Dialectics in Paradise Lost

Paper Name: The renaissance literature 

Name: Baraiya Bhavna P.

Semester: 1

Topic: Dialectics in Paradise Lost

Submitted To: Dr. Dilip Barad.

                       Department of English,

                       Bhavnagar University. 

                

              Dialectics in Paradise lost

                 

                          Milton’s subject in Paradise lost was the failure of humankind to live according to divine order and its slow but providential deliverance from the consequences of the fall. The myth with which he choose to deal, and in which he believed literally, was like many other parallel myths and folk tales, and exploration of the moral consequences of disobedience. The discovery of the knowledge of good and evil is neither accidental nor happy. The central character Adam has no heroic destiny. Through his and Eve’s corruption all humankind is corrupted. And as both are finally obliged to understand, the spiritual struggle to regain paradisal equity and equability extends through each generation of their descendants. In a profound sense Adam and Eve Fall from the ideal in to the human condition. The great theme of the poem is obedience to the behets implicit in a creative order of an omnipotent God. The will of God is imprinted in the harmony of nature, and disaster of the fall is as much ecological as it is moral. Despite the temptation presented by the poem itself to see the rebellion of Satan as a heroic gesture of liberation. And the fall of Adam as a species of gallantry towards his wife, Paradise lost insistently attempts to assert to a reader the ultimate justness of a loving God’s ‘Eternal providence’.

Dialectics:

                Book 9 talks about first disobedience, which is its theme.

It is like this…

                            “Of man’s first disobedience,

                            And the fruit / of that forbidden

                           Tree, whose mortal taste/

                            Brought death in to the world,

                  And all our woe / with loss of Eden.”

      

   Satan enter to in Eden to night to take revenge.

                   “Satan involved in rising mist, then

                     Sought / where to lie hid…

                     Considered every creature, which

                    Of all / Most opportune might

                     Sever his wiles, and found /

                    The serpent subtlest beast

                     Of all the field… Fit vessel,

                     Fittest imp of fraud, in whom /

                       To enter, and his dark suggestion

                         Hide / from sharpest sight: for

                        In the wily snake / whatever sleights

                        None would suspicious mark, / as

                        From his wit and native subtlety.

         Satan enter in form of mist. He had a secret plan, so hide. Satan enter Eden in the form of mist and choose a serpents’s body to hide himself, this choice was because the snake is believe to be treacherous. And a snake is safe place to hide.

                      “The more I see / pleasures about me,

                      So much more I feel / Torment

                           Within me… / all good to me

                       Becomes / Bane… / For only in

                            Destroying I find ease.”

         Satan is very happy to see beauty of Eve but he torment because he has no place there, therefor he become jealous of men – Eve and Adam.

                      “But what will not ambition and

               Revenge / Descend to ? who aspires must

                         down as low / As high he soared,

        

     The motto of Satan’s living is to destroy creation of God.

              

            Argument between Adam and Eve about the devision of level and devision of world.

                    “thou where choice / Leads thee, or where

                  Most needs / while I / In yonder

                      Spring of Roses intermixt

                  With Myrtle, find what to redress

                         Till Noon:”

                 

             Adam insist that Eve should work together. Where as Eve wants to live an independently, without Adam’s supervision. She wants to part  from him for couple of hours. Eve influence by Satan that is why she wants to work alone.

    Eve says that…

                       “if so near / Looks intervene and

                      Smiles / How we might best fulfill

                           The work which here / God hath

                     assign’d us / For nothing lovelier can

                           be found / In woman, then to

                       studie household good. /And good

                    works in her Husband to promot”

        

      Eve furthers her argument saying that their presence is barrier to their work and they would not be able accomplish the duties assigned by God. At that time Adam reply that a woman is suppose to perform a domestic duties and she has to encourage and promot her husband to work better.

                     “However I with thee have fix my Lot /

                          Certain to undergo like doom,

                     If Death resolved / consort with

                        Thee, Death is to mee as life;

         Later on they quarrel they blame each other for the sin committed. Eve specially scold Adam that he didn’t prevent her from going he should have used his might. Poor Adam listen to her and weeped saying

                     “Flesh of Flesh / Bone of my Bone

                        Thou art, and from thy state /

              The lony section of poem comes to an end with assence of regret and transgression they continue to quarrel and blame each other without any solution.

  Conclusion:

                     The poem is an exallent example of the use of dialectic Milton diplois arguments in convenienceing manner and make the reader happy with his linguistic capacity. He coins new words and make popular.

