Literary Theory and Criticism | Arnold and Eliot

 Function of criticism by Arnold

 

                              

introduction

Matthew Arnold, English Victorian poet and literary. and social critic, noted especially for his classical attacks on the contemporary tastes and manners of the “Barbarians”, the “Philistines”, and the “Populace.” He became the apostle of “culture” in such works as Culture and Anarchy (1869).

Arnold's View Towards Criticism

Matthew Arnold shifted from writing poetry to prose, focusing on criticism. His key ideas appeared in "Essays in Criticism"  and "Culture and Anarchy." In "The Function of Criticism at the Present Time," Arnold emphasized the importance of criticism as a way to spread the best knowledge and ideas across various fields, not just literature. He believed England lagged behind France and Germany in this regard and that English critics needed to engage with European standards.

Arnold's "The Literary Influence of Academies" discussed the provincial nature of English literature due to its isolation from broader European culture. The essays in his 1865 collection cover diverse figures, demonstrating his aim to apply modern ideas to life and literature.

"The Study of Poetry" in the 1888 volume argued that in an era of declining religious faith, poetry should replace religion as a source of consolation and guidance. Arnold stressed the need to distinguish high-quality poetry through the works of recognized masters. His essays on poets like Milton and Wordsworth evaluated their "criticism of life" and their relevance to modern readers.

About T. S. Eliot

Thomas Stearns Eliot  was born in St. Louis, Missouri, into an old New England family. He studied at Harvard and pursued graduate work in philosophy at the Sorbonne, Harvard, and Merton College, Oxford. Eliot eventually settled in England, where he worked as a schoolmaster and a bank clerk before becoming the literary editor and later a director at the publishing house Faber & Faber. He founded and edited the influential literary journal Criterion from 1922 to 1939. In 1927, Eliot became a British citizen and joined the Anglican Church.

 

T. S. Elliot's view on Criticism

   

Thomas Stearns Eliot, a prominent poet and critic, wrote several key essays on literary criticism. His essays, including "The Function of Criticism" (1923), "The Frontiers of Criticism" (1956), and "To Criticize the Critic" (1961), outline his views on the purpose of criticism. Eliot argues that criticism should focus on understanding and spreading the best ideas in literature, theology, history, art, science, sociology, and politics. He believes criticism helps readers appreciate literary values and should be based on principles, not personal feelings or the "Inner Voice" of romanticism.

In "The Function of Criticism," Eliot criticizes the romantic critics, represented by J. Middleton Murry, for their lack of structured principles. He contrasts romanticism, which he sees as chaotic and reliant on intuition, with classicism, which he believes values tradition and structured thought. Eliot asserts that good criticism requires a "highly developed sense of fact" and should clarify and evaluate works of art objectively.

Eliot builds on Matthew Arnold’s ideas from "The Function of Criticism at the Present Time" (1851), but he modifies Arnold’s separation of creative and critical faculties. Eliot argues that creative writing involves critical processes and vice versa. Effective criticism, in his view, engages deeply with the creative work, relying on factual analysis rather than subjective responses. He acknowledges that this method might seem dry but insists it is the only way to achieve true criticism that elucidates texts and refines taste.

Different View of T. S Eliot and Matthew Arnold On Criticism

Eliot finds judgment based on ideas distasteful due to his commitment to Church of England dogma and his less successful attempts at synthesis, compared to Arnold. They hold opposing views on the critic's role: Arnold advocates for a disinterested critic, while Eliot leans towards social advocacy.

Matthew Arnold and T. S. Eliot are notable for their significant influence on literary taste and their strong self-awareness about their roles, evident in both their poetry and criticism. Arnold, excited about influencing the English public, contrasts with Eliot, who highlights the importance of critics reassessing literature periodically. Eliot places himself alongside Dryden, Johnson, and Arnold as key critics. Both poet-critics capture the literary consciousness of their eras, making their comparison a study of the differing sensibilities of their times and their individual perspectives.

Different view on poetry

T.S. Eliot frequently critiques Matthew Arnold's concept of poetry, often with irony and sarcasm. In his essay “Matthew Arnold,” Eliot acknowledges Arnold's balanced knowledge but criticizes his lack of deep scholarship. To understand this critique, one must compare their literary theories.

Arnold's theory is rooted in various European artists and historical contexts, emphasizing universal, timeless human feelings. He admired ancient Greek literature and saw it as a model for modern society, believing it could guide intellectual and cultural progress. Arnold’s "high seriousness" and "grand style" reflect this admiration, with qualities exemplified by poets like Homer and Goethe.

In contrast, Eliot's theory, outlined in "Tradition and the Individual Talent," focuses on the impersonal nature of poetry. He argues that poetry should not reflect the poet's personal feelings but should result from an artistic process that integrates tradition and past literature. Eliot criticizes Arnold for emphasizing the poet's feelings and for isolating historical periods instead of viewing literary tradition as a continuous whole.

Despite some similarities, Eliot often portrays a rivalry with Arnold, mixing sarcastic remarks with reluctant praise. He downplays Arnold's poetic achievements, yet acknowledges that some of his own theories build on Arnold's concepts. For instance, Eliot's "objective correlative" idea, which requires a balance between external circumstances and emotions, echoes Arnold’s emphasis on disinterestedness and separation of ideas from practice.

