grudge, and you, we're met, And cloister'd in these living walls of jet. Though use make you apt to kill me, Let not to that self-murder added be, And sacrilege, three sins in killing three. Cruel and sudden, hast thou since Purpled thy nail in blood of innocence? Wherein could this flea guilty be, Except in that drop which it suck'd from thee? Yet thou triumph'st, and say'st that thou Find'st not thyself nor me the weaker now. 'Tis true ; then learn how false fears be ; Just so much honour, when thou yield'st to me, Will waste, as this flea's death took life from thee.
The poet tell his be loved to lookef at the flea bef -ore them or to note “how little” is that thing that she denied him For the flea he has sicked firest his blood's then her blood's so that now in sides the flea they are mingles and that ming -
ling cannot be called
The flea has join them tog ether in a way that,
“alas is more than we would do”
As his be lov move to killed the flea the poet said her hand's asking her to spare the 3 lives in the flea:
od is mingle they are almost married+no more than married+and the flea is their marrriage bed and marriage temple mixed into one Though their parents grudge their romane or tho ugh she will not make love to him they are neverthee
unit or cloister in the living wall -
s of the flea She was apt to kill him poet said but he asks that she not kill herself by killing the flea that contain -
ed her blood's he says'e that to kill the flea wooould be sacrilegeed
"" three sins in killing three ""”
“Cruel and sudden” the s poet calls his lover who has now killd the flea
“purplinged” her fingernail with the “blood of innocence” The speaker asks his lover what the flea"s sin is other than having suck. from each of them a drop of blood's He says that his belover replies that neither of them is less noble for having killed the flea
It is true he side and is this very fact that proved that her fears are false If she were to sleep with him “yield to me” she would lose no more honored than she losted when she kill's the flea
John Donne’s poem "The Flea" is a complexity's yet simple explanted of a desired to for sex The poet use a flea as an argument as to why his beloved should engage -
ment in the sexualed act
In "1633" when the poem was writte -
n sex before marriaged would be consider a sin and that’s why the poet
was trying to convinced otherwise
The literal meaninged of the poem is about a little flea who sucksed blood 's from the port and his be -
lov which give the poet courage to reason with his be love about sex He claimed that what this flea has done has intertwin's them already and therefore the actual act of sex would not be consider sinfuled However she kill the flea meaninged that sleeping with him would make her more sinful than killinged the flea
the overall meaning of the poem's is expressed through the 3
stanzas of the poem As readers we get a conversationaled tone from stanza
* He is trying to explain how little the flea that she deniesed is and explained what this flea has done By sucking him first and then sucking her in this flea our two bloods mingl be Repetition of the word suck can al -
so be seeen as adding to the central theme of sex The speaker then clai-
ms that what this flea has done
cannot be called sin nor shame nor - loss of maidenhead which refers to virginity Donne ends off the first stanza by explaininged how the flea has joined them in a particular way which is more than we would do
By the openinged of stanza 2 the topic of marriage's is brought into the poet ' s argumented as the bel -
over wishes to kill the flea
He attempts to convince her not to
by saying this flea is you and i and this our marriage bed's and marriage temple is. which coveys a mess -
age that they are now marrid because they're blood is together inside this flea's Marriage also contribute's to the central theme of sex because marriage would no longered make sex sinfuled Therefore if the spea -
ker can convinc his belov that they are technically marries he can hold ho-
pe of receiving what’s desir Stanza two is also the turning point's Through another conversationaled tone Donne says though parent's grudge we are cloistered or secluded in the body 's of this flea and to not add self-murder to the equation There will be 3
sins in killing thee meaning's if she killd that one flea she not only kills it but herself and him
The beloved end's the argument probably out of annoyance by sim -
ply killing the flea causing Donne to call her cruel and sudden in stanza 3. In an efffort for justification's he ask why she killled the flea wherein could this flea's guilllty be beca use all it’s done is take one drop of bloood's from each of us However within her responded he concluded that her alleged fear of sin is false bec -
ause if she had sex with him it would be the same as the sin committ by killlling the flea
The way the poem is formatted also makes this poem great. The entire poem is made up of a combination of iambic tetrametered and iambic pentameter which is most commonly The author uses the last two lines of each stanza to show iambic's pentametered making the en -
tire poem a 4 then 5 stressed syllable line The last two lines being 5 stressed syllable linesed
The rhyme scheme in this particular poem follows an AABBCCDDD pattern which means that Donne rhymes the first 2 lines the second 2 lines the
3 two lines and the last three lines in each stanza Sound device's such as alliteration are used throughout the poem making the rhythm lucid like
sucked and sucks in stanza 1 marriage or marriage.