            

      

Shree Aurobindo's view on spirituality

Paper Name: Indian writing in English

Name: Baraiya Bhavna P.

Semester: 1

Topic: Shree Aurobindo's view on spirituality

Date: 01/10/2012

Submitted To: Heenaba Zala

                       Department of English,

                       Bhavnagar University.                     
                     

                      Shree Aurobindo’s view

                                          on

                               ‘Spiritualism’ 

                        Shree Aurobindo was an Indian nationalist, freedom fighter, philosopher, yogi, guru, and poet. He joined the Indian movement for freedom from British rule and for a duration became one of its most important leaders, before developing his own vision of human progress and evolution. He was also one of the famous Radical leaders of India during the Indian National Movement.

The central theme of Aurobindo's vision was the evolution of human life into life divine. He wrote: "Man is a transitional being. He is not final. The step from man to superman is the next approaching achievement in the earth evolution. It is inevitable because it is at once the intention of the inner spirit and the logic of nature's process."

Aurobindo's conversion from political action to spirituality occurred gradually. Aurobindo had been influenced by Bankim's Aandmath. In this novel, the story follows a monk who fights the soldiers of the British East India Company. When in Baroda, Aurobindo and Barin  had considered the plan of a national uprising of nationalist sannyasis  against the empire. Later when Aurobindo got involved with Congress and Bande Mataram, Barin had continued to meet patriotic youngsters for recruitment for such a plan. In 1907, Barin introduced Aurobindo to Vishnu Bhaskar Lele, a Maharastian yogy.
Aurobindo had been engaged in yogic discipline for years, but disturbances to his progress following the recent events surrounding the Congress had put him in the need of consulting a yogi. After attending the Surat session of the Congress in 1907, Aurobindo met Lele in Baroda. This meeting led him to retire for three days in seclusion where, following Lele's instruction, Aurobindo had his first major experience, called nirvana - a state of complete mental silence free of any thought or mental activity. Later, while awaiting trial as a prisoner in Alipore Central Jail in Calcutta Aurobindo had a number of mystical experiences. In his letters, Sri Aurobindo mentions that while in jail as under-trial, spirit of Swami Vivekananda visited him for two weeks and spoke about the higher planes of consciousness leading to supermind. Sri Aurobindo later said that while imprisoned he saw the convicts, jailers, policemen, the prison bars, the trees, the judge, the lawyers as different forms of one godhead, Krishna .

Pondicherry

In Pondicherry, Sri Aurobindo completely dedicated himself to his spiritual and philosophical pursuits. In 1914, after four years of concentrated yoga, Sri Aurobindo was proposed to express his vision in intellectual terms. This resulted in the launch of Arya, a 64 page monthly review. For the next six and a half years this became the vehicle for most of his most important writings, which appeared in serialised form. These included ‘The Life Devine’, ‘The Synthesis of yoga’, Essays on The Gita, The Secret of The Veda, Hymns to the Mystic Fire, The Upanishads,The Renaissance in India, War and Self-determination, The Human Cycle, The Ideal of Human Unity, and The Future Poetry. Many years later, Sri Aurobindo revised some of these works before they were published in book form. It was about his prose writing of this period that Times Literary Supplement, London wrote on 8 July 1944,

                                "Sri Aurobindo is the most significant and perhaps the most interesting.... He is a new type of thinker, one who combines in his vision the alacrity of the West with the illumination of the East. He is a yogi who writes as though he were standing among the stars, with the constellations for his companions. Pondicherry is prayerpalace of Aurobindo Ghosh."

For some time afterwards, Sri Aurobindo's main literary output was his voluminous correspondence with his disciples. His letters, most of which were written in the 1930s, numbered in the several thousands. Many were brief comments made in the margins of his disciple's notebooks in answer to their questions and reports of their spiritual practice—others extended to several pages of carefully composed explanations of practical aspects of his teachings. These were later collected and published in book form in three volumes of Letters on yoga. In the late 1930s, Sri Aurobindo resumed work on a poem he had started earlier—he continued to expand and revise this poem for the rest of his life. It became perhaps his greatest literary achievement, Savitri, an epic spiritual poem in blank verse of approximately 24,000 lines. During World War II, he supported the allies, even donating money to the British Government, describing Hitler as a dark and oppressive force.

