Divya Choudhary's Assignments 2015-17: 2015

He was born in Calcutta in 6th of may 1861. If he was fortunate in the time of his birth, when such a flowering season lay before his native tongue, in his family be had a gift which cannot overestimated. He was born a Tagore: That is, he was born into the family in which he could experience the national life at its very fullest and freest. He was born into the great rambling mention at JORASANKO, in the heart of Calcutta's teeming life. Rabindranath declined to be educated. His first experience of school distressed him, but he escaped the ordinary routine of Indian school life, and his education was desultory, even when his fame was long established, a Calcutta journal demurred to the suggestion that he could be an examiner, In the matriculation of all examinations on the ground that he was 'Not a Bengali scholar'. His autobiography rejoices in the mighty hills, which cast spell on his soul beyond another. It is very noticeable vaster many festations had exercised over Rabindranath. No poet has felt more deeply and constantly the fascination of the great spaces of Earth and Sky, the boundless risen and white lights of evening, the expanse of moonlight. To the way these have touched him with peace and the power of beauty a thousand passages in his work bear witness. Mountains touched his imagination comparatively little. He would not be Rabindranath if he had not laid them under contribution of furnish pictures.

...The great forest trees were found clustering closer, and from underneath their shade a little waterfall trickling out, a little daughter of the hermitage playing at the feet of hoary sages rapt in meditation [My Reminiscences].

But that is not the language of the man on whose Soul the great mountains have thrown their shadow, so that be loves them to the end. It has but to be placed besides the authentic utterance to be seen for what it is, a graceful image which the mind has gathered for itself outside itself. Rabindranath loved nature but it was nature as she comes close to the habitations of men. His rivers are not left for long without a scale on their surfaces; they flow by meadow and pasture. His flowers and bees are in garden and orchard; His forest is at the Hamlet's door. His fellowmen were a necessity to him. Author of GITANJALI and its profoundly sensitive fresh and beautiful worse, he became the first non- European to win the noble prize in literature in 1913. In translation his poetry was viewed as spiritual and mercurial, however his elegant prose and magical poetry remain largely unknown outside Bengal. He was highly influential and in introducing the best of Indian culture to the west and vice versa, and he is generally regarded as the outstanding creative artist of the modern Indian subcontinent. He wrote poetry from childhood at the age of sixteen be released his first substantial poems under the pseudonym Bhanusimha which were seized upon the literary authorities as a long last classics. His compositions were choosen by two nations as national Anthems: India's JAN-GAN-MAN and Bangladesh's AMAR SHONAR BANGLA. The lyrics and music for the original songs of Shrilanka's Anthem were also the work of Tagore. Jyotindranath one of his brothers was a musician, composer and a play writer. Jyotindranath's wife Kadambri, slightly older than Tagore was a dear friend and powerful influence. Her abrupt suicide in 1884 soon after he married, left him for years profoundly distraught. In 1901 Tagore moved to Shantiniketan to found an Ashram with a marble floored prayer hall-the mandir-an experimental school- groves of tress, gardens, a library. There his wife and two of his children died his father died in 1905. He gained Bengali and foreign readers alike; he published Naivedya (1901) and Kheya (1906) and translated poems into free worse. Between 1878 and 1932, Tagore set foot in more than 30 countries on 5 continents. In 1912, he took a sheaf of his translated works to England where they gained attention from missionary and Gandhi protigue Charles Fandrews, Irish poets, W B Yeats, Easra Pound, Robert Bridges, Earnest Rhys, Thomas Sterg Moore and others. Yeats wrote the preface to the English translation of Gitanjali. Tagore's poetic style which proceeds from a lineage established by 15th and 16th century vaishnav poets ranges from classical formalism to the comic visionary and ecstatic. He was influenced by the Atavistic mysticism of Vyas and other rishi authors of the Upanishads, the bhakti sufi mystic Kabir and Ramprasad change. His most innovative and mature poetry embodies his exposure to Bengali rural folk music which includes mystic baul Bullads such as those of Bard Lalon. During his Shiyaldah years, his poems took on a lyrical voice of the Moner Manush, the bauls "Man within the heart" and Tagore's "Life force of his deep recesses" or meditating upon the jivandevta- the demiurge or the "living God within". This figure connected with divinity through appeal to nature and the emotional interplay of human drama. Mainly his inspiration came from the people and life around him. He was also got enough inspiration from Bhagwadgita. Tagore's poetry was influenced by traditional Indian poetry for example- the devotional Indian poets of Ramprasad and Kabir especially influenced his early poetry works. Later he was influenced by the baul tradition which is a traditional Bengali folk music, known for its simple ballads and invocation to union with the beloved. He also studied the Upanishads, languages and modern sciences. The poet's early life was spent in an atmosphere of religion and arts principally literature, music and painting. Tagore's philosophies and way of living was heavily influenced by the concept of Vedas and Upanishads. In music Tagore's training was classical Indian, though as a composer, be rebelled against the Tarang of classical orthodoxy, and introduced many variations of form and phrase notably form Bengali folk music and the baul and bhatiyali type. all these were his inspirations. His selfless work and ideology made him what he became. throughout Tagore's work there is strong mystical element although it is worth nothing Tagore rarely referred to God directly. " When the voice of the silent touches my words, I know him and therefore know myself." For Tagore, beauty and beauty's appreciation was of his life and Sadhana and this was reflected in his poetry.

