Assignment PDF

Assignment PDF

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Assignments
Department of English

Nikita Rathod
Roll No :- 21

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Contents
Assignments .................................................................................................................................................. 3
Assignment :- 1 In Hamlet play Ophelia and Gertude's character ........................................................... 3
Assignment :- 2 Coleridge's view on poem and prose .............................................................................. 8
Assignment - 3 Evaluate a story of Robinson Crouse ............................................................................. 12
Assignment :- 4 Evaluate a story of Kanthapura ..................................................................................... 16
Assignment :- 5 The theme Of Sense and Sensibility .............................................................................. 20
Assignment :- 6 Character Of Oliver Twist .............................................................................................. 24
Assignment :- 7 T. S. Eliot : Traditional and Individual Talent ................................................................ 27
Assignment :- 8 Postmodernism and Popular Culture ............................................................................ 31
Assignment :- 9 Themes Of The Birthday party ...................................................................................... 35
Assignment :- 10 Critical Analysis of The Scarlet Letter .......................................................................... 39
Assignment :- 11 A brief note on The Tempest ...................................................................................... 43
Assignment :- 12 Second Language teacher education by Donald Freeman ......................................... 47
Assignment :- 13 Class difference in The White Tiger ........................................................................... 51
Assignment :- 14 Human relationships in Wole Soyinka's The Swamp Dweller .................................... 56
Assignment :- 15 History and Evolution of Indian film Industry ............................................................ 60

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Assignments




Assignment :- 1 In Hamlet play Ophelia and Gertude's character


Name :- Rathod Nikita p.
Semester :- M. A. Semester - 1
Roll no :- 32
Enrolment no :- 2069108420190038
Paper no :- 1 ( The Renaissance literature )
Assignment topic :- In Hamlet play Ophelia and Gertrude’s character
Year :- 2018-2020
Email - id :- [email protected]
Submitted to :- smt. S. B. Gardi Department of English. Maharaja
krishnakumarsinhji Bhavnagar University.

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(1) In Hamlet play Ophelia and Gertrude’s character.
=> In Hamlet play woman characters suffers a lot. Shakespeare gives first
priority to man characters and than he gives second priority to woman characters.
In Hamlet Shakespeare does not gives power and position to woman characters.
And Shakespeare does not gives power or position to woman characters. And
Shakespeare does not gives any powerful arguments or dialogues to woman
characters. Gertrude and Ophelia becomes a tool of man chracters. Shakespeare is
more emphasised on man characters. Shakespeare gives less priority to woman
characters. And Shakespeare gives more opportunities to man characters. And
Shakespeare gives less opportunities to woman characters. This is the main
difference and contrast between man characters and woman characters.

* Ophelia's character :-
Ophelia is a beautiful. And she is a daughter of polonius. She truely
loves hamlet. For hamlet his revenge is more important than Ophelia. That's why
hamlet leaves Ophelia. She becomes a part of cludius and polonius's plan. Hamlet
is play with Ophelia's real emotions. Hamlet hurts Ophelia. Hamlet's manner is
changing. And he speaks to Ophelia in an insulting manner.
Laertes and polonius protects ophelia. They are concerns for Ophelia.
That's why they gives advice to Ophelia to away from hamlet. Ophelia tells her
father that hamlet is also loves her. But polonius said that hamlet will only use
Ophelia for sex. Laertes also agree with his father. Both are cares for Ophelia.
Ophelia was viewed by her father, brother and consequently the audience
as a virginal native girl. Ophelia is innocent and pure hearted girl. Her innocence is
emphasised when Shakespeare makes a link between Ophelia and flowers a
common symbol of sexual purity. When polonius is killed Ophelia's madness
develops. She starts carrying and spreading flowers. This is the first connection
between Ophelia and flowers in the play. A second link is when Gertrude scatters
flowers on her grave. Laertes, refers to her as 'rose of May' and imagines violets