On August 15, 1947, on his 75th birthday, when India achieved political independence, a message was asked from Sri Aurobindo. In his message, which was read out on the All India Radio, Sri Aurobindo dwelt briefly on the five dreams he has cherished all his life and which, he noted, were on the way to being fulfilled. Sri Aurobindo died on December 5, 1950, after a short illness.

 

 

(1)  Psychic Transformation

                                          The first of the three stages is a movement within, away from the surface of life, to the depths, culminating in the discovery of his psychic being (the evolving soul). From that experience, he sees the oneness and unity of creation, and the harmony of all opposites experienced in life.

(2)  Spiritual Transformation

                                            As a result of making the psychic change, his mind expands and he experiences knowledge not through the hard churning of thought, but through light, intuition, and revelation of knowledge, culminating in supramental perception. Light enters from the heights and begins to transmute various parts of his being.

(3)  Supramental transformation

                                           After making the psychic and spiritual change, he makes the supramental and most radical change. It is basically a complete transformation of the mind, the heart, the emotions, and the physical body.

 

Supramental existence

Sri Aurobindo's vision of the future includes the appearance of what may be called a new species, the supramental being, a divine being which would be as different and superior to present humanity as humanity is to the animal. It would have a consciousness different in kind than the mind of the human, a different status and quality and functioning. Even the physical form of this being would be different, more luminous and flexible and adaptable, entirely conscious and harmonious. Between this supramental being and humanity, there would be transitional beings, who would be human in birth and form, but whose consciousness would approach that of the supramental being. These transitional beings would appear prior to that of the full supramental being, and would constitute an intermediate stage in the Earth's evolution, through which the soul would pass in its growth towards its divine manifestation as the supramental being in the earth nature.

 

 

Interpretation of the Vedas

One of the most significant contributions of Sri Aurobindo was his setting forth an esoteric meaning of the Vedas. The Vedas were considered by some to be composed by a barbaric culture worshiping violent gods. Sri Aurobindo felt that this was due to a failure by both Eastern and Western scholars to understand Vedic symbolism.

Sri Aurobindo believed there was a hidden spiritual meaning in the Vedas. He viewed the Rig Veda as a spiritual text written in a symbolic language in which the outer meaning was concerned with ritualistic sacrifices to the gods, and the inner meaning, which was revealed only to initiates, was concerned with an inner spiritual knowledge and practice, the aim of which was to unite in consciousness with the Divine.

In this conception, Indra is the god of mind lording over the Indriyas, that is, the senses. Vayu represents air, but in its esoteric sense means prana, or the life force. So when the Rig Veda says "Call Indra and Vayu to drink Soma Rasa" the inner meaning is to use mind through the senses and life force to receive divine bliss. Agni, the god of the sacrificial fire in the outer sense, is the flame of the spiritual will to overcome the obstacles to unite with the Divine. So the sacrifice of the Vedas could mean sacrificing one's ego to the internal Agni, the spiritual fire.

Sri Aurobindo's theory of the inner spiritual significance of the Vedas originally appeared serially in the journal Arya between 1914 and 1921, but was later published in book form as The Secret of the Veda. Another book, Hymns to the Mystic Fire, is Sri Aurobindo's translation of the spiritual sense of many of the verses of the Rig Veda.

    Sri Aurobindo not only expressed his spiritual thought and vision in intricate metaphysical reasoning and in phenomenological terms, but also in poetry. He started writing poetry as a young student, and continued until late in his life. The theme of his poetry changed with the projects that he undertook. It ranged from revolutionary homages to mystic philosophy. Sri Aurobindo wrote in classical style.

Savitri

Savitri: A Legend and a Symbo  is Sri Aurobindo's epic poem in 12 books, 24,000 lines about an individual who overcomes the ignorance, suffering, and death in the world through Her spiritual quest, setting the stage for the emergence of a new, Divine life on earth. It is loosely based on the ancient Indian tale of 'Savitri and Satyavan' from the Mahabharata.

The Future Poetry

In Sri Aurobindo's theory of poetry, written under the title The Future Poetry, he writes about the significance that art and culture have for the spiritual evolution of mankind. He believed that a new, deep, and intuitive poetry could be a powerful aid to the change of consciousness and the life required to achieve the spiritual destiny of mankind which he envisioned. Unlike philosophy or psychology, poetry could make the reality of the Spirit living to the imagination and reveal its beauty and delight and captivate the deeper soul of humanity to its acceptance. It is perhaps in Sri Aurobindo's own poetry, particularly in his epic poem Savitri, that we find the fullest and most powerful statement of his spiritual thought and vision.