"Beauty is in the ideal of perfect harmony

which is in a universal being;

Truth the perfect comprehension of the universal mind."

Tagore kept writing poetry throughout his life. In the evening of his life, when he suffered various illness, be became concered with the theme of death and man's immorality.

"The night is black and the forest has no end;

A million people thread it in a million ways

We have trysts to keep in the darkness,

but where or with whom- that a lifetime's bliss will

appear any minute, with a smile upon its lips."

- R. Tagore 'On the Nature of Love'

The idea that he would have the fascinating experience of seeing it grow and then flower and bear fruit. This was, of course, a wish which could not be consummated when the seed happened to be sown on a fistful of soil inside the house. the experience struck in his mind so deeply that it reappeared as the theme of a poem written in his old age. During his early boyhood, Rabindranath was placed under the charge of private tutors to learn his lessons. At times, such lessons proved so being to him that he would usually play on such occasions was to feign that he was suffering from stomach ache. He would plead to his mother for exemption from taking lessons. The scenic beauty of rural Bengal had its impact on his poetry too and it became a new subject for treatment in his poems. The specific charm of the poems of Sonar Tari is evidently derived from this source. The image of a boat plied by a mystical figure that haunts the last poem of his collection was evidently inspired by the long boat journey's on the Padma. It also appears that on entire book of verses called Chaitali was the gift of his land of beauty. It records the scenic beauty and petty village incidents in such meticulous details that they appear to take shape before the readers eyes. The conflicting moods are discernible in the poems of Chitra written in 1896. He gave vent to his resentment on seeing the miserable existence of rural labourers by writing the steering poem Ebar Firao more which finds place in Chitra. During the rainy season, Mrinalini Devi was ill at Shantiniketan and diseases could not be cured by Local Doctors so she was removed to the family house of Jorasanko for better medical attention. After a protected illness patiently born, Mrinalini Devi expired on November 23, 1902. The grief that flooded his heart on this occasion however found expression in secret in a series of poems written at a stretch within two months of his wife's death. Soon after they were published in the form of a book titled Samran. The book was not directly dedicated to Mrinalini Devi but on the page unmarked for dedication, it simply quoted the date of her death. This book contributed to Bengali literature on one of the best collections of poems dealing with the tragedy of a beloved, and stands comparison with other similar books in literature world. One of it poems has been translated into English by the poet himself and given a place in his English Gitanjali. The poem gives a vivid picture of the agony of his heart when he misses her in the house and seeks consolation by dipping his emptied life in the ocean of eternity. Tagore develops a love for the religion founded by his father. be used to compose rhymes to be sung during prayers and such contributions have been assigned on honourable place on the compilation of Hymns brought and by his community charmed by a particular hymn, his father on one occasion expressed his monetary reward. Tagore says that the search is for the e inspiration for the spiritual self realisation has also for his poetry being a same what be discovered at the end of his lifelong quest was truly a poet's religion the fact that a common theme provided inspiration to both his religion and poetry imports two rare qualities to the latter. First his poetry has a dynamic quality; has a history and his developed through different phases to maturity. In Tagore's poems, a continuous growth can be praised from his earliest writings. The second quality imparted by the common theme is that his poetry becomes a written record of his religious experience. in its mature form, therefore it gives a picture of his own idea what religion should be. In 1940, Oxford University arranged a special ceremony Shantiniketan to honour the poet with Doctorate of Literature. Tagore passed way on 7 August 1941. In his ancestral home in Calcutta, the house where he was born. Tagore influenced many poets and literary figures. Early admirers included W B Yeats and Romaine Rolland. His poetry was also appreciated by Spanish poets such as Nobel Laureates: Gabriella Mistral, Pablo Neruda and Octavia Paz. Tagore's reputation as a writer was established in the United States and in England after the publication of Gitanjali: Songs offering which Tagore tried to find inner calm and explored the theme of divine and human love. The poems were translated into English by Tagore himself. His comic visions on much to the lyric tradition of Vaishnava Hinduism and its concepts about the relationship between Man and God. Much of Tagore's ideology comes from the Upanishad's and from his own beliefs that God can be found through personal purity and service to others. Be stressed the need for the new world over based on transnational values and ideas, the "Unity consciousness" between the years 1916-1934 be travelled widely, attempting to spread the ideal of unity of East and West. One of the famous poems of Rabindranath Tagore is-