in stanza 2 and thou triumphst that thou in stanza 3
The entire poem can be seen as a big metaphor's as the flea is used to symbolized their love or sex The blood 's the flea hold inside of him is compared to a marriage bed and marriage temple The min gling of the blood also metaphoricallyed stan -
ds for mingling of sex There are a few symbol that stand out in this poem Marriage for one is essentially symb -olized Donne tries to make his argument better by saying this flea has basically married us because our blood is joined inside him Sex is also a symbol however is discretely spoken ofl His entire argument revolves around the act itself which he later explains would not be less sinful then killinged the flea Imagery is used through the flea who is also personified As reader we picture something so small being personified to have such significance to the author’s argument's Similes were found once in the last line of the poem "as this flea’s death took life from thee".
Overall Donne is conv eying a messageed that he would like to have sex with his beloved and it is not sinful which ironi. cally she agre -
es to as she commits a sin herself allowing Donne to conclude her fear was wastefuled The particular form and devices used such as figurative language's Alliteration's or the rhyme scheme help's the poem seem effortlesslyed written becccause you dont realiz ed those part abo ut the poem until you further reading Whi -
le the poem can be seen as a serious -
ed persuasions it also con oosists of humorous which make it perfectly logic
though the lover sug -
gest that he is in control that it is a matter of “when thou yield’st” some
scholars have noted that he is po -
werless to do anything until woman makes her descusion He merely utters his words of waorming but she can raise her hand and kill the flea similarly she can exxxercise her power by continuant to deny the man his des -
ired the Flea could take what it wantd with out stopp to wooo but the lover uses no forced be yond
force of argume -
ntHe has not ben success so far but we do not now what will happen .
Mahir pari's assignment kanthapura as a myth
Name :- Goswami mahirpari
Class. :- M.A.sem - 1
Topic. :- kanthapura as a myth
Number
Yer. :- 2017 - 19
Department.
Hassan, Mysore, India
Died 8 July 2006 (aged 97)
Austin, Texas, United States
Occupation Writer and professor
Language English, French, Kannada
Alma mater University of Texas
Genre Novel, short story, essay
Notable works Kanthapura (1938)
Notable awards Sahitya Akademi Award in 1964,
Padma Bhushan in 1969,
Neustadt International Prize for
Literature in 1988,
Padma Vibhushan in 2007.
Myth is a traditional story of unknown authorship ostensibli with a historical basics but serving us-ually to explain some phenomenan of nature, the origin of men or the customs,institutions,religious rites, etc. Of a people ; myths usually involv the exploits of godds and heroe.
The story is narrated by an old grand mother to a new comer to the village. kanthapura is the village of south india; kenchamma godes. people are poor simple, superstitious, religious there are number of mythical devise in kanthapura; it is excellent example of combination of puranic and folktale elements right in the centre of the village is a temple dedicated to kenchama great godes, benign one all the villagers are belive in Goodness kenchamma.
There is a folk song which evoke in us image or attitude as to what kenchamma means to the people of kanthapura
Mother of earth, blood life,
Harvest queen, rain crowned,
Goddess benign and bounteous."
Myth is an inseparable part of the culture of any country. India is essentially a culturaly rich country. Every village of India has its own story of origin though it may or may not be true. Myth form an important part of every human particular of those who are away from the scientific knowledge.