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growing from her 'unpolluted flesh'. Flowers traditionally represents new birth and
then innocence and naviety. Hamlet and Ophelia both becomes blind for different
reasons. Hamlet becomes blind for his father's revenge and he also does not likes
that his mother remarried with his uncle cludius. And Ophelia becomes a blind for
Hamlet's love.
Shakespeare puts Ophelia's character as forward the inocence, nstive,
overprotected girl that would not be uncommon in Elizabethan time. That time due
to restricted rights and inferiority compared to men. Hamlet also becomes cruel for
Ophelia. And also she kills herself. Hamlet is only the reason of her death. Because
there is two reasons behind the death of Ophelia. First reason is Polonius's death
and second reason is Hamlet's betrayal. So in both reason hamlet is medium.
Hamlet wants to kills cludius but he kills polonius unknowingly. And he leaves
Ophelia for his revenge. Her love became the reason of her death. So he becomes
the main reason of Ophelia's tragedy. Ophelia has hardly any will of her own.
Hamlet dominants the play and over shadow's nearly all the characters in it,
especially the woman he professes to love.
When Ophelia's father polonius wants to help king cludius
discover what is wrong or what is true. Both are eager to know Hamlet's reality. He
asks Ophelia to use her relationship with hamlet to know the Hamlet's real
intention. But hamlet is samart. He knew the cludius and polonius's plan. And he
upset with Ophelia. He is angry on her. He tries to hurt her. Hamlet knew that
polonius's actions and Ophelia's willingness to have her nature and sexuality used
for her father's purpose.
She is brought up in complete submission to her father, and is
always ready to to obey him without questioning. She is not complete with
Shakespeare's great heroines. But she was not intended to do so. Ophelia's
submission becomes evudent. When dhe first appears in the play. Her brother
Laertes tells her that Hamlet's apparent love for her is merely lust and that she
should be on her guard against it. She readily agrees to do so. When he has gone
and her father speaks to same subject, she puts up a feeble resistance which
collapses in an instant. When her father expressly forbids her to see Hamlet again,
she yields without any struggle.
Ophelia's great dramatic moment is her appearance in disordered
garments with garlands of flowers about her. She becomes mad. The pathos of her
condition is conveyed in the snatches of the rhyme she signs. The theme of these
rhymes is that of a girl forsaken by her lover, through either unfaithfulness of
death. Her thoughts run on to the death of her murdered father, and her brother
might do to avenge the murder. She leaves, and when she re-appears later in the
same scene, she brings with her flowers which she distributes in kinds according to
the language of flowers which she remembered for folklore. She leaves with a

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prayer for all Christian souls, and later we hear the Queen given a pathetic account
of her death by drowning.
She certainly loves Hamlet and she is weak and clinging as she
is, she looks to him as a support for herself in married life. Frustration is in her
love. Her state of mind is aggravated by the murder of her father. There is no
support for her. She is alone. She feels loneliness. Ophelia is young and
inexperienced. She lost her mother. And only her father and brother takes care of
her. She brings a thought of flowers. At her burial, Laertes says that violets will
spring from her flesh. "sweet to the sweets" the Queen murmurs, as she scatters
flowers on Ophelia's grave. Her love for father is deep, though mingled with fear.
She gives to Hamlet all the love which her nature is as yet capable. Her brother is
also gives right advice to her. So he is also important for her. Beyond these three
chracters she seems to have eyes, ears for no ones. Her father and brother are
anxious about her welfare because they know her to be ignorant and innocence,
and if we resent their anxiety, it is becuse we know Hamlet better than they do. Her
whole chracter is simple, unselfish affection. Bsturally she is uncapsble of
understanding Hamlet's mind, though dhe can feel its beauty. Ophelia has been
criticised for reporting to her father Hamlet's strenge visit and behaviour, for
showing her father one of Hamlet's letters, for telling her father the whole story of
the courtship, and for joining in a plot to win Hamlet's secret from him. Ophelia is
a sensitive, impressionable, innocent, garceful.

=> Gertrude’s character :-
Gertrude is mother of Hamlet. She completely silent in the play
hamlet. There is no explanation about her real intention. She likes Cludius or she
dislikes cludius. And also cteates a confusion and raise many questions about her.
She supports cludius to kills her husbsnd or she does not know about Cludius's
plan to kills her husband. She marries with cludius. She is really innocent or not.
These are questions raises when we read the play. She is Queen of Denmark. There
is no sign of her being so, and thete are clear signs that she was not. The
representation of the murder in the play arranged by Hamlet does not move her,
and that is one clear sign she is not privy to the murder of her husband. She loves
to be happy, and it pleased her to see others happy. She never saw thr the
drunkenness of her husband as disgusting till Hamlet told her so. Though she was
untroubled by any shame at the fellings which had to it. It was pleasant for her to
sit upon her throne and see smiling faces round her. She thought it foolish and
unkind in Hamlet to persist in greieving for his father instead of marrying Ophelia
and making everything comfortable. She was fond of Ophelia and was genuinely
attached to her son.