Where the mind is without fear

and the head is held high,

Where knowledge is free,

Where the world has not been

broken by fragments into narrow domestic walls.

Where words come out from the depth of the truth,

Where tireless striving stretches

its arms towards perfection.

Where the clear stream of reason

has not lost its way

into the dreary desert sand of dead habit,

where the mind is lead forward by thee.

Into ever widening action thought and action

Into that heaven of freedom

My Father, let my country awake.

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BIOGRAPHIA LITERARIA

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Name: Divya choudhary

Course : M.A English

Topic : Coleridge Biographia Literaria

Semester : 01

Roll No : 07

Paper No : 3

Paper Name : Literary Theory and Criticism -1

Enrolment No: 15101007

Email ID : choudharydivya400@gmail.com

BatchYear : 2015-17

Submitted To: Department Of English

Maharaja Krishnakumarsinhji Bhavnagar University

COLERIDGE : BIOGRAPHIA LITERARIA

Coleridge's new technique of criticism is called 'appreciative criticism'. To quote a renowned critic, 'evidently the new poetry needed a new criticism and this was provided by Coleridge in the Biographia literaria'. He led the way in a new method in criticism, which sought not to judge but to appreciate and interpret. Be illustrates the tendency of romantic criticism to stress the effect of art upon the critic's emotion and to regard art as a source of moral and philosophical wisdom.

· WORDSWORTH :

1. He sought to give charm of novelty to things of everyday objects of nature by colouring it with the power of imagination.

2. Presented the common and simple life of peasants and shepherds - realistic description of his experience.

3. Be remained of the Earth and his own time.

4. Teacher -Moralist.

5. lack musical quality -'have no ear for fine sound'.

6. Simplicity in diction - No difference between prose and poetry.

7. High priest of nature.

· COLERIDGE :

1. Be sought to give charm of novelty to things of everyday objects - by making supernatural natural.

2. Introduced dream like quality - element of mystery - wonder and supernatural.

3. Went to middle ages - created the atmosphere of magical/ mystery.

4. Artist.

5. 'Epicure in sounds' - Master of melody.

6. Element of mysticism in diction - be differentiates prose and poetry in diction.

7. Lived in the world of fancy and thoughts.

· Fancy and imagination (# CH-4)

· 'A willing suspension of disbelief (# CH-14)

· Greatest poetry is that which achieves synthetic among element, emotions and attitudes.

· 'Poem' and 'Poetry' (# CH-14)

The written monuments of Coleridge's critical work is contained in 24 chapters of Biographia Literaria [1815-17]. In this critical disquisition, Coleridge concerns himself not only with the practice of criticism, But also with its theory. In his practical approach to criticism, we get the glimpse of Coleridge the poet; whereas in theoretical discussion, Coleridge the philosopher came to the centre of stage. In chapter XIV of Biographia literaria, Coleridge's view on nature and function of poetry is discussed in philosophical between poetry and prose and the immediate function of poetry, whereas the philosopher discusses the difference between poetry and poem. He was the first English writer to insist that every work of art is by it very nature, an organic whole. At the first step, be rules out the assumption, which from Horace onwards, had wrought such havoc in criticism, that the object of poetry is to instruct; or as a less extreme form of thee heresy had asserted, to make men morally better.

