English Language and Literature Major
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Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.998 (IIFS)
Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.998 (IIFS) TREND OF POETIC FORMS & THEMES: AN ANALYSIS Dr. Bhoomika Thakur Associate Professor & Head Dept. of English N.M.D.College, Gondia (MS) Abstract Poetry is the expression of soul. Poetry is a part and parcel of literature. It is the most effective and interesting way of expression. It appeals, vitalizes and electrifies the heart and mind. It is an electrifier. The English poetry has a rich history and records. It has traveled a long way. It has undergone multiple changes, influences and revivals. So is the case with themes and forms of the English Poetry. They have experienced several changes as well as revivals. The past records show that there were different forms and themes in different periods. Various changes in themes can be seen. Earlier, themes were related to Religion, church and Morality. Then came in to vogue the themes of love and chivalry. Later, the themes related to the upper- class people of the society were in fashion. During the Romantic Period the themes concerning to common people, rustic life, and nature were in demand. The Pre-Raphaelite poetry was based on the idea of Art for the Sake of Art. On the contrary, the modern poetry emphasizes on the Art for the sake of life. The war- poetry focused on war themes. The poetry of Eliot reflects the shallow mindedness of people and meaninglessness of life. Thus, the English poetry has completed a journey with various changes, adoptions as well as revivals of forms and themes. -
The Canterbury Tales Free
FREE THE CANTERBURY TALES PDF Geoffrey Chaucer,Nevill Coghill | 528 pages | 23 Dec 2008 | Penguin Books Ltd | 9780140424386 | English | London, United Kingdom The Canterbury Tales The framing device for the collection of stories is a pilgrimage to the shrine of Thomas Becket in The Canterbury TalesKent. The 30 pilgrims who The Canterbury Tales the journey gather at the Tabard Inn in Southwarkacross the Thames from London. They agree to engage in a The Canterbury Tales contest as The Canterbury Tales travel, and Harry BaillyThe Canterbury Tales of the Tabard, serves as master of ceremonies for the contest. Chaucer did not complete the full plan for his book: the return journey from Canterbury is not included, and some of the pilgrims do not tell stories. The use of a pilgrimage as the framing device enabled Chaucer to bring together people The Canterbury Tales many walks of life: knight, prioress, monk; merchant, man of The Canterbury Tales, franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others. The The Canterbury Tales and links together offer complex depictions of the pilgrims, while, at the same time, the tales present remarkable examples of short narratives in verse, plus two expositions in prose. The pilgrimage, which in medieval practice combined a fundamentally religious purpose with the secular benefit of a spring vacation, made possible extended consideration of the relationship between the pleasures and vices of this world and the spiritual aspirations for the next. Probably influenced by French syllable-counting in versification, Chaucer developed for The Canterbury Tales a line of 10 syllables with alternating accent and regular end rhyme—an ancestor of the heroic couplet. -
John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire. -
Under the Reign of Doubt.Htm
Under the Reign of Doubt: Chaucer’s House of Fame and Narrative Authority Christopher B. Smith Department of English Villanova University Edited by Edward Pettit Geoffrey Chaucer’s House of Fame is an unusual poem by anyone’s set of standards. Its feast of colorful action and antic pace seem at times to overwhelm the reader, as it does the somewhat hapless narrator; for a rather brief work, it contains a great deal to puzzle over. That the text is made all the more baffling by an abrupt conclusion has led to much speculation from scholars regarding its finished or unfinished nature, especially pertaining to the identity of the man of great authority seen “atte laste” (The Riverside Chaucer 373, l. 2155), who, ironically, will remain indefinitely unseen. Attempting to whittle down critical concerns with the poem to this one question, however, would be overly reductive, just as showing aesthetic appreciation merely for the fanciful humor and bewildered awe that portions of Chaucer’s text exhibit — treating it as a sort of fantasy story with a mild moralistic bent on the capriciousness of fame — misses its deeper concerns. Stephen Knight sees the poem in contrast to the relatively simplistic Book of the Duchess, a work with an “unproblematic ideology,” as one with “epistemological, even ontological concerns”; rather poetically, he says it is “a winter dream” (Knight 28). If the knight of Book of the Duchess exhibited honor as an absolute (and likewise for the characters and relationships exhibited in Chaucer’s narrative forebears), the concept itself, as well as “the mechanics of fame,” are now illuminated as far more complex than in previous imaginings: just as the “physical nature of [an] inquiry” is dealt with in the vocabulary of medieval science, the work as a whole involves a highly developed philosophy (28-29). -