Arnold's "touchstone-method" uses selected passages from great poets to judge literary quality. Eliot critiques this method but also recognizes its influence. Despite their differences, both poets shaped literary criticism significantly, reflecting their respective eras' sensibilities.

Conclusion

T. S. Eliot and Matthew Arnold are both prominent figures in the history of literary criticism and were well-regarded in their time. Although their ideas on criticism differ, both contributed significantly to the field. They worked to create new perspectives in criticism, often influenced by their religious and political views. Arnold emphasized universal human feelings and admired ancient Greek literature, while Eliot focused on the impersonal nature of poetry and the importance of tradition. Despite their differences, both shaped the critical landscape and left a lasting impact on literary theory.

Thank you.

English Grammar | Adjectives

 WHAT IS AN ADJECTIVE

Adjectives are words that describe or modify other words, making your writing and speaking much more specific, and a whole lot more interesting. Words like small, blue, and sharp are descriptive, and they are all examples of adjectives. Because adjectives are used to identify or quantify individual people and unique things, they are usually positioned before the noun or pronoun that they modify. Some sentences contain multiple adjectives.

In the following examples, the highlighted words are adjectives,

1. They live in a big, beautiful. 

2. Since it’s a hot day, Lisa is wearing a sleeveless. 

3. The mountaintops are covered in sparkling. 

4. On her birthday, Brenda received an antique vase filled with fragrant. 

Types of Adjectives

Remember that adjectives can modify as well as describe other words, and you’ll find it much easier to identify different types of adjectives when you see them.

Articles

There are only three articles, and all of them are adjectives: a, an, and the. Because they are used to discuss non-specific things and people, a and an are called indefinite articles. For example

• I’d like a
• Let’s go on an

Neither one of these sentences names a specific banana or a certain adventure. Without more clarification, any banana or adventure will do.

The word the is called the definite article. It’s the only definite article, and it is used to indicate very specific people or things

• Please give me a banana. I’d like the one with the green stem.
• Let’s go on an adventure. The Grand Canyon mule ride sounds perfect. 

Possessive Adjectives

As the name indicates, possessive adjectives are used to indicate possession. They are:

- My

- Your

- His

- Her

- Its

- Our

- Their

Possessive adjectives also function as possessive pronouns.

COORDINATE ADJECTIVE

Coordinate adjectives are separated with commas or the word and, and appear one after another to modify the same noun. The adjectives in the phrase bright, sunny day and long and dark night are coordinate adjectives. In phrases with more than two coordinate adjectives, the word and always appears before the last one; for example: The sign had big, bold, and bright letters.

Be careful, because some adjectives that appear in a series are not coordinate. In the phrase green delivery truck, the words green and delivery are not separated by a comma because green modifies the phrase delivery truck. To eliminate confusion when determining whether a pair or group of adjectives is coordinate, just insert the word and between them. If and works, then the adjectives are coordinate and need to be separated with a comma.

NUMBERS ADJECTIVES

When they’re used in sentences, numbers are almost always adjectives. You can tell that a number is an adjective when it answers the question “How many?”

The stagecoach was pulled by a team of six

He ate 23 hotdogs during the contest, and was sick afterwards.

Interrogative Adjectives

There are three interrogative adjectives: which, what, and whose. Like all other types of adjectives, interrogative adjectives modify nouns. As you probably know, all three of these words are used to ask questions.

- Which option sounds best to you?

- What time should we go?

- Whose socks are those?

-  Indefinite Adjectives

Like the articles a and an, indefinite adjectives are used to discuss non-specific things. You might recognize them, since they’re formed from indefinite pronouns. The most common indefinite adjectives are any, many, no, several, and few.

-Do we have any peanut butter?

-Grandfather has been retired for many

- There are no bananas in the fruit bowl.

- I usually read the first few pages of a book before I buy it.

- We looked at several cars before deciding on the best one for our family.

ATTRIBUTIVE ADJECTIVES

Attributive adjectives talk about specific traits, qualities, or features – in other words, they are used to discuss attributes. There are different kinds of attributive adjectives:

• Observation adjectives such as real, perfect, best, interesting, beautiful or cheapest can indicate value or talk about subjective measures.
• Size and shape adjectives talk about measurable, objective qualities including specific physical properties. Some examples include small, large, square, round, poor, wealthy, slow and
• Age adjectives denote specific ages in numbers, as well as general ages. Examples are old, young, new, five-year-old, and
• Color adjectives are exactly what they sound like – they’re adjectives that indicate color. Examples include pink, yellow, blue, and
• Origin adjectives indicate the source of the noun, whether it’s a person, place, animal or thing. Examples include American, Canadian, Mexican, French.
• Material adjectives denote what something is made of. Some examples include cotton, gold, wool, and
• Qualifier adjectives are often regarded as part of a noun. They make nouns more specific; examples include log cabin, luxury car, and pillow cover.

Thank you.