Two cardinal points of poetry : Coleridge begins this chapter with his views on two cardinal points of poetry. To him these cardinal points are (1) the power of exciting the sympathy of be reader by a faithful adherence to the truth of nature and (2) The power of giving the interest of novelty by modifying with the colours of imagination. According to him, it was decided that Wordsworth would write poetry dealing with the theme of first` cardinal point and the other was to be dealt by him. For the first type of poetry, the treatment and subject matter should be, to quote Coleridge, "The sudden charm, which accidents of light and shade, which moon-light or sun-set diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of nature". In such poems, subjects were to be chosen from ordinary life; the characters and incidents were to be such, as well be found in every village and it's vicinity, where there is meditative and feeling mind to seek after them, or to notice them, when they present themselves. In the second type of poetry, the incidents and agents were to be supernatural. In this sort of poetry, to quote Coleridge, "The excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency", thus with the help of imagination the natural will be dealt supernaturally by the poet and the readers will comprehend it with ' Willing suspension of disbelief'. The lyrical Ballads consists of poems dealing with these two cardinal points. Wherein, The endeavour of Coleridge was to deal with "persons and characters supernatural," and that of Wordsworth "was to give the charm of novelty to things of everyday, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us". In defence of Wordsworth's poetic creed : Coleridge, even though he did not agree with Wordsworth's views on poetic diction, Vindicated his poetic creed in chapter 14 of Biographia Literaria. Coleridge writes in defence to the violent assailant to the 'Language of real life' adopted by Wordsworth in lyrical Ballads. There had been strong criticism against Wordsworth's views expressed in preface also. Coleridge writes n his defence:"Had Mr. Wordsworth's poems been the silly; the childish things, which they are for a long time described as being; had they really distinguished from the compositions of other poets merely by meanness of language and inanity of thought; had they indeed contained nothing more than what is found in the parodies and pretended imitations of them; they must have sunk at once, a dead weight, into the slough of oblivion, and have dragged the preface along with them". Be wrote that the "Eddy of criticism" which whirled around these poems and preface would have dragged them in oblivion. But it has not happened. Instead, to quote Coleridge, "years after year increased the number of Mr. Wordsworth's admirers. They were found too not in the lower classes of the reading public, but chiefly among young men of strong ability and meditative minds; and their admiration (inflamed perhaps in some degree by opposition) was distinguished by its intensity, I might almost say, by its religion favour". Thus, Coleridge gives full credit to the genius of Wordsworth. It does not mean that be agreed with Wordsworth on all the points. Coleridge writes: "with many parts of this preface in the scene attributed to them and which the words undoubtedly seem to authorized, I never concurred; but on the contrary objected to them as erroneous in principle, and as contradictory (in appearance at least) both to other parts of the same preface, and to the author's own practice in the greater number of the poems themselves. Mr. Wordsworth in his recent collection has, I find, Degraded this prefatory disquisition to the end of his second volume, to be read or not at reader's choice". Hence, We may say that Coleridge is frank enough to point out that some of the views of Wordsworth's were wrong in principle and contradictory, not only in parts of the preface but also to the practice of the poet himself in many of his poems.

The poem contains the same elements as a prose composition but the difference is between the combination of those elements and objects aimed at in both the composition. According to the difference of the object will be the difference of the combination. If the object of the poet may simply be the facilitate the memory to recollect certain facts, be would make use of certain artificial arrangements of words with the help of metre. As a result composition will be a poem, merely because it is distinguished from composition in prose by metre, or by rhyme. In this, the lowest sense, one might attributes the name of a poem to the well known enumeration of the days in the several methods;

Thirty days hath September,

April, June and November, sc.

Thus, to Coleridge, Mere super addition of metre or rhyme does not make a poem.