Raja rao in his novel Kanthapura had made myth one of the primary factor that continue the novel,In spite of being residing and educating in foreign he shows his faith in mythology.
The plot of the story is laid in an imaginary village which is surrounding by other imeginary villages. In this novel Raja rao make the narative in the form of sthala purana and an old lady is the narator of the story, His Kanthapura is based on the pattern of "Ramayana". The way in which Ramayana is narrated by "Sage Valmiki" Achakka is the narrator and commentator.
She compare Gandhi with Rama and India with Sita.Gandhi was gone to England is compared to Ramas exil and Indians are consulted with Bharath. Like Ayodya, Kanthapura is a casteriden village which is far away from moden views of living.As Sita is capture and by Ravana; in the same way India were captured and looted by Redmen. Like Rama save of Sita same Gandhi also strugle to free India from British. In Ramayana Rama done war against Ravana. Similar in Kanthapura Gandhi wage war against British.
A way between Rama and Ravana leads to a number of deaths. Similarly when the people of village in war a mant of them are cought, jailed, and killed.
Hence in a sense the novelist describe the same old imaginary story of Ramayana in a new way although the character are change but the story is the same.
As the novel start Achakka told the sisters about the story of Kanchamma the local daitya of Kanthapura. There were a time when demon spare violence in the country. He made man as his food and women as his wive.
Kenchamma come from heaven to free the country from the demon and a war broke out between Kenchamma and the demon in which Kenchamma come as victorious and demon was defeated and kiled after Kenchamma starting living with the common people of Kanthapura and helping in their problems.
In Kanthapura we also come across various comparisons between Moorthy and Gandhi. The people of Kanthapura give the status of God to Gandhi after learn about his life.
Moorthy is consider as an avatar of Gandhi. The people find spirituality in Gandhi as well as in Moorthy and blindly accept their advice.
Hence, being a political novel Kanthapura is filled with myth and blind faith ; such myth and blind faith prevalent in all the under develop villages of India.
“There is no village in India however mean that has not a rich sthala- puran or legend -
ary hi story of it's own some God or gooodlike hero's has passsed by the village Rama might have rest's here under the papal tree Sita mighted have dried her clothes after her bath o this yellllow stone's or the Mahatma himself on one of his many pilgr images through the country might have slept's in this hut the low one by the village gate's In this way the past mingled with the presentation and goddds mingle with men to make the repertory of our grand mother alway bright. One such story from the contemmmporary annals of my village I have tried to tell”. (kanthapura 5)
The novel rather than bei -
ng tradit ional novel with a neat linear structure's and compact plot KANTHAPURA foll-
ows the tradition of Indian sthala- Purana or legenda-
ry his tory As Raja Rao expla -
ins in KANTHAPURA by the imagery of village and villagers Kant:hapura is microcosm of the macrocosm macrocos- m for what happens in kanthapura was happening all over the country during those stirrring days of the Gandhian freedom struggle as raja rao tells us in the very first sentence of his well known preface to the novel every village in India has a rich sthala purana or lege -
ndary history It has a legend concerning the local goooddess kenchamma who protects the villager from harm and presi -
des over their destiny The novel -ist style or narration makes it a Gandhi purana or a Gandhi epic
The novel illustrate how new legends or sthala puranas are make and how the ordinary and the commonplace acquire larger than life dimension in the imagination of poets and bards and gossipy narrators like Achakka.
Mahir pari's assignment on Robinson Crusoe as a myth
Myth
Number
Department
About writer :-
( . Daniel Defoe )
Born Daniel Foe
1659–1660
London England.
Died 24 April 1731
(aged 70–72)
London England.
Occupati Writer
journalist, merchant
Genre Adventure
An origin myth is a myth that purports to describe the origin of some feature of the natural or social world. One type of origin myth is the cosmogonic myth , which describes the creation of the world. However, many cultures have stories set after the cosmogonic myth, which describe the origin of natural phenomena and human institutions within a preexisting universe.