The Trunk of Ganesha by Jayanta Mahapatra

Introduction 

Jayanta Mahapatra is one of the most renowned Indian English poets, celebrated as the first Indian to win the Sahitya Akademi Award for English Poetry. His works "Indian Summer" and "Hunger" are considered classics in modern Indian English literature, showcasing his mastery in capturing the essence of Indian life and struggles. In recognition of his contributions, he was awarded the Padma Shri in 2009, though he returned the award in 2015 as a form of protest.

Mahapatra has authored 27 books of poetry, with seven written in Oriya and 20 in English, demonstrating his versatility and prolific nature as a poet. His literary journey began with the publication of "Svayamvara and Other Poems" in 1971, followed by "Close the Sky Ten by Ten." His poem "Relationship" earned him the prestigious Sahitya Akademi Award in 1981, further cementing his status as a significant figure in Indian literature.

The Trunk of Ganesha

"The Trunk of Ganesha" is a short story about Govinda, a skilled idol maker who lives with his wife Sulochana and their three sons. Only his youngest son, Ranju, is interested in learning the art of idol making from him. Govinda is proud of his craft, but he faces a mysterious problem when making an idol of Ganesha. Every night, the trunk of the Ganesha idol breaks, despite his careful work during the day.

Govinda worries that he might be angering the gods by charging too much for the idols or by making the goddesses too slim. Determined to solve the mystery, Govinda and Ranju hide in the workshop one night to see what happens. While Ranju falls asleep, Govinda sees a shadow at the window. He discovers that a cat has been jumping on the trunk of the idol, causing it to break.

The story concludes with the simple and surprising revelation that a cat was responsible for the damage, highlighting how superstitions can often lead people to overlook simple, logical explanations.

Thank you.

Lord the of Flies by William Golding

 Introduction to Author 

Sir William Gerald Golding was an esteemed English novelist, playwright, and poet, renowned primarily for his masterpiece, "Lord of the Flies." Born in Cornwall, England, Golding spent his formative years in Wiltshire, where his father served as a science master. His early education took place in the same school where his father taught, fostering a deep connection to academia from a young age. After marrying Anne Brookfield in 1939, Golding began his career as a schoolmaster, teaching Philosophy and English before focusing solely on English from 1945 to 1962. During World War II, he joined the Royal Navy in 1940, an experience that would later influence his writing.

Golding's literary achievements earned him widespread recognition and accolades. In 1983, he was awarded the Nobel Prize in Literature for his impactful contributions to the literary world. Notably, his novel "The Rites of Passage," part of the "To the Ends of Earth" trilogy alongside "Close Quarters" and "Fire Down Below," received the prestigious Booker Prize in 1980. Knighted by Queen Elizabeth II in 1988 and esteemed as a fellow of the Royal Society of Literature, Golding's legacy endures through his compelling storytelling and profound exploration of humanity's darkest facets. His works, including "Lord of the Flies" and "Darkness Visible," draw inspiration from timeless literary classics, demonstrating his mastery of language and depth of insight into the human condition.

Introduction to Novel

"Lord of the Flies," a 1954 dystopian novel by William Golding, follows a group of British boys stranded on an uninhabited island who attempt to govern themselves, resulting in disastrous consequences. The title of the novel alludes to Beelzebub, another name for the devil, symbolizing the boys' descent into chaos and savagery. Initially rejected by 56 publishers, the book was eventually accepted by Faber and Faber, marking the beginning of its worldwide success. Golding's novel serves as a response to R.M. Ballantyne's youth novel "The Coral Island," which presents a contrasting, idyllic portrayal of island life. Characters like Ralph, Jack, and Simon embody different aspects of human nature, with Ralph representing rationality, Piggy pragmatism, Jack savagery, and Simon innocence, adding depth to the novel's exploration of the darker side of humanity.

Character Map

Brief Outline of the Story

The novel opens with a British plane crashing near an isolated island in the Pacific Ocean. The only survivors are a group of boys in their middle childhood, including the protagonists Ralph, aged 12 and Piggy, and the antagonist Jack.

Ralph finds a conch shell and uses it to summon all the survivors. He is elected as their chief, with the primary goals of having fun, surviving, and maintaining a smoke signal to alert passing ships. Jack is made responsible for obtaining food, while Simon is tasked with constructing shelters.

The boys believe there is a beast on the island, but Ralph dismisses their fears. One night, a dead pilot parachutes onto the island during an aerial battle. Sam and Eric mistake the pilot for the beast, leading to a misunderstanding.

Simon envisions the decapitated pig's head swarming with flies as the "Lord of the Flies," which seemingly speaks to him. Later, the boys mistake Simon for the beast and violently kill him in a tragic case of mistaken identity.

Jack and Ralph form separate groups, with Ralph accompanied by Piggy, Sam, and Eric. Jack's group becomes increasingly savage, attacking Ralph's camp to steal Piggy's glasses (which they need to make fire) and planning to hunt Ralph.

Piggy, who represents scientific rationality, asserts that "Life is Scientific" and invents a sundial for the boys to tell time. When Jack attacks, Piggy pleads for rules and rescue over hunting and destruction, but Roger, Jack's cruel lieutenant, kills Piggy by rolling a boulder onto him.

The novel presents Simon as a Christ-like figure, Ralph as representing the civilizing instinct, Jack as representing the instinct of savagery, and Piggy as Ralph's rational lieutenant. The Lord of the Flies symbolizes the primordial instinct of power and cruelty that takes over Jack's tribe, who erect a sow's head as an offering to the beast.