He further elucidates his view point by various prose writings and its immediate purpose and ultimate end. In scientific and historical composition, the immediate purpose is to convey the truth. In the prose works of other kinds (romances and novels), to give pleasure in the immediate purpose and the ultimate end may be to give truth. Thus, the communication of pleasure may be the immediate object of a work not metrically composed. Now the question is "Would then the mere super addition of metre, with or without rhyme, entitle these to the name of poems?" To this Coleridge replies that if metre is super added to the other parts of the composition also must harmonise with it. In order to deserve the name poem each part of the composition, including metre, rhyme, diction and theme must harmonise with the wholeness of composition. Metre should not be added to provide merely a superficial decorative charm. Nothing can permanently please, which does not contain in itself the reason why it is so, and not otherwise. If metre is super added, all other parts must be made constant with it. They all must harmonise with each other. A poem therefore, may be defined as, that species of proposing for its immediate object pleasure, not truth; and from all other species it is discriminated by proposing to itself such delight from the whole, as is compatible with a distinct gratification from each component part. Thus, according to Coleridge, the poem is distinguished from prose compositions by its immediate object. The immediate object of prose is to give truth and that of poem is to please. He again distinguishes those prose compositions from poem whose object is similar to poem i.e. to please. He calls this poem a legitimate poem and defines it as, "it must by one, the parts of which mutually support and explain each other; all in their proportion harmonizing with, and supporting the purpose and known influence of metrical arrangements". Therefore, the legitimate poem is a composition in which the rhyme and the metre bear an organic relation to the total work. While reading this sort of poem "The reader should be carried forward, not merely or chiefly by the mechanical impulse of curiosity or by a restless desire to arrive at the final solution; but by the pleasurable activity of mind excited by the attractions of the journey itself". Here Coleridge asserts the importance of the impression created by the harmonious whole of the poem. To him, not one or other part but the entire effect, the journey of reading poem should be pleasurable. Thus Coleridge puts an end to the age old controversy whether the end of poem is instruction or delight. Its aim is definitely to give pleasure, and further from the parts, and this pleasurable of the parts supports and increases the pleasure of the whole. The difference between poem and poetry : In the last scene of the chapter 14, Coleridge considers to distinguish poem from poetry. Coleridge points out that "poetry of the highest kind may exist without metre and even without the contradistinguishing objects of a poem". He gives example of the writings of Plato, Jeremy Taylor and Bible. The quality of the prose in this writings is equal to that of high poetry. He also asserts that the poem of any length neither can be, nor ought to be, all poetry. Then the question is what is poetry? How is it different from poem? To quote Coleridge: " What is poetry? is so nearly the same question with, what is a poem? The answers to the one in involved in the solution of the other. For it is a distinction resulting from the poetic genius itself, which sustains and modifies the images, thoughts and emotions of the poet's own mind. Thus the difference between poem and poetry is not given in clear terms. Even John Shaw cross (In Biographia Literaria with Aesthetical Essays - 1907Ed). Writes "this distinction between 'poetry' and 'poem' is not clear, and instead if defining poetry he proceeds to enumerate the characteristics of the imagination". This is so because 'poetry' for Coleridge is an activity of the poet's mind, and a poem is merely one of the forms of its expression, a verbal expression of that activity, and poetic activity is basically an activity of the imagination. As David Daiches (A critical history of English Literature) points out, 'poetry' for Coleridge is a wider category than a 'poem' ; that is, poetry is a kind of activity which can be engaged in by painters or philosophical or scientists and is not confined to those who employ metrical language, or even to those who employ language of any kind. Poetry, in this larger sense, brings, ' The whole soul of man; into activity, with each faculty playing its proper part according to its ' relative worth and dignity'. This take place whenever the synthesizing, the integrating, powers of the secondary imagination are at work, bringing all aspects of a subject into a complex unity, then poetry in this larger sense results.

To conclude, we may say in his own words, he endeavoured ' to establish the principles of writing rather than to furnish rules about how to pass judgement on what had been written by others'. Thus Coleridge is the first English critic who based literary criticism on philosophical principles. While critics before him had been content to turn a poem inside out and to discourse in its merits and demerits, Coleridge busied himself with the basic question of 'How it came to be there at all'. He was more interested in the creative process that made it, what it was, then in the finished product.

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GULLIVER'S TRAVELS AS A MENIPPEAN SATIRE.

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Name: Divya choudhary

Course : M.A English

Topic : Gulliver's Travels as a Menippean Satire

Semester : 01

Roll No : 07

Paper No : 2

Paper Name : Neo-Classical Literature

Enrolment No: 15101007

Email ID : choudharydivya400@gmail.com

BatchYear : 2015-17

Submitted To: Department Of English

Maharaja Krishnakumarsinhji Bhavnagar University

Æ GULLIVER'S TRAVELS AS A MENIPPEAN SATIRE.

"The genre of Menippean satire is a form of satire, usually in prose, which has a length and structure similar to a novel and is characterized by attacking mental attitudes rather than specific individuals or entities". This is a ream broadly used to refer to prose satires that are rhapsodic in nature, combining many different targets of ridicule in a fragmented satiric narrative similar to a novel. Satire is the genre of literature of sometimes graphic and performing art in which vices, follies, abuses and short coming are held up to ridicule, ideally with the intent of shaming individuals, corporations and society itself into improvement. This form is named after the Greek cynic menippus [3rd century B.C] of Godara, his work, which are all lost were and important influence. on Varro and Lucian. The menippean satire genre is named after him. His works, now lost, influenced the works of Lucian and Marcus Terentius Varro [116 B.C - 27 B.C]. Such satires are sometimes also termed Varronian satire. M.H Abram's classifies menippean satire as one form of indirect satire, the category opposed to the formal satire moves rapidly between styles and points of view such satires deal less with human characters than with the single minded attitudes or "Humours", that they represent: The pedant, the Braggart, the Bigot, the miser, The quack, The seducer etc Critic Northrop Frye observed.