Unit-22 the Age of Dryden Unit-23 John Dryden Unit-24 Mac Flecknoe Unit-25 Pope: a Background to an Epistle to Dr
This course material is designed and developed by Indira Gandhi National Open University (IGNOU), New Delhi. OSOU has been permitted to use the material. Master of Arts ENGLISH (MAEG) MEG-01 BRITISH POETRY Block – 5 The Neoclassical poets : Dryden and Pope UNIT-22 THE AGE OF DRYDEN UNIT-23 JOHN DRYDEN UNIT-24 MAC FLECKNOE UNIT-25 POPE: A BACKGROUND TO AN EPISTLE TO DR. ARBUTHNOT UNIT-26 POPE: THE STUDY OF AN EPISTLE TO DR. ARBUTHNOT The Neoclassical Poets UNIT 22 THE AGE OF DRYDEN Structure 22.0 Objectives 22.1 Introduction 22.2 The Social Background of Restoration and Early 18thcentury England 22.2.1 The Court 22.2.2 The Theatre 22.2.3 The Coffee House and the Periodicals 22.2.4 Natural Calamities 22.2.5 Social Change 22.2.6 Learning and Education 22.3 The Intellectual Milieu 22.3.1 Science and Scepticism 22.3.2 Science and Poetry in the Augustan Age 22.4 The Literary Context 22.4.1 The Neo-classical Age 22.4.2 Language 22.4.3 Poetic Diction 22.4.4 Poetry-verse-prose-prose Fiction 22.4.5 The Heroic Couplet 22.4.6 Prose and Prose Fiction 22.4. 7 Literary Criticism 22.5 Religion, Philosophy and Morality 22.5.l Religion and Science 22.5.2 Quakerism 22.5.3 Deism 22.5.4 Mysticism, Methodism, Evangelicalism 22.6 Let Us Sum Up 22.7 Questions 22.8 Important Dates 22.9 Suggested Readings 22.0 OBJECTIVES The objective of these units is to introduce you to the age of John Dryden (1631- 1700) the most important man of letters of Restoration England (1660-1700), and Alexander Pope (1688-17 44). -
A Genealogy of Antihero∗
A GENEALOGY OF ANTIHERO∗ Murat KADİROĞLU∗∗ Abstract “Antihero”, as a literary term, entered literature in the nineteenth century with Dostoevsky, and its usage flourished in the second half of the twentieth century. However, the antihero protagonists or characters have been on stage since the early Greek drama and their stories are often told in the works of the twentieth century literature. The notion of “hero” sets the base for “antihero”. In every century, there are heroes peculiar to their time; meanwhile, antiheroes continue to live as well, though not as abundant as heroes in number. The gap between them in terms of their personality, moral code and value judgements is very obvious in their early presentation; however, the closer we come to our age, the vaguer this difference becomes. In contemporary literature, antiheroes have begun to outnumber heroes as a result of historical, political and sociological facts such as wars, and literary pieces have tended to present themes of failure, inaction, uncertainty and despair rather than heroism and valour. This study argues that Second World War has the crucial impact on the development of the notion of modern antihero. As a consequence of the war, “hero” as the symbol of valour, adventure, change and action in the legends and epic poems has been transformed into “antihero” of failure and despair, especially in realist, absurdist and existentialist works written during/after the Second World War. Keywords: Antihero, Hero, Heroism, Protagonist, Romantic Hero, Second World War, Post-war Öz Anti-kahramanın Soykütüğü Edebi bir terim olarak “anti-kahraman” ya da “karşı-kahraman”, on dokuzuncu yüzyılda Dostoyevski ile edebiyata girmiştir ve kullanımı yirminci yüzyılın ikinci yarısında doruğa ulaşmıştır. -
The Justification of English National Imperialism in John Dryden's Poems