Thank you. 

David Copperfield by Charles Dickens

Introduction 

"David Copperfield" is a novel by one of the famous English writer Charles Dickens, published in parts from 1849 to 1850 and as a book in 1850. It has always been one of Dickens's most popular novels and was his personal favorite. The story is partly based on Dickens's own life, even though David Copperfield is different from Dickens in many ways. The novel reflects Dickens's early experiences, including his time working in a factory, his education and reading, and briefly, his move from being a parliamentary reporter to a successful novelist. This novel focuses on the adventures of David Copperfield from childhood to maturity, and generally categorized in bildungsroman genre. 

Autobiographical Elements in the Novel 

In 1848, when Charles Dickens was already a popular and successful novelist, he began writing his autobiography, intending for it to be found after his death. He shared a fragment with his close friend John Forster but soon abandoned and destroyed the manuscript. After Dickens died, Forster included the fragment in his biography of Dickens, revealing a painful episode from Dickens's childhood: at age 12, his parents took him out of school to work in a boot-blacking warehouse to help with family bills. His father was sent to debtor's prison, and the rest of the family, except for Charles, moved there with him. Charles lived in a rented room nearby until his father was released and sent him back to school.

After giving up on his autobiography, Dickens began writing "David Copperfield," his eighth novel. Following Forster's suggestion, he used a first-person narrator for the first time. This choice allowed Dickens to incorporate some of his own experiences into the novel. David Copperfield's feelings of abandonment while working at Murdstone and Grinby's warehouse closely mirror Dickens's own childhood experiences. However, many characters and events in the novel are fictional, such as David's apprenticeship, his friendship with Steerforth, and the stories involving Miss Betsey, the Peggottys, Dr. Strong, and the Wickfields.

"David Copperfield" is a Bildungsroman, a coming-of-age story where the hero matures through overcoming challenges. Dickens drew on his own experiences for some elements, like his youthful obsession with Maria Beadnell, who inspired David's first wife, Dora Spenlow, and his father, who inspired the character of Mr. Micawber.

Characters

Outline of Story

"The Personal History, Adventures, Experience, and Observations of David Copperfield, the Younger of Blunderstone Rookery," commonly known as "David Copperfield," is an autobiographical novel by Charles Dickens. In the preface to the 1867 edition, Dickens affectionately referred to David Copperfield as his favorite character, likening him to a beloved child. David Copperfield's early life is marked by hardship and loss. Born after his father's death, David is raised by his mother and their housekeeper, Peggotty. His mother remarries when David is seven, and his stepfather, Edward Murdstone, is cruel and abusive, eventually sending David to the harsh Salem House boarding school under the ruthless headmaster Mr. Creakle. Tragedy strikes when David's mother and her newborn baby die shortly after his return from a holiday. Murdstone then forces David to work for a wine merchant in London.

As David grows, he encounters a variety of characters who shape his life, including Agnes Wickfield, his landlord's daughter, who becomes his close confidant. David's romantic life is tumultuous; he marries the beautiful Dora Spenlow, who tragically dies from a miscarriage. He later finds lasting happiness with Agnes Wickfield, who has always loved him, and they have four children together, including a daughter named Betsy. David's great aunt, who has always been a significant figure in his life, renames him "Trotwood Copperfield." The character of Dora is inspired by Dickens's first love, Maria Beadnell. The novel's central theme revolves around the arbitrary suffering of innocents, reflecting Dickens's critique of societal injustices.

Themes

The Plight of the Weak in David Copperfield

In "David Copperfield," the powerful exploit the weak, highlighting the mistreatment of orphans, women, and the mentally disabled in industrial society. Dickens, drawing from his own childhood, portrays the cruelty of child labor and debtors' prison. Characters like young David suffer unjustly, such as when he endures hardship in a wine-bottling factory under Mr. Murdstone's exploitation, and when boys at Salem House face Mr. Creakle's cruelty. 

The weak don't overcome oppressors directly but find refuge with other powerful figures. David, for instance, doesn't confront Mr. Murdstone but escapes to his wealthy great aunt, Miss Betsey, whose financial stability protects him. This highlights the importance of family ties and financial security over self-reliance in overcoming adversity.

Equality in Marriage

In "David Copperfield," successful marriages are those where husband and wife are equals. Dickens presents the Strongs' marriage as an ideal, showing that happiness comes from mutual respect. Conversely, Mr. Murdstone's attempts to assert superiority over David's mother only crush her spirit and make her submissive.

Doctor Strong, while aiming to improve his wife Annie's character, does so out of love and respect, treating her gently, unlike the harsh Mr. Murdstone. Although Doctor Strong believes his wife depends on him for moral guidance, reflecting traditional gender roles, Dickens suggests progress towards more balanced and empowering relationships for women.

Wealth and Class

Dickens criticizes society's belief that wealth and class determine a person's worth. He portrays Steerforth, wealthy and noble, as treacherous and self-absorbed, contrasting him with the generous and sympathetic Mr. Peggotty and Ham, who are poor. Dickens challenges the notion that poverty reflects moral deficiency, sympathizing with the poor and blaming society for their woes.