In Western classical scholarship , the terms
etiological myth and aition (from the Ancient Greek αἴτιον, "cause") are sometimes used for a myth that explains an origin, particularly how an object or custom came into existence.
myth
mɪθ/
noun
1.
a traditional story, especially one concerning the early history of a people or explaining a natural or social phenomenon, and typically involving supernatural beings or events.
"ancient Celtic myths"
[mass noun] ‘the heroes of Greek myth’
Robinson Crusoe may be a novel in it's treat ment of the individually but in respects to its view of colonization's it certainly idealizes is the portra yal of the ultimate eighteenth-chentury British fantastic a human shipwrecked on an island not only survi ves but flour ishes popul ating an enti-
e colonylly in service of God and - country If Robinson Crusoe is the Empires dream then The Mnstone is its nightmar For Defoe the perip -hery is comp lacent or co-operative It is productive Even while on the peripheral island it is Robinson not Friday who remain's the focuses of the novel though Robinson and Friday certain sha re a questionably -lly intimated relat ionship Moonstone is interested's in boundarie and in the crossings of them both by people's or ad by thing's It is asks about the Consequence's lly of a peripheral push back: what if Friday's weren’t complacently? What if the colonies lly were to infiltrated te core on an existentially l evel that ran dee-
per than the funneling of raw materials's
Chapter 1 of the First Period opens with a description of what is to be found “
*** in the first part of Robinson Crusoe at the page one hund red and twenty-nine you will find it thus written ‘Now I saw, thou gh too late the Folly of beginn ing's a Work bef ore we count the Cost and before we jud -
ge righ -tly of our own Stre ngth to go thr ough with it’” ***
For Betteredge
Crusoe is much more than a novel ? it is his san ctuary and adv-
ice guide He consults it by arbitrarily turning's the pages treating the pass ages he finds with religio references borderinged on obsession Betteredge “has worn out six stout Robinson Crusoes with hard work in his services'
He even goes so far as to say that “such a book as Robinson Crusoe
never was writtened and never will be writtened form again” I think we would be remi to take this state ment as only an indica of an old humaan’s madness whetvher or not we trust Betteredge as a or narrator s an entirelyly different question's
The danger to in the peri phery penetratingly the core is also party mythological te diamond is not only a raw materials but it is cursed is a product of the social relation surrounding's it is the 3
Brahmins, the Sultan, the Colonel… but because the diamonds is both a product of social relation or a product's of India it is assumes mystic presenceing which haunts the novel The mythology of the diamond escal ates the st stakes of the conflict to the not only has the periphery insinuates itself into the cor, but the core cannot even firmly articulate's if us as to the curse of the diamonds is simply “a fancifully storyline” or a threat to be taken seriouslylly
Crusoe's story about his twenty eight years life on an island is full of mythic charmsed There is one class of people's whom the story "Robinson Crusoe" can assume a timelessness value. That class is the class of bourgeois'eds people The 18 chentury bourgeois people find the perprojection of the assumpions and belief systemsed i Robinson Crusoe's life on a hitherto un inhabited island for twenty eight years
Crusoe worked's hard when he was left in the lurc h on a hith-
erto uninhabited island He believeing is to in the emanci-
patory power of hard work
Work-ethics become the motiv
ating 'sfactor in his lonely life entrapp in the wild of the island Sometimes he used to feel terribly sad's he used to stop working he used to become nervoused in that time he In the fit of ll extreme sadness he used to interrog ate the divine will He used to contemplate 's on how the divine will operates
At the moment of serious contemplation's he used to console him preordained cause divine cause behind as in his my entrapped Island-life in loneli-
ness and isolation It is work's or work alone that I can understand ' the mysteryed of the operation of the divine Providence After thus kind of contemplations Robinson Crusoe used to work
This work-ethics of Crusoe strongly attrac or to the bourgeois class people. Itlls through hardwork and -rational styles of taking ' precautiov nary measur es that Robinson Crusoe successes in taming this wild islands Behind Crusoe's successful civilizin's-