"The novelist sees evil and folly as social diseases but the menippean satirist sees them as diseases of the intellect".

He illustrated this distinction by posting Squire Western (Tom Jones) as a character in novelistic realism, but the tutors Thwackum and Square as figures of Menippean satire.

Paul Salzman, taking menippean satire as a genre as rather ill defined. Describes it as a mixture of allegory, picaresque, narrative and satirical commentary. Frye found the term "cumbersome and in modern terms rather misleading" and proposed as replacement Anatomy (taken from Burton's Anatomy of Melancholy). In his theory of prose fiction it occupies the fourth place with the novel romance and confession. Menippean satire plays a special place in Mikhail Bakhtin's theory of the novel. In problems of Dostoevsky poetics, Bakhtin treats Menippean satire as one of the classical "Serio-comic" genres, alongside Socratic dialogues and other forms that Bakhtin claims are united by a "Carnival sense of the world", wherein "Carnival is the past Millennia's way of sensing the world as one great communal performance" and "is opposed to that one sided and gloomy official seriousness which is dogmatic and hostile to evolution to change". In a series of articles, Edward Milowicki and Robert Wilson, building upon Bakhtin's theory have argued that menippean is not a period - specific term as many classicists have claimed, but a term for discursive have claimed, but a term for discursive analysis that instructively applies to many kinds of writing from many kinds of writing from many historical periods including the modern. As a type of discourse, "menippean" signifies a mixed, often discontinues way of writing that draws upon distinct multiple traditions. It is normally highly intellectual and typical embodies an idea, an ideology or a mind set in the figure of a grotesque, even disgusting, comic character.

1. Political satire - Universally applicable

2. Human beings - Microscopic observation

3. Sciences and technology - Its adverse effect

4. Human race - Its futile and frivolous existence.

Gulliver's travels is an excellent example of menippean satire placing the everyman Gulliver into increasingly strange situations and having him try to explain his own society in a positive light. After hearing the stories of England, the king of Brobdingnag comments: "...I cannot but conclude the bulk of your natives to be the most pernicious race of little odious vermin that nature ever suffered to crawl open the surface of the Earth". Those who speak with Gulliver often think themselves either in society and manners and since Gulliver only speaks the simple truth about his society the social attitudes of each society are strange but they seem to function for better than the otherwise normal English society of the book. Menippean satire lacks the focus, of the primary target rather than a single target, it takes a scattergun approach that aims poisonous prongs at multiple targets. It goes not follow a sustaining narrative and being more rhapsodic, menippean satire is also more psychological. Gulliver's travels as a whole, qualifies as a menippean satire as it satirised various aspects of the society all at once, having no fixed target. The person of Gulliver exposed all of Swift's intentions and concerns the best. In the four parts of Gulliver's travels. Lilliputians as insignificant corrupt politician, to Brobdingnagians as epitome of moral giants, lived in the land of Utopia where human pride was insignificant to Laputians as the mad scientists and lastly Houyhnhnms were animals and they represented the perfection of nature. The general theme of the satire is that serious defects affinity society. Politicians, religious leaders, social planners, military tacticians, educators indeed, all of society's elite- often hamper progress through political machination aggression, misguided science and art and out-and-out stupidity. Swift attacks intectuality of human beings. He shows the bitter truth of the society in a satirical way. Though his stories full of fiction but the real intent is different. Swift attacks man's wickedness and stupidity. In the first voyage, Swift tells us that the people were very tiny which indicates their narrow mind. We also come to know about the selection of government officials through rope-dancing. That is totally arbitrary and ridiculous. The description of the emperor, the court and the ministers of Lilliput give a realistic picture of English political life under George I, a picture which, although seen through a telescope, loses none of its essential features: the corruption of the ministers, the court intrigues and favouritism, the squabbles of the Whigs and Tories over trifling differences in policy, the demagogy of the religious slogans and many others.

There was a war going on between Whigs and Tories and the reason was about breaking an egg. Lilliputians argued, "That all true believers shall break their eggs at the convenient end, here the convenient and could be interpreted as the small end. People choose death rather than to surrender. Gulliver catches the ships at Blefuscu part.

In the second voyage to Brobdingnag, the condition is reversed. Gulliver is small and people are like giants. Some scholars are sent to examine Gulliver. The examine his shape and said that he could not b produced according to the regular laws of nature. Then they observed his teeth and said that be wins a carnivorous animal. One of them said that he might be an embryo. When Gulliver tells about his culture to the king, be makes fun of his culture and England seems insignificant to the king. The national and individual identity is at risk here. The personal importance of an individual is threatened. Swift shows imperfection of culture and not of an organisation or a law. Gunpowder is a big achievement for Gulliver but for the king it has no significance.