However, Dickens doesn't oversimplify by suggesting that all poor are noble and all rich are evil. Some poor characters swindle David, and wealthy characters like Doctor Strong and Agnes are morally upright. Dickens emphasizes that wealth and class don't define character, urging us to judge individuals based on their actions, not their circumstances.

Life Choices

In "David Copperfield," Charles Dickens explores the significance of life choices, drawing parallels to his own experiences. While Dickens's father intervened to rescue him from a warehouse job, David, as an orphan, makes pivotal choices independently, starting with running away from the warehouse. Miss Betsey and Agnes play crucial roles in guiding his decisions, with Agnes providing steadfast support. Learning from mistakes is emphasized, seen in David's reflection on his relationship with Dora. Dickens contrasts characters like Steerforth and Uriah Heep, who fail to analyze and learn from their choices, with those like David, who grow and succeed through self-reflection.

Satire on Child Labor

Charles Dickens many times used young characters to highlight the suffering of the poor in Victorian society. The Poor Laws of 1834 stopped direct financial aid to the poor, forcing them to seek help from workhouses. The Industrial Revolution increased the demand for cheap labor, and many children from poor families had to work long hours in harsh conditions, similar to David Copperfield and Dickens himself.

Throughout the 19th century, the idea that children should be protected grew stronger. Starting in the 1830s, Victorian society introduced laws to improve children's well-being. Despite high infant mortality rates, the number of young people grew during Queen Victoria's reign. Industrialization worsened child labor issues, and although laws helped, they never fully ended the practice.

Thank you.

On Dartmoor by Neil Grant

 

Introduction

"On Dartmoor" is a one-act play by Neil Grant that initially seems like a crime story but is actually a satire on a certain type of idealism, with some comic moments. The play also highlights the political conflicts between Europe and Russia.

The setting of the play takes place in a room of a bungalow on Dartmoor, owned by two young friends, Muriel and Leonora. The room is modern and artistically furnished, indicating the girls are from wealthy families. There are two doors and windows on either side of the center door, with a telephone on a table to the right of the center door.

Characters

• Bill Syme 

• Albert Read / Sergeant Read 

• Fred Lee
• Two Servants
• Muriel Armstrong 
• Leonora Ashley

Story of the Play

The play opens with Muriel being informed by the police about an escaped criminal, and being told to alert them if he comes their way. An engaging conversation between Muriel and her friend Leonora follows, giving us insight into their naive and idealistic lifestyle.

Later, the escaped prisoner named Bill Syme enters their home. Surprisingly, the two women provide him shelter and treat him like a guest, completely unaware that he is a dangerous criminal. Blinded by their idealism and ignorance of the real world, they fail to recognize that Bill is manipulating them.

Initially portrayed as intelligent, Muriel and Leonora's actions contradict this, with Bill appearing more cunning. The women serve him food and drink as he spins a tale about his supposed unjust imprisonment, appealing to their anarchist beliefs against rules and authority. Bill asks for money to escape to Plymouth, which the women provide, seeing themselves as helping an unjustly persecuted man. They even lend him the grandfather's old suit to change out of his convict clothes.

When they hear a car outside, thinking it's the police, they hastily hide Bill upstairs. But it turns out to be two conmen posing as a detective and his partner, who ransack the house and steal valuables before escaping. Realizing they were tricked, the disillusioned women are crying when an actual escaped convict named Fred Lee arrives pleading for help. However, in their frustration, they beat and bind him while calling the real police.

Thank you.

A Marriage Proposal by Anton Chekhov

 A Marriage Proposal 

Anton Chekhov 

Anton Pavlovich Chekhov, renowned as a Russian physician, playwright, and celebrated author, is hailed as one of the greatest short story writers in history. He famously likened his dual passions, stating, "Medicine is my lawful wife and Literature is my mistress." Among his notable works are four renowned plays: "The Seagull" (1896), "Uncle Vanya" (1897), "Three Sisters" (1900), and "The Cherry Orchard" (1904). Chekhov employed pseudonyms such as 'Antosha Chekhonte' and 'Man without a Spleen' in his writing endeavors. Upon his return from Ukraine, he embarked on crafting the novella-length short story

The Proposal | Introduction

"The Proposal," a short story adapted from a Russian play by Anton Chekhov, delves into the strained relationship between two affluent neighbors. The narrative revolves around Ivan Lomov, a 35 year old wealthy bachelor plagued by heart troubles, who seeks to marry his neighbor's daughter, 25 year old Natalya. However, his intentions hinge on securing the blessing of Natalya's father, Stepan Chubukov, a prosperous landowner. The story explores themes of discontentment, greed, and the pursuit of wealth through the seemingly simple solution of marriage, highlighting the complexities of human relationships and social dynamics.

Summary

The play is set in rural Russia in the late 1800s, Ivan Lomov visits the Chubukov family to propose to their daughter, Natalya. At first, Natalya's father, Stepan, thinks Ivan has come to borrow money, but he's happy when Ivan asks for Natalya's hand in marriage. Stepan leaves to get Natalya, promising Ivan that she'll accept.