The Justification of English National Imperialism in John Dryden’s Poems Lee, Chung eun Contents Ⅰ. English Imperialism in Terms of Virgil’s Aeneid and “Songs from King Arthur” Ⅱ. Eulogizing Charles II’s Legitimacy Ⅲ. The Poems in Terms of Imperial Propaganda Ⅳ. Conclusion John Dryden justified imperialism as a means of strengthening the Stuart’s monarchy in his poems. In conjunction with the historical legacy of imperialism, he reawakened the imperial origin from the source of Virgil’s Aeneid and the myth of King Arthur. These initial perceptions of mythical epics substantiated the poetic history of imperialism. Such inclination toward the dominant ideology drove Dryden to contemplate the imperial legitimacy in England from the past time. Since Dryden served as a public poet who celebrated and praised the imperial movement, his poems mostly dealt with political agendas. In a sense, his conservative propagandas for the Stuart Monarchy entailed the national unification in England. Particularly, the heroic King, Charles II, was not only glorified, but also remembered as the most powerful entity in Dryden’s poems because of his imperial policies. Dryden’s political purpose was to preserve the Stuart monarchy as a central point of the powerful imperialism. Without doubt, the rhetoric of unification was symbolically harmonized for the purpose of 210 영미연구 제34집 national stability under the Stuart monarchy. Thus, by writing poems, John Dryden acted as the political prophet for the culmination of English imperialism in which the Stuart monarchy reigns. I. English Imperialism in Terms of Virgil’s Aeneid and “Songs from King Arthur” It is indisputable that Dryden traces the beginnings of the imperialism in the light of Virgil’s Aeneid. -
Lucan, Poet of Freedom O. A. W. Dilke
LUCAN, POET OF FREEDOM BY O. A. W. DILKE GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM INAUGURAL LECTURE DELIVERED AT RHODES UNIVERSITY BY O. A. W. DILKE PROFESSOR OF CLASSICS M .A. (Cantab.) GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM The Greek and Latin classics have been defended so often and so ably against the boisterous waves that have encroached upon them that to add one more apologia to the long list might result only in hackneyed platitudes. Within the last few years even the vestiges of compulsory Greek and Latin have dis appeared from the older seats of learning. However rigid a classical syllabus the Eton entrance scholarships may still demand, it can no longer be argued that an Arts Degree focused on non- classical subjects, let alone a degree in other Faculties, neces sitates a knowledge of prose composition in these languages. What our courses have lost in relative numbers since a genera tion ago we hope they have gained in interest, since they are no longer troubled with the student who is dragooned into Latin. And I do not consider it dragooning to insist that those who are study ing Roman-Dutch law shall be able to read a little Cicero in the original. But to exclude the classics except in Penguin translations from the University of York, for example, is an affront to Eboracum and to the shades of Alcuin, who in the eighth century was one of the greatest Latinists in the world. In the mid-twentieth century, the classicist can try to help the scientist to form his new compound words correctly, but let us hope he will not be relegated to this position. -
Example of Heroic Couplet in Literature
Example Of Heroic Couplet In Literature Protrusible and embryological August declutches, but Barthel will-lessly cone her underpants. Osmund sops her cayman bearishly, she relinquishes it corporeally. Splashier and provisionary Mylo verged his replications gumshoeing entreat infectiously. The musician Timotheus modulates Alexander the Great though several moods, manipulating him feel sure hand. But for example, heroic gouplet used couplet of heroic couplet example in literature, either have been committed to? Arvind krishna mehrotra, in itself to add at example: closed couplet to submit some cases they alternate between what grade literary technique. What is saying that govern that line six of danger you visit this example of in heroic couplet literature. Belinda as heroic couplet examples of! Find ironic rejection of heroic couplet including its own custom theme of a variety of this couplet features two words are saved will be familiar with parents is. Pope blames the poem, most common everyday occurrence of intricate tensions rarely viewed as thomas thorpe, in heroic example couplet of literature, the writing a variety of a downfall. Thank you get in three quatrains, pulling us motivate every unit of heroic couplets: here inserts a writer to play a speech. Jonathan swift and it rhymes that lamented the heroic couplets definition of the eighteenth century the! While he and a heroic couplet example of. The poem is predominantly a political satire that explores the conflict between Catholics and Protestants during martial rule together King Charles. Many epic poems were translated into English using heroic couplets. Sorry, fireplace is an invalid or expired game link. -