    

Six part of tragedy

Paper Name: Literary criticism 

Name: Baraiya Bhavna P.

Semester: 1

Topic: Six part of tragedy

Submitted To: Dr. Dilip Barad.

                       Department of English,

                       Bhavnagar University.            

        

                Six part of tragedy

The Definition of Tragedy:

                                              “ Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.”

Following his definition, Aristotle begins to introduce the six constitutive components of a tragedy. The first in the discussion is ‘ spectacle’, which includes the costuming of the actors, the scenery, and all other aspects that contribute to the visual experience of the play.

Next come  ‘song ‘ and ‘ diction’. Song obviously refers to the vocal compositions incorporated into the performance, and diction refers to the metrical composition of the spoken lines.

Aristotle moves on to elements relating to the humans represented in tragedy, ‘thought’  and  ‘character’. Character includes all qualities we associate with individuals represented in the play; the meaning ofthought is more elusive, but it seems to indicate the processes of reasoning that lead characters to behave as they do.

The final component is plot, which Aristotle defines as "the arrangement of the incidents" .

These six elements can be organized, as Aristotle shows, under the major categories of medium, object, and mode:

Medium                         Object                          Mode

Diction                                  Plot                                     Spectacle

Song                                    thought                               

                                            Character

The Elements of Tragedy:
                                             

                                            Aristotle presents these components in order of importance, expanding a little on the significance of each to the tragedy as a whole.

*Objects

            Plot

         
                                            Aristotle considers plot as the soul of tragedy. Tragedy imitates ‘actions’ and its plot consists of a logical and inevitable sequence of events. The action must be a whole. It must have a beginning, a middle and an end. 

The tragic plot must have a certain magnitude or ‘length’. ‘Magnitude’ here means ‘size’. It should be long enough to allow the change from happiness to misery but not too long to be forgotten before the end. Action, too short, cannot be regarded as proper and beautiful for its different parts will not be clearly visible. Its different parts must be well-related to each other and to the whole. It must be an ‘organic’ whole.
Emphasizing that tragedy is first and foremost the representation of actions, and not of characters, Aristotle makes the remark that many contemporary tragedies do not succeed in their characterizations, but are still tragedies. The tragic effect comes from the plot, and especially from the peripeteia–the reversal of the situation in which the characters find themselves– as well as from scenes of recognition. Aristotle divides the tragic plot into ‘Simple’ and ‘Complex’. In Simple Plot the change in the fortunes of hero takes place without Peripety and Discovery; while the Complex Plot involves one or the other, or both. The Peripety is the change in the fortunes of the hero, and the Discovery is a change from ignorance to knowledge. Aristotle prefers complex plot for it startles, captures attention and performs the tragic function more effectively. He regards episodic plot, lacking probability and necessity, as worst of all.

Character

  
                                                  Character is second in importance after plot; tragedies depict characters as they relate to the action which is the main object of representation. Characters represent their moral qualities throught the speeches assigned to them by the dramatist. Aristotle stresses four essential qualities for characterization. First, the characters must be good, but not perfect. Wicked characters may be introduced if required by the plot. Secondly, they must be appropriate. They must have the traits of the profession or class to which they belong. Thirdly, they must have likeness. By likeness he means that the characters must be life-like. Fourthly, they must have consistency in development. There should be no sudden and strange change in character. 

Thought 

                                                  'Thought' is the power of saying what can be said, or what is suitable to the occasion. It is the language which gives us the thoughts and feeling of various characters. The language of Tragedy must be unusually expressive. The Language of Tragedy ‘must be clear, and it must not be mean’. It must be grand and elevated with familiar and current words. ‘Rare’ and ‘unfamiliar’ words must be set in wisely to impart elevation.
Thought comprises both the rational processes through which characters come to decisions, as represented in the drama, as well as the values put forward in the form of maxims and proverbs.

*Media

Diction

                                                  Diction has already been defined as the metrical composition of the play, the way language is used to convey the representation.

Song

                                                     Music is described as an embellishment of language. The lines assigned to the chorus in a tragedy are usually conveyed in song accompanied by rhythmical movement. By various embellishments in various parts, Aristotle means verse and song. Tragedy imitates through verse in the dialogue and through song in the Choric parts. Verse and song beautify and give pleasure. But Aristotle does not regard them as essential for the success of a tragedy

*Mode

Spectacle

                                                   Aristotle lists spectacle last in order of importance, pointing out that the power of tragedy is not fully dependent upon its performance (we can read a tragedy and still appreciate its message), and that the art of the spectacle really belongs to the set designer and not to the poet.