On the third voyage to Laputa, be is attacked by some pirates it is a floating island which represents the distance between the government and the people. The king lives on the floating island and the people below it. Swift satirizes as the king has concerns for his people but never comes down to meet them. The voyage is totally imaginary. The king has two flappers servants with flappers stand besides their masters. Intellectual people like thinkers and scientists are busy in their day dreams. This world is totally different from Europe. People here are so busy that they never enjoy a minutes peace of mind. The society seems non-human the life here seems abstract and absurd. Very much different types of experiments were done here like agriculture, weaving and spinning, a method of building houses. Swift also describes about a land of sorcerers and magicians called Glubdubdrib. Unnatural things happened here like they had the power to called the dead spirit. People performed magic and called the spirits to renowned people. Swift also tells us that people are opinionative, peevish, coveters, morose, vain and talkative. They are not capable of friendship. They don't have affection for anyone. their prevailing passions are envy and impotent desires. Swift makes fun of women saying that they looked more horrible than men. They thought that women should be taxed according to their beauty and their skill at dressing. People here use technology Swift also satirises on the deformed human beings and deformed culture. People here are so called educated.

The fourth voyage is to the land of Houyhnhnms. who are horses endowed with reason. People are greedy and selfish whereas animals are rational and cultured. Swift challenges the traditional idea the humans are rational animals. Swift presents the truth about human nature in opposition to illusion. Swift controls Gulliver's voice. Swift makes him unreliable and untrustworthy while inserting him into a variety of social situations with ever changing conventions. Swift goes beyond the languages those of class, gender and ethnicity by creating different languages and social systems and bringing his author character into them. This type of satire is normally very intellectual and embodies an idea, an ideology or a mind set. An attack on mental attitudes rather than specific individual.

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FEMINIST APPROACH IN HAMLET

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Name: Divya choudhary

Course : M.A English

Topic : Feminist Approach In Hamlet

Semester : 01

Roll No : 07

Paper No : 1

Paper Name : The Renaissance Literature

Enrolment No: 15101007

Email ID : choudharydivya400@gmail.com

BatchYear : 2015-17

Submitted To: Department Of English

Maharaja Krishnakumarsinhji Bhavnagar University

· FEMINIST APPROACH IN 'HAMLET':

Feminism is a range of moments and ideologies that share a common goal: To define, establish and achieve equal political, economic, cultural, personal and social rights for women. This includes seeking to establish equal opportunities for women in education and employment.

· CHARACTER OF OPHELIA:

Ophelia is a tool of the men around her. In the famous nunnery scene Hamlet behaves rudely with Ophelia and says 'Frailty! Thy name is women'. First treated by his father and then Hamlet loves Ophelia but still be treats her badly. She is near pawn male intrigue and power struggle.

· CHARACTER OF GETRUDE:

She has unwillingly and probably out of grief and weakness. Married a murderer already then she is ensnared in the coil that man do. After play within the play Hamlet confronts his mother with what she has done and her whole world is torn apart. She knows she has betrayed the memory of her dead husband and married his killer. She is but another victim of men and their darkly driven natures and like Ophelia, Gertrude pays the ultimate price of her powerlessness; She is killed by the poison meant for men- her son prince Hamlet. Some cultural feminists point out that "both the male and female psyches are a construction of cultural forces as like class differences ratial and national differences. Patriarchal society is negative remark for the freedom of women. Females are treated as a tool or connected with female body part of his property. Sexual objectification is also shown here. Author is male in a male dominant culture; repented dialogue from his point of view. Gertrude is made out of Jackline rose as the symbolic "Skape goat of the play". Ophelia initially appears "shaped to conform to external demands, to reflect others desires". She is Laertes "angel", Polonius's "commodity" and Hamlet's spector of his psyches fears. This conflicting messages from these male damages Ophelia's psychological identity, their sudden absence provokes her mental distraction. Opistimistically Ophelia's madness offers the capabilities of speech, the opportunity to discover individual identity and the power to verbally undermine authority. Sexual and psychological difference for example in Hamlet singing allows Ophelia to become both the literal and the figurative dissonance that expresses marginalities. Her representation draws on gender stereotype of the Elizabethan and Jacobean stage. In the first phase of feminist writing, writer imitating the norms and tradition cultivated by the more writers. The second phase expresses a strong protest against the patriarchal standard of society. The third phase is a period of self discovering and self assertion for women in the west. Feminism is not today view as something limited to a women's world but something that concern both women and men together. Constitution a human family. The cast factor plays dominant role in determination of the status of Indian Women. Feminism in India writing involves two questions the creative writing and the critical approach. It has become common place of literary interpretation to topic as ' Women characters of mulkraj Anand', The feminine principles of Raja Rao's novels, Female protagonist in Anita Desai. Earlier generation of Indian novelist in English couched extra- marital or illicit relationships, the more recent ones go to the extreme in their enthusiasm. According to Sharon Spencer " Feminine as applied to literature now a day's customarily indicates to author's preoccupation with intimate human relationships concern with emotional aspect of life and with a dynamics of the psychic realm of experience. Feminist also implied a position stressing that believes that women and inadequate. Feminist literature written by men or women is depicting a search for identity, quest for self and lost prestige and position of women. Feminist literature highlights the basic difference between a man and a woman in the changed context of contemporary life. The growth of women's self- awareness is a major motif of art in isolation from all the external point of reference. It analysis the work of art as a self sufficient entity constitute by its parts in their internal relations. And sets out of judge it solely by criteria intrinsic to its own made of being. The analysis of an art from occurs in the central portion of Aristotle's poetics. Aristotle isolated the species. 'Tragedy' and established its relation to the universal as imitation of a certain action and effected in purging pity and fear. The tragic work itself can be analyzed formally as a self determining whole made up of parts, the tragic plot are integrated by the internal relations of 'necessity or probability'. Aristotle's poetics, classical rhetoric and renaissance theories are earlier examples of systematic approaches to literary discourses. New criticism was a healthy reaction against the older philosophical, historical and biographical approach to the literature. It compelled the reader to be close text instead of read its author. Coleridge traced the formalistic method. Modern critics given a linguistic turn to criticism. But the formalist approach has its drawback also because it only stresses on text and neglect the author and milieu of text. Sociological criticism begins with the understanding that all literature is an expression of society, social forces, form and conditions. A Marxist critics examine the relation of a literary product to the actual economic and social reality of its time and place. The influential of Marxist critics, represent such a flexible view of the role of ideology. Raymond Williams also adopted Marxist concepts. Most historian and critic s believes that literature is related to the era in which author lived society which is addressed. Literature is a social institution. language ad literary devices are a social creation. Literature imitates life and life is a social reality. In Marxist view of the economic basis of social organisation, class ideologies and class conflict have influences the works of many critics. Study of social background of an author's work and the influence of that background on that work present in the Dickens world by Humpy house which gives the readers sociological criticism. We also find the social scene in the Dickens's novels, social convention in Jane Austen's, the relation between social issues and morality in Thackeray. Sociological criticism has a deeper inside into the works of the writers and given understanding of the time and condition of the writer. Ophelia - Polonius daughter, a beautiful young women with whom Hamlet has been in love. Ophelia is a sweet and innocent young girl, who obeys her father and her brother, Laertes. Dependent on men to tell her how to behave, she gives in Polonius's schemes to spy on Hamlet. Even in her lapse into madness and death, she remains maidenly, singing songs about flowers and finally drowning in the river amid the flower garlands she had gathered of all the pivotal characters in Hamlet, Ophelia is the most static and one- dimensional she has the potential to become a tragic heroin- to overcome the adversities inflicted upon her. But she instead crumbles into insanity, becoming merely tragic. This is because Ophelia herself is not as important as her representation of the dual nature of women in the play. Ophelia distinct purpose is to show at once Hamlet's wrapped view of women as callous sexual predators, and the innocence and virtue of women. The extent to which Hamlet feels betrayed by Gertrude is for more apperant with the addition of Ophelia to the play. Hamlet's feelings of rage against his mother can be directed toward Ophelia who is, in his estimation, hiding her base nature behind guise of impeccability through Ophelia we witness Hamlet's evolution, or de-evolution into a man convinced that all women are whores; that the women who say most pure are inside black with corruption and sexual desire. And of women are Harlots, then they must have their procurers. Gertrude has been made a whore by Claudius, and Ophelia has been made a whore by her father. In act ii Polonius makes arrangements to us the alluring Ophelia to discover by Hamlet is behaving so curiously. Hamlet is not in the room but it seems obvious from the following lines that he has overhead Polonius trying to use his daughter's charms to suit his underhanded purposes. In Hamlet's distraught mind. There is no grey area : Polonius prostitutes his daughter. And Hamlet tells Polonius so to his face. Labelling him a "Fishmonger" [ Despite the fact that Polonius cannot decipher the meaning behind Hamlet's words].