Be Careful What You Wish For: Geoffrey Chaucer‟S Object of Desire” Jonathan Fruoco Université Grenoble Alpes, ILCEA4
“Be Careful What You Wish For: Geoffrey Chaucer‟s Object of Desire” Jonathan Fruoco Université Grenoble Alpes, ILCEA4 “Objects of Desire” – International Conference at Lille Catholic University, 24-26 May 2018 If there is one concept that we might consider central to medieval poetry, it is desire; whether it is celestial bliss for theologians, love for courtly love poets or fame for many aspiring artists. In this lecture, I propose to focus on England‟s most famous courtly love poet, namely Geoffrey Chaucer. But it is not love that will interest me today, but a different object. If trying to get is indeed, as Elizabeth Anscombe remarked, the primitive sign of wanting, then Chaucer was, despite his use of self-mockery and his modesty, as guilty as anyone of looking for his fifteen minutes of fame. He was no Petrarch, who turned self-promotion into an art, but we can still find in Chaucer‟s life and poetry the signs of a wish to leave the shadows of Aldgate, where he worked for so many years as a controller of customs, and to be heard. Yet, Chaucer was also profoundly critical of the desirability of fame. I will not be psychoanalyzing a poet who has been dead for 600 years, but one may wonder if the ambiguity of his desire provided the poet with a motive for action or if the subsequent realization of his desire was merely an accident that would have struck Chaucer as deeply illusory. For if desire was indeed at the heart of medieval poetry, it is, in fact, its unattainability that made it philosophically relevant and artistically inspiring. -
Geoffrey Chaucer's House of Fame
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1996 Geoffrey Chaucer's House of Fame: From Authority to Experience Victoria Frantseva Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Frantseva, Victoria, "Geoffrey Chaucer's House of Fame: From Authority to Experience" (1996). Masters Theses. 1905. https://thekeep.eiu.edu/theses/1905 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates (who have written formal theses) SUBJECT: Permission to Reproduce Theses The University Library is rece1v1ng a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. PLEASE SIGN ONE OF THE FOLLOWING STATEMENTS: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. I respectfully request Booth Library of Eastern Illinois University not allow my thesis to be reproduced because: Author Date GEOFFREY CHAUCER'S HOUSE OF FAME: FROM AUTHORITY TO EXPERIENCE BY Victoria Frantseva THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1996 I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE DATE Abstract Geoffrey Chaucer's House of Fame is one of the most provocative dream-vision poems written in the fourteenth century. -
Science and Criticism in Coleridge and Peirce
ABDUCTING THE IMAGINATION: THE METHODOLOGICAL FOUNDATION OF SCIENCE AND CRITICISM IN COLERIDGE AND PEIRCE by Thomas Dechand A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October, 2014 © 2014 Thomas Dechand All Rights Reserved Abstract The core the dissertation examines S. T. Coleridge’s writings on method and imagination from the 1815 composition of Biographia Literaria through the publication of the “Essays on the Principles of Method” in the 1818 Friend. I demonstrate how these writings clarify, develop, and indeed repair Coleridge’s earlier theory of imagination by articulating its role within a general theory of inquiry meant to comprehend the works of science and literature as methodical investigations. Whereas the Biographia fails in its attempt to ground the imagination within a conception of the self as intellectually intuited in a manner conceived by German Idealists such as Schelling, Coleridge’s “Essays on Method” explore the imagination through a theory of inquiry predicated on the discovery, analysis, and contemplation of relations. I argue that Coleridge aligns the operation of the secondary imagination to a logical function: the eduction of an “idea,” according to Coleridge’s precise sense of that term as a necessarily tautegorical relation – one that expresses the same subject, but with a difference. It is ideas, so conceived, that serve to guide inquiry. Coleridge’s refinement of the theory of imagination is done in serve of his argument that ideas are “constitutive” -- that is, they play a fundamental role in what it is, internal to our constitution and that of the world, that enables inquiry in the first place -- and should be seen as part of Coleridge’s answer to what he identifies as the highest problem of philosophy in the 1816 Statesman’s Manual.