While waiting, Ivan talks to himself about his nerves and health issues. When Natalya arrives, they chat about simple things at first, but when Ivan mentions his family's ownership of Oxen Meadows, they argue about who owns it. The argument gets intense, and Ivan feels dizzy.

Despite trying to refocus on proposing, they keep arguing. Stepan joins in, siding with Natalya and telling Ivan to leave. When Ivan is gone, Stepan tells Natalya that Ivan came to propose, and she insists on bringing him back.

When Ivan returns, Natalya tries to steer the conversation toward romance, but they end up arguing about their dogs instead. Ivan faints, but then wakes up and proposes to Natalya, who accepts. However, they quickly return to arguing about their dogs.

To conclude, "The Marriage Proposal" is a funny play that contrasts with Chekhov's heavier works.

"The Marriage Proposal" is indeed a delightful farce that could have taken a darker turn, but instead, the playwright keeps its lively humor intact, ending with a successful albeit tumultuous engagement.

Thank you. 

Pygmalion: G. B. Shaw

Pygmalion

Introduction

Pygmalion is George Bernard Shaw's most famous play, mainly because of its 1938 movie adaptation. Shaw wrote the screenplay and was the first person to win both a Nobel Prize and an Academy Award. He initially imagined the character Eliza Doolittle for a beautiful actress, Mrs. Patrick Campbell, but they didn't have a romantic relationship as rumored. Some people think the strained relationship between Eliza and Professor Higgins reflects Shaw's own romantic struggles in his marriage. Shaw believed that English people didn't take their language seriously, leading to issues with accents and class in society. As a socialist, Shaw used Pygmalion to criticize social norms, including marriage and language. He focused on language in the play to address previous criticisms of his work lacking depth.

Characters

Act I

On a rainy night in Covent Garden, Clara and her family are struggling to find a cab. Freddy accidentally bumps into Liza, a flower girl, causing her flowers to fall into the mud. Clara's mother gives Liza some money for the ruined flowers. Then Colonel Pickering appears, and Liza tries to sell him a flower. She gets upset when she thinks he's a police informant, but he's actually a man named Higgins who studies accents. Higgins impresses the crowd by guessing where people are from based on their speech. He helps Clara and her mother get a taxi, and they leave. Higgins explains to Pickering how he makes money by teaching people to speak better English. They plan to have dinner together. Liza tries to sell more flowers to Pickering, but Higgins catches her in a lie. Despite this, he gives her money and leaves with Pickering. Later, Freddy arrives in a cab, looking for his family. Liza decides to take the cab home, despite the cabman's doubts about her appearance, and shows him she has money before getting in.

Act II

The next day at 11:00 a.m., Higgins and Pickering are at Higgins's house on Wimpole Street. They discuss Higgins's Universal Alphabet before Mrs. Pearce brings in Liza. Liza, cleaned up a bit, wants to take language lessons from Higgins to work in a flower shop. Higgins is intrigued when Pickering bets him he can't pass her off as a lady at a ball in six months. Pickering offers to pay for Liza to stay and learn full-time. Mrs. Pearce worries it's improper, but Liza says her parents kicked her out. Despite protests, Liza agrees to stay and learn.

Liza's father, Alfred Doolittle, arrives, impressed when Higgins guesses his Welsh roots. Alfred demands Liza back, claiming Higgins is taking advantage. Higgins accuses Alfred of trying to blackmail him. Alfred admits he's there for money and mentions Liza's cab ride to Higgins's house. He hints at wanting payment for Liza's stay, even suggesting she could be a prostitute. Higgins finds Alfred amusing and offers him money. Alfred takes five pounds, saying it's enough for him and his wife to enjoy. Liza returns in a new kimono, surprising everyone with her transformation. Alfred leaves quickly, and Higgins tells Liza he said Alfred should return later to speak with Higgins's clergyman brother, a lie to keep him away. Mrs. Pearce announces new clothes for Liza, and she excitedly rushes out as Pickering and Higgins discuss the challenge ahead.

Act III

The next day at 11:00 a.m., Higgins and Pickering are at Higgins's house on Wimpole Street. They discuss Higgins's Universal Alphabet before Mrs. Pearce brings in Liza. Liza, cleaned up a bit, wants to take language lessons from Higgins to work in a flower shop. Higgins is intrigued when Pickering bets him he can't pass her off as a lady at a ball in six months. Pickering offers to pay for Liza to stay and learn full-time. Mrs. Pearce worries it's improper, but Liza says her parents kicked her out. Despite protests, Liza agrees to stay and learn.

Liza's father, Alfred Doolittle, arrives, impressed when Higgins guesses his Welsh roots. Alfred demands Liza back, claiming Higgins is taking advantage. Higgins accuses Alfred of trying to blackmail him. Alfred admits he's there for money and mentions Liza's cab ride to Higgins's house. He hints at wanting payment for Liza's stay, even suggesting she could be a prostitute. Higgins finds Alfred amusing and offers him money. Alfred takes five pounds, saying it's enough for him and his wife to enjoy. Liza returns in a new kimono, surprising everyone with her transformation. Alfred leaves quickly, and Higgins tells Liza he said Alfred should return later to speak with Higgins's clergyman brother, a lie to keep him away. Mrs. Pearce announces new clothes for Liza, and she excitedly rushes out as Pickering and Higgins discuss the challenge ahead.