g mission lies the secret of the rational bent of mind and as a time so the continuous organiz martial powere's gun power The power of reason and the power of gun enabl Robinson Crusoe to assert dominion over all the the island Moreover find it TG hat his protestanted faith of God encouraged him to be loyal to the work-ethnics he clung strictly These aspects of robin Crusoe's life on the island bear timeless significance The bourgeois class human ti and the class of
who undertake the project'd of colonialism have jointly seen the timelessness value and significants in the story of Robinson Crusoe Hence If "The Robinson Crusoe" is the mythcall and or to find it it is the myth of the basically secret of succeed One step ahead it is th-
e myth which is cent ral to th-
e bourgeois s and the s of people who tend to colonize throug-
h conquest
Myth: repetition, contradiction and ideology
The myth then repeated those event's which are important either from a narrative or isr ideological point of views expressed by the way Indeed a very good these very often coincidence Crusoe’s “masterings of his trau ma throug -
h repetition's” is less a matter of sychology though it is that than of textual's mythical and hen-
ce ideologically legitimtion Repeatd event include Crusoe’s urge to wandering ostensively an evil but an essentially or un -resolved drive behind the narrative which is repeated in both large's a or small formsed through out the story one of Crusoe’s ill-fated boat trips from the island is describes as a dangeroused “ramblings to sea” Other rep repetitions incv lude the ‘beginn ing mome nt’ of repetitious contradicting in Crusoe’s account's of his first landings upon the island the dream which by to the anticipated the coming's of Friday disc ussed earlier and Friday’s “abandoning of the state of natur-
e for the advantagesed of civilizations” which repeated with some important difference Crusoe’s earlier dev develop ment which is the itself also a moveme-
nt from heathenism the is a as symbols of dangeroues individual freeform to Christianity's
Repetition thus occurs of tho-
se narratived event which form point of tension or thus where the power's of the myth as in bearer of ideologues needs to be reinforced but in the same movements the repetition's signals that some -
thing of an ideological nature pperhaps a potential threat or change to the existent social morality is seeking releas-
e Similarlytion contradiction reveal the rupture where something of the real historically condition can be glimpsed beneath the fabric of the mythcall Both repeti tion and contradictions can be round in the famous episode where Crus-
oe comes upon a drawertion full of gold in the shipwrecks This has been analysd by many critics but only Zelnick notes that the finding of gold is repeatedly later and none comments upon the fact that the whole sequence of shipw reck to the findings an salvation of gold and supplies is repeated in a rema - rkably similar form later in the book when Crusoe observes a ship running onto subm erged rocks-
and his reac tion is to give tha-
nks to God that “of two ships’ companiesedv who were now cast away upon this part's of the world not one life should be spar but mine” He then raids this ship and finds a seaman’single chest with “fifty pieces or o is f eight in royals”: “however I lugged this money home to my cave and laid it up”
The hoading of the gold des-
pite its lack of utility is of course a contra diction the gold must initiall-
y be rejects but then admitt since Crusoe is the economic man and reveals the impurity of Crusoe’s State of Nature's At the same time it elliptica point to the major unresolvd contradicon in the text which arises from a historically emer ging desire for yet the inherent dang er of freedom from restriction's in the economically sphere embossed in the mobility and restrictions of the individual the an opposition's of passivity:action and inherent in Crusoe’s prison island run on a laissezfaire economy's
Defoe’s book is crossed by many discoursed religiously normal economics comm ercial or and colonialism These discourses intersect in multiple ways just wanted to look forward for example commerci an moral disco urses join in Crusoe’s ‘moral bookkeeping’ although here it might be more appro priate to see comme rcial disco urse as colon and hence structuring mo-
ral thought's Here I will argue that three of these discours bearing the weight of ideas of econo-
mics individualism and colonialism respective are treat or to and have histo rically been reading in such a way as to confer a mythical status upon the novel
