Directorate of Distance Education University of Jammu Jammu SELF LEARNING MATERIAL FOR B.A. SEMESTER- III SUBJECT : ENGLISH LITERATURE UNIT : I -IV COURSE NO. EL 301 Lesson No. 1 to 16 DR. HINA S. ABROL COURSE CO-ORDINATOR Printed and Published on behalf of the Directorate of Distance Education, University of Jammu, Jammu by the Director, DDE, University of Jammu, Jammu. http:/www.distanceeducationju.in B. A. SEMESTER - III ENGLISH LITERATURE Lesson Writer :- Content Editing & Proof 1. Ms. Nilza Angmo Reading :- 2. Dr. Sunita Jakhar Mr. Stanzin Shakya 3. Prof. Sucheta Pathania Assistant Profesor, 4. Mr. Stanzin Shakya DDE, University of Jammu. 5. Dr. Chetna Gupta 6. Dr. Anupama Vohra 7. Mr. Sumit Sharma © Directorate of Distance Education, University of Jammu, 2020 * All rights reserved. No Part of this work may be reproduced in any form, by mimeograph or any other means, without permission in writing from the DDE, University of Jammu. * The Script writer shall be responsible for the lesson / script submitted to the DDE and any plagiarism shall be his/her entire responsbility. Printech, Jammu (2020) Qty 100 ENGLISH LITERATURE B.A. SEMESTER-III Syllabus for the Examination to be held in Dec. 2017, 2018, 2019 & 2020 Course No. EL 301 (Theory) Title-English Literature Duration of Exam: 3 hrs. Total Marks: 100 Semester End Examination: 80 Internal Assessment: 20 Objective: The objective of this paper is to acquaint the students with the English milieu and literature written during seventeenth century with special reference to prose, drama and cavalier, puritan and metaphysical poetry. Through the in-depth study of Macbeth the students will be able to understand Shakespearean tragedy. They will also study poetry from 1600 to 1660 with special reference to the prominent poets like John Donne, Andrew Marvel, John Milton and John Suckling. UNIT I LITERARY TERMS Aestheticism, Alazon, Agon, Eiron, Black Comedy, Pastoral, Pathetic Fallacy, Fable, Picaresque, Metonymy, Slipslop, Meiosis, Parable. UNIT II HISTORY Lesson 3 & 4 Development of Tragedy till Shakespeare. Lesson 5 Literature in the age of Charles I (Prose, Drama, avalier and Metaphysical Poetry) (i) Lesson 6 The Puritan Prose. Lesson 7 The Puritan Poetry. UNIT III Drama William Shakespeare: Macbeth (Detailed) References. UNIT IV Poetry John Donne: The Flee Andrew Marvell: To His Coy Mistress John Milton: On His Blindness John Suckling: A Ballad Upon a Wedding Mode of Examination The Paper will be divided into Sections A, B & C Section-A: Multiple Choice Questions Section A will have 12 MCQs covering all the units. Students will write the correct answers of any 8 in the answer sheets. (8x1=8 Marks) Section-B: Short answer type questions Section B will have short answer questions from Unit I to Unit V. Four out of Five will have to be attempted by the students. (4x4=16 Marks) Section-C: Long Answer type questions Section C will have four long answer type questions from Unit II to Unit V with internal choice from the same unit. Candidate will be required to attempt all in about 250-300 words. (14x4=56 Marks) (ii) SUGGESTED READING 1) A Glossary of Literary terms Eleventh Edition by M.H. Abrams, Geoffrey Harpham. Cengage Learning. 2) History of English Literature by N. Jayapalan. Atlantic Publishers. 3) A Compendious History of English Literature by R.D. Trivedi. Vikas Publication house. 4) A literary History of England: The Restoration and Eighteenth Century (1660-1789) by G. Sherburne and D.F. Bond. Albert Croll Baugh. 5) William Shakespeares Macbeth: A source book Ed. Alexander Leggatt. Routledge Guides to Literature. 6) John Donne The Flea and Andrew Marvell To His Coy Mistress by Daniela Schulze. Grin Publishers. 7) John Milton: A Short Introduction by Roy Flannagan. Blackwell Publication. 8) The Facts on File Companion to British Poetry: 17th and 18th Centuries by Virginia Brackett. Infobase publication. (iii) B.A. ENGLISH LITERATURE SEMESTER-III TABLE OF CONTENTS UNIT & LESSONS LESSON WRITER PAGE NO. UNIT-I INTRODUCTION TO Ms. Nilza Angmo 1-20 LITERARY TERMS Assistant Professor Lesson : 1 and 2 EJMGDC, Leh UNIT-II HISTORY Dr. Sunita Jakhar 21-136 Lesson : 3 and 7 Associate Professor Govt. Arts College Sikar, Rajastan UNIT-III DRAMA Prof. Sucheta Pathania 137-200 Lesson : 8 to 10 Dept. of English, Macbeth University of Jammu. Reviewed and Edited by : Mr. Stanzin Shakya Assistant Professor DDE, University of Jammu. Lesson : 11-12 Mr. Stanzin Shakya 201-257 Macbeth Assistant Professor DDE, University of Jammu. UNIT-IV POETRY Dr. Chetna Gupta 258-282 Lesson : 13 Assistant Professor The Flee GGM Science College Lesson : 14 Reviewed and Edited by 283-302 To His Coy Mistress Dr. Anupama Vohra Sr. Associate Professor DDE, University of Jammu. Lesson : 15 Dr. Anupama Vohra 303-314 On His Blindness Sr. Associate Professor DDE, University of Jammu. Lesson : 16 Mr. Sumit Sharma 315-339 A Ballad Upon a Wedding Assistant Professor GDC Banihal (iv) ENGLISH LITERATURE UNIT : I LITERARY TERMS COURSE CODE : EL 301 LESSON : 1 INTRODUCTION TO LITERARY TERMS UNIT STRUCTURE 1.1 Introduction 1.2 Objectives 1.3 Literary Terms 1.4 Glossary 1.5 SAQ/ Possible Answers 1.6 Examination Oriented Questions 1.7 Suggested Readings 1.8 References 1.1 INTRODUCTION Literary terms are words used in discussions, classification, criticism and analysis of poetry, novels, and other works of literature. 