Act IV

At midnight on Wimpole Street, Eliza enters looking worn out. Pickering and Higgins ignore her, discussing trivial matters. They've been to social events where Eliza successfully passed as a high-class lady, impressing everyone. Higgins is glad the experiment is over, but Eliza feels lost now that it's done. Higgins suggests she'll feel better after some sleep and hints she could marry. Eliza rejects the idea, asserting her independence. She questions if her clothes belong to her, and Higgins assures her they do. Eliza takes advantage, asking Higgins to keep the borrowed jewels safe. Higgins explodes, and Eliza returns a ring he gave her, satisfied to get "a little of her own back." Higgins storms out, and Eliza mimics his accent before searching for the ring in the ashes.

Act V

In her drawing room, Mrs. Higgins learns that Pickering and Higgins are downstairs, seemingly calling the police for Eliza. Higgins frets about Eliza leaving, feeling lost without her reminders. Mr. Doolittle enters, blaming Higgins for his misfortune. He explains that a letter from Higgins led to him inheriting money, but he's miserable as a gentleman and struggles with newfound wealth. Mrs. Higgins reveals Eliza is upstairs, upset. Eliza descends, confident and refined in speech, angering Higgins. She thanks Pickering for treating her as more than an experiment and criticizes Higgins for his treatment. Doolittle announces he's marrying Eliza's mother and invites Pickering to the wedding. Mrs. Higgins decides to attend, leaving Higgins and Eliza alone. Eliza rejects Higgins's authority and asserts her independence, expressing interest in marrying Freddy or becoming a teacher. Higgins admires her spirit and suggests they live together with Pickering. Mrs. Higgins returns for Eliza, and Higgins asks her to run errands, bidding her goodbye confidently.

In an epilogue, Eliza marries Freddy, causing a stir. With a gift from Pickering, she opens a flower shop, while Clara pursues her own interests. Freddy and Eliza struggle at first but eventually succeed in their business, leading a comfortable life.

Here is the movie for further understanding, 

Thank you. 

The Ballad of Father Gilligan By W. B. Yeats

 W. B. Yeats 

William Butler Yeats  was born in 1865 in Sandymount, County Dublin, Ireland. His early interest in poetry was sparked by his fascination with Irish legends and the occult. Although he wrote poetry long before, his first published verse appeared in 1889. Yeats is regarded as one of the most significant figures of the 20th century and played a key role in the revival of Irish literature. Some of his most notable works include "When You Are Old," "Her Anxiety," and "A Dialogue of Self and Soul." A versatile writer, Yeats explored many forms in his poetry. In 1923, he was awarded the Nobel Prize in Literature. He passed away in 1939 at the age of 73.

The Ballad of Father Gilligan

About "The Ballad of Father Gilligan"

"The Ballad of Father Gilligan" is a ballad that tells the story of an old priest named Peter Gilligan, who is exhausted from responding to numerous calls from dying parishioners. The poem is set in the countryside, although the exact location is not specified. The countryside setting is evident from the mention of "green sods" in the first stanza. Moreover, in stanzas 7 and 8, the priest saddles a horse and rides it quickly, which suggests an open, rural area where such fast riding is possible.

Summary of Poem

There is an old priest named Father Gilligan who was very tired. Half of his parishioners had died, and he had to perform his priestly duties for each of them. One day, while he was resting in a chair, he was called to attend to another dying man. Overwhelmed, Father Gilligan cried out in distress but immediately asked the Lord for forgiveness and knelt to pray. He fell asleep in that position and slept for a long time, through the night and the next day.

When he woke up, he realized a whole day had passed. He quickly saddled a horse and rode to the home of the dying man. When he arrived, the man's wife was surprised to see him again and told him that her husband had already passed away, comforted by Father Gilligan's visit the previous night. Overjoyed, Father Gilligan realized that God had heard his plea and sent an angel to do his duty while he slept.

Analysis of Poem

The poem "The Ballad of Father Gilligan" is structured in short stanzas with a rhyming scheme, making it a perfect ballad. It begins with the portrayal of Father Gilligan, an old priest who is extremely exhausted because half of his parishioners have died. The metaphorical language of "sleeping in their beds" and "lying under the green sods" indicates that they are deceased.

The term "flock" refers to the parishioners who rely on the priest, highlighting the heavy responsibility he bears as the sole source of support for them. This, coupled with the mention of "green sods," suggests a rural countryside setting with a high ratio of people to priest.

When another person sends for the priest's help, he grieves at the news of another impending death, revealing his compassionate nature and the toll that the recent spate of deaths has taken on him. His outburst reflects his exhaustion and the magnitude of the tragedy that has befallen the village. As night falls, vivid imagery depicts its arrival, with the suggestion that God is close to humanity during these peaceful moments, conveying a sense of divine benevolence.

Upon waking in the morning, Father Gilligan anxiously sets out to fulfill his duty, riding swiftly through the rocky lanes and marshes of the countryside. His cry of "Mavrone! Mavrone!" expresses his grief, reinforcing the Irish countryside setting, which is typical of Yeats's works. Upon arriving at the poor man's house, he fears he may have failed in his duty, only to be reassured by the man's wife that her husband passed away peacefully and happily shortly after the priest's visit. Father Gilligan realizes that God had intervened, sending an angel to fulfill his duties while he slept.