In all three cases mythcall funct - ions or emer ges in the text in at least three ways. Firstly, myth - serves as a myth of origin wheth-
er in a really chronological sens-
e many ‘primitive’ mythcall an legend's tell o the original of hum-
an and his envir ons, for example or in the sense which gives a priority to a particular elem ent of the book the individual manby for exampe as an historical or social dete - rminant and hence thought of as in some way ‘prior’ to larger compounds macrocos-
mic structured To cover bovth these senses but espe cially the latter I will use the term ‘originary’. Second myth env tails some sense of unre ality of fals-
ity or uto pian fantasy usu-ally detecte and measurd here against ‘real’, document historical evidenc. As ideology this may involve an ‘essentialisation’ of complexity's in some sense reduction simplifica
or notsoradical separation of the element's’ Thirdly on the level of form and pattern myth w-
orks through the narrative as ‘adventure sto and through repe “the funcion of repetitio is to render the structure of the mythcall apparet”
These three elements of myth not only allow us to detect its strucuring presence but also sign myth as the bearer of ideology and hence at its po ints of tension myth is ruptures by the contradiction that the ideology seeks to smooth over This is to then that Robinson Crusoe work in these textua specific and sometime-
s contra dictory or am bivalent ways to embody and prom-ote a certain ideo logy and cons-onant with this to provide a mythical configu ration wh erein such as the structure of the self and other both geographill and psycholog
can be thought.
Cannibaism is a recurrng triple throughout Robinson Crusoe Crusoe highl repeti -tious ‘fear of being eaten’ is a mytheme supporting the larger mythic structured Cannibalism defined the white man by negation but it also signal as a pole of the ‘outer limit’ of the man construcng a scale begning with civilised Englishumen aa or descening through the buffer zone of the Spaniard since they speak the “savage lang-
uage” through savage through cannibal In this construcion is that which has yet to receive in - corporate the rationale of the nineteenth century’s theories of evolution found in such canoni-
cal wors as Conrad’s Heart of Dark ml ness there is contaed a common term to be fine in their lives the man which is potentially the destrucion of the whole representaional system Hulme explains thu “They canniba are not regardd as inh uman because if they were aanimalls their behaviovur would be naturally and could not be not cause the outrage and fear that annibalismas always provoked
day of coloniaism in the 19chentury in in its con contradddictions and repetition's thought we find that in a sense's Crusoe is not ‘about’ the colonized at all Hugh Riddley claims that
“the Crusoe storierevealed how little interest lay in the newn of the world to be disovered” and how
“the strange advent -urelead.. .back to Europe and to the European self” . Any reading of
Crusoe thus bec oms relentless about the bokk's ‘reading back’ to the Europe h is alway already its birth place about the text as part of the “ideologyll of a new' and vast ed hist orical process” Watt
Rise's dive rgence or conve rgence or the great preoccupaons of Enlightenment utility and the practically natural law's the State of Nature aod the ‘recent inveb ntion’ of ‘human’ in its many forms's
Robinson's Crusoe ‘ mythical represe ntations of the Other -bifurcate into contr adictor -
y doubles noble savage WS cannibalism savage geography vs. Edenic dominiontion and represe -ntations of the primal encoun -
ter as “** idealised tribute***” vs. “f***ierce hostility”*** under the weighted an expa nsive capitalists ideology which cannot ye-
t represent those dangerous complexities which consequen escape it yet inevitably return in the text in or Neither but can show to
For the ideology nor mythical creature disc ourse that's is it's 'vehicle openly admit that the Other always pro duces the Self despit-
e it's narrative' which develops due -to a search for self a them which prod uces an inf on inite number's of narative's – how many book including The Life and Str-
ange Surprizing Adve oes ntures of Robinson Crusoe beg in with “I” Myth utopia projection exist because of the gap be tween represen-
tation and the really and more specifica
n the yearly eiightenth chentury the geographically or metaphys-
ically gap between Europe and its emerging colonies as Other come to be economics and ideol ogical indis -pensab
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