1.2 OBJECTIVES The objective of this unit is: x To introduce the learners to the literary terms. x To help learners differentiate various forms of writing and literary devices. 1 1.3 LITERARY TERMS 1.3.1 Aestheticism Aestheticism also known as the Aesthetic Movement is an intellectual and art movement supporting the emphasis of aesthetic values more than socio- political themes for literature, fine art, music and other arts. It can be defined broadly as the elevation of taste and the pursuit of beauty as chief principles in art and in life. This meant that Art during this particular movement focused more on being beautiful rather than having a deeper meaning - ‘Art for Art’s sake’. In the context of British literature there is considerable controversy about when and where aestheticism occurs; but a line can be traced from the art criticism of John Ruskin in the 1850s, through the artists and writers of the Pre-Raphaelite movement and the writings of Walter Pater, to the works of Oscar Wilde and the flowering of decadent poetry of the 1890s. The movement drew upon the formula of “l’art pour l’art”—art for art’s sake—articulated most memorably by the French novelist Théophile Gautier in his 1836 preface to Mademoiselle de Maupin. Gautier was one of a number of French writers and artists of the period who argued that art should be evaluated with reference to its own criteria. In aestheticism the subjective view of beauty becomes the primary means of judging value: when considering whether a poem or a painting is good, aestheticism merely asks if it is beautiful or meaningful as a work of art in itself. This forms a stark contrast to the long-standing custom of judging art and literature either on the basis of the moral lessons it might teach to readers or viewers (its social usefulness) or in terms of its correspondence to real life (its realism). It is this refusal to acknowledge the primacy of morality within art that made aestheticism such a controversial movement from the mid 19th century onward: its proponents were the subjects of vituperative attacks from mainstream writers and critics and were consistently satirized throughout this period. The category of aestheticism is a notoriously slippery one and can overlap with and encompass the categories of Pre-Raphaelitism, decadence, symbolism, 2 and early modernism. In the 19th century, it was related to other movements such as symbolism or decadence represented in France, or decadentismo represented in Italy, and may be considered the British version of the same style. The artists and writers of Aesthetic style tended to profess that the Arts should provide refined sensuous pleasure, rather than convey moral or sentimental messages. As a consequence, they did not accept John Ruskin, Matthew Arnold, and George MacDonald’s conception of art as something moral or useful, “Art for truth’s sake”. Instead, they believed that Art did not have any didactic purpose; it only needed to be beautiful. The Aesthetes developed a cult of beauty, which they considered the basic factor of art. Life should copy Art, they asserted. They considered nature as crude and lacking in design when compared to art. The main characteristics of the style were: suggestion rather than statement, sensuality, great use of symbols, and synaesthetic/ Ideasthetic effects—that is, correspondence between words, colours and music. Music was used to establish mood. Predecessors of the Aesthetics included John Keats and Percy Bysshe Shelley, and some of the Pre-Raphaelites. In Britain the best representatives were Oscar Wilde and Algernon Charles Swinburne, both influenced by the French Symbolists, and James McNeill Whistler and Dante Gabriel Rossetti. 1.3.2 Alazon Alazon is one of the three stock characters in comedy of the theatre in ancient Greece. A character characterized by arrogance, misplaced self-confidence, and a failure to recognize irony. He is a stupid braggart who is easily tricked by the clever Erion. He is the opponent of Erion. The Alazon is an imposter that sees himself as greater than he actually is. The Senexiratus (the angry father) and the miles gloriosus(the glorius soldier) are two types of alazon. 3 ‘Miles Gloriosus’( meaning braggart soldier in Latin) is a stock character of a boastful soldier from the comic theatre of ancient Rome, and variations on this character have appeared in drama and fiction ever since.