This poem is one of the few religious-themed works by Yeats, showcasing the themes of compassion, exhaustion, and divine intervention in the face of hardship.

Thank you.

Still I Rise by Maya Angelou

 Poet Introduction 

Maya Angelou, born Marguerite Johnson on April 4, 1928, in St. Louis, Missouri, she grew up in St. Louis and Stamps, Arkansas. She was a multi-talented author, poet, historian, songwriter, playwright, dancer, producer, director, performer, singer, and civil rights activist. Angelou is famous for her seven autobiographies, including "I Know Why the Caged Bird Sings," and several poetry collections, such as "Just Give Me a Cool Drink of Water 'fore I Diiie."

In 1959, at Martin Luther King Jr.'s request, she became the northern coordinator for the Southern Christian Leadership Conference. She worked as an editor in Cairo and Ghana in the 1960s. Angelou returned to the U.S. in 1974, was appointed to the Bicentennial Commission by Gerald Ford, and later to the Commission for International Woman of the Year by Jimmy Carter. She became a professor at Wake Forest University in 1982.

In 1993, she wrote and recited a poem at Bill Clinton's inauguration. Angelou received the National Medal of Arts in 2000 and the Presidential Medal of Freedom in 2010. She was Hollywood's first black female director, worked on various TV and film projects, and was nominated for two Tony awards. Angelou died on May 28, 2014, in Winston-Salem, North Carolina, at the age 86.

Still I Rise 

You may write me down in history

With your bitter, twisted lies,

You may trod me in the very dirt

But still, like dust, I'll rise.

Does my sassiness upset you?

Why are you beset with gloom?

'Cause I walk like I've got oil wells

Pumping in my living room.

Just like moons and like suns,

With the certainty of tides,

Just like hopes springing high,

Still I'll rise.

Did you want to see me broken?

Bowed head and lowered eyes?

Shoulders falling down like teardrops.

Weakened by my soulful cries.

Does my haughtiness offend you?

Don't you take it awful hard

'Cause I laugh like I've got gold mines

Diggin' in my own back yard.

You may shoot me with your words,

You may cut me with your eyes,

You may kill me with your hatefulness,

But still, like air, I'll rise.

Does my sexiness upset you?

Does it come as a surprise

That I dance like I've got diamonds

At the meeting of my thighs?

Out of the huts of history's shame

I rise

Up from a past that's rooted in pain

I rise

I'm a black ocean, leaping and wide,

Welling and swelling I bear in the tide.

Leaving behind nights of terror and fear

I rise

Into a daybreak that's wondrously clear

I rise

Bringing the gifts that my ancestors gave,

I am the dream and the hope of the slave.

I rise

I rise

I rise.

Poem Synopsis

In "Still I Rise," Maya Angelou uses clever wordplay to highlight both the history and personal significance of African-Americans. She intertwines "Write down in history" to refer to the recording of her people's story and her own achievements. Despite facing ridicule and mistreatment, Angelou asserts her resilience, comparing herself to dust that rises after being stepped on.

In the second stanza, Angelou challenges the listener's reaction to her confidence, sexuality, and beauty. She embraces these qualities confidently, comparing her abundance to that of an oil baron. She insists she will rise like the sun and moon, symbolizing ongoing hope and determination. The moon's pull on the tides symbolizes reliability, much like the daily cycles of sunrise and sunset.

In the fourth stanza, Angelou asks questions that suggest others want to crush her spirit, but in the fifth stanza, she stands proud and defiant, her laughter reflecting self-confidence and wealth.

In the sixth stanza, Angelou compares her resilience and that of fellow black people to the effortless movement of air. Despite facing hatred and cruelty, they rise lightly and freely.

The seventh stanza shifts from sassiness to overt sexiness, with Angelou's confident swagger depicted through the image of diamonds between her thighs.

The poem's final lines repeat "I rise," showing that she and others have overcome historical shame. Like a strong "black ocean," she endures and thrives, leaving behind a past of fear and embracing a hopeful future. This new dawn represents the fulfillment of her ancestors' dreams and the achievements of Civil Rights activists, symbolizing a precious gift.

Themes 

Oppression

Oppression is a key theme in the poem, addressing the historical suffering of black people and condemning their white oppressors. The poet's determination to overcome hardships and resist oppression honors the legacy of her enslaved ancestors.

Resilience

Another important theme in the poem is resilience, showing the fight and victory against racism over time. The poet expresses a determined and fighting spirit, refusing to give up and declaring her determination to overcome challenges.

The link between oppression and racism is important in the speaker's story. Calling herself a "black ocean" clearly refers to race and highlights the difference between "you" and "I" in the poem. The poet condemns racism and supports the idea of overcoming prejudice, no matter what someone's background or skin color is.

Sexism

The poem also hints at sexism, as the speaker's defiance may be driven by her being female. The metaphorical language mainly addresses the oppression of black men and women, but the speaker's confident sexuality and bold "dancing" highlight a strong female presence. By embracing her sexuality and rejecting male dominance, she combats discrimination based on both race and gender.

Thank you.