Conclusion :

                                                 According to Aristotle, the end of poetry is to give pleasure, and tragedy has its own pleasure beside. Proper aesthetic pleasure can be possible only when the requirements of morality are satisfied. Verse and rhyme enhance the pleasure of poetry. Peripeteia and Anagnorisis heighten the seductive power of the action. Pure pleasure results from the exercise of our emotions and thoughts on the tragic action. 

Such are the main features of Aristotle's theory of Tragedy. Aristotle knew only Greek Tragedy. His conclusions are based entirely on the drama with which he was familiar and often his views are not of universal application. His view might have been challenged but their history is the history of Tragedy.

Major themes in Gulliver’s Travels

Paper Name: Neo-classical age

Name: Baraiya Bhavna P.

Semester: 1

Topic: Major themes in Gulliver’s Travels

Date: 01/10/2012

Submitted To: Heenaba Zala

                       Department of English,

                       Bhavnagar University.            

                           Major theme in Gulliver’s Travels

         *The Theme of Travel And Discovery

           The travelogue, a popular genre of writing in the eighteenth century, chronicles the experiences and adventures of a traveler. It is generally written from the first-person point of view giving immediacy to the experiences narrated. It is also a literary genre which the author manipulates to suit his purposes in the text. Gulliver’s Travel is a fictional travelogue containing factual elements related to travel by sea.

         The four parts of Gulliver’s Travels are linked by the theme of travel and discovery. Each of the parts starts of with a voyage leading to a destination. However, the voyage only works as a means to get to a place of adventure. The travails he suffers en route such as being shipwrecked or captured by pirates serve as reason for him to abandon the sea and find new lands. Each of the Islands Gulliver arrives at offers varying and diverse experiences for the traveler. The entire novel is contained within the framework of a travelogue documenting the new, bizarre, and occasionally life-threatening experiences that befall Gulliver.     

         Here we can journey along with the traveller in the narration, discovering places and observing the customs and manners of the people through the eyes of the writer.

* As A Satire of Human Nature

         “Satire is a literary genre in which human vices, weaknesses, foibles and follies are held up to ridicule.”

Wit and humour are commonly used as instruments of satire. Satirical writings were popular in England in the eighteenth century.

           In Gulliver’s Travels, Swift uses satire as a vehicle to point to the depraved state of humankind. Swift seems to be holding up a mirror to society so that in viewing the gross magnification of its vices, humanity has a hope for nature. The voyages to Lilliput and Brobdingnag  focus on the flows in human society, with particular reference to English socity.

         Satire in Gulliver’s Travels also extends to human institutions, to politics and the state.

*As Utopian/Dystopian Fiction

          “A term ‘utopia’ has come to be synonymous with an ideal society”. It was first used by Thomas More in his work ‘Utopia’ where he set out the vision of an ideal society.

          Gulliver’s Travels can be read from the perspective of utopian/dystopian fiction as Lemuel Gulliver journeys from the imaginary Island community to another. The land of the Houyhnhnms seem almost utopian  but here again, Swift exposes a world where Reason prevails in its perfection but is devoid of individuality of personal identity and therefore leaves much to be desired. The Laputan community in part III is a dystopia which relies on its Island-subjects living below it for sustenance.

          It is interesting to note that in Gulliver’s description of England, its people, and institutions, England too emerges as a dystopia, an unpleasant, violent, brutal and corrupt society which does not practise what it preaches.

*As A Political Allegory     

         “An allegory is a literary genre which is structured in such a way that its meaning could be read on two level – a primary or literal level, and a secondary and more complex level.”

          “An allegory is defined as a narrative in which the characters, plot, setting and occasion, while making sense in themselves also signify a second layer of meaning where they point at another set of people, events and setting either from the writer’s social milieu or recent historical events”. It is a figurative mode of representation where ideas are conveyed through symbolism and metaphor.  

          As a political allegory of European civilization, Swift presents the aspects of war and European propensity for distruction, particularly in the parallels that one can draw between Lilliput’s desire to enslave an already defeated Blefescu and the strained relationship between England and France.

            Patterns of war and destruction are woven into the allegorical motif here to explicate the exiting political situation that Swift is satirizing.