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There is no any explanation about her character. Her real intention
is really hide in this play hamlet. It is creates suspense in the play. In play we find
that all chracters has their own intention. But It is difficult to find her intention. In
any scene there is no clue about her chracter. The Queen has a little personality to
set against the strong individuality of the men. She rarely takes any positive action.
She is carried along by events which concern her closely but which she cannot
hope to control of influence in any significant way. When we see her first, she is,
characteristically, repeating the wishes of her husband that Hamlet should not
return to the university. Here and throughout the play, Hamlet treats her with
deference becuse she is his mother and also because the ghost has asked him to
leave her alone. It seems that her thinking is fairly clear at least so far as Hamlet's
state od mind is concerned. She us not convinced when polonius makes every
effort to prove that Hamlet is suffering from love-madness. It may be, very likely,
she says, unconvinced, in answer to a question from the king. Later she expresses
ger hope that Ophelia is the cause of Hamlet's disturbance of mind, yet she
carefully avoids saying she thinks it is so. Her comment on the play within the play
is famous for its shrewdness. She says of the player Queen. The lady doth protest
too much methinks, meaning that the player Queen assert her faithfulness to her
husband so extravagantly that one is compelled to suspect it.
When king hamlet is died. In Gertrude marries with claudius
immediately. Her this step is creats a confusion. That cludius forces her to marry
with her or she is agree to marry with cludius. That is also big question. In this play
there is no identity of Gertrude. We find that it is easy to judge other chracters it is
really bad or good. But her silence creates trouble for her. That is she is really good
or bad. It is difficult to judge her.

=> Conclusion :-
So Shakespeare creates a difference between woman characters and
man characters. He gives only importance to man characters and he does not give
importance to man characters. So this is creats difficulty for readers. In this play
Ophelia and Gertrude’s character suggests the situation and role of woman
characters in Shakespeare's play. Both chracters Ophelia and Gertrude suffers alot.

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Assignment :- 2 Coleridge's view on poem and prose


Name :- Rathod Nikita p.
Roll no :-32
Enrolment no :- 2069108420190038
Paper no :- 3 ( The Literary Theory and Criticism - Western poetics-1)
Sem :- M. A. Semester - 1
Assignment topic :- Coleridge's view on poem and prose.
Email - id :- [email protected]
Year :- 2018-2020
Submitted to :- Smt. S. B. Gardi Department of English, Maharaja
Krishnakumarsinhji Bhavnagar University.














(1) Coleridge's view on poem and prose.
=> Samuel Coldridge is an English poet, literary critic, philosopher and
theologian. His poetry is different from others. For him sound of poem and potery

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is very important. Ultimate truth is important. In his poem and potery wholeness is
lacking something. Articulation and connecting with mirror this idea working in
his work. For Coldridge poem is activity. He thought that poem is activity of
imagination. According to him Something express in a rhythm is a poem. He
says Ideas presents in a rhythmic way. According to him sense of aesthetic and
word becomes trends, powerful mind, secondary imagination works powerfully.
The monument of Coleridge's critical work is contained in 24 chapters of
Biograohia Literaria. Coleridge concerns himself not only with the practice of
criticism but also with its theory. He was the first English writer to insist that every
work of art is by its very nature an organic whole.
He sought to give the charm of novelty to things of every objects by
making supernatural. Introduced dream like quality element of mustery wonder
and supernatural. He is artist. He went to middle ages and creates a atmosphere of
magic and mystery. He epicure in sounds master of melody. Element of mysticism
in diction he differentiates prose and potery in diction. He lives in the world of
fancy and thoughts.
Coleridge's new technique of criticism is called 'appreciative criticism'.
To quote renowned critic evidently the new poetry needed a new criticism and this
was provided by Coleridge in Biograohia Literaria. He dicuss many points in his
work. The poem contains the same elements as a prose composition of the those
elements and objects aimed at in both the composition. According to the difference
of the combination If the object of the poet may simply be to facilitate the memory
to recollect certain facts, he would make use of certain arrangement of words with
the help of metre. As a result composition will be a poem,merely because it is
distinguished from composition in prose by metre, or by rhyme.
He further elucidates his view point by various prose writing and its
immediate purpose and ultimate end. In scientific and historical composition, the
immediate purpose is to convey the truth. In the prose works of other kinds likes
romance and novels to give pleasure in the immediate purpose and the ultimate end
may be the immediate object of a work not metrically composed. Poem gives
pleasure and prose satires on some situations. Prose meanning is deep and in poem
meanning is for pleasure. It satires on some situations or pain of human beings. It
describes in deep. There is a one word with many deep description is there. It takes
some time to understand. Fellings, emotions are attached with one words. One
small word tells big meaning. So in prose description is there and in poem
description is less.
Now the question is "would then the mere super addition of metre,
with or without rhyme, entitle these to the name of poems?". To this Coleridge
replies that if metre is super added the other parts of the composition, including
netre, rhyme, diction and theme must harmonise with the wholeness of the

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composition. Metre should not be added to provide merely a superficial decirative
charm. Nothing can permanently please, which does not contain in itself the reason
why it is so, and not otherwise. If metre is superseded, all other, parts must be
made constant with it. They all must harmonise with each other.
A poem therefore may be defined as that species of composition, which is
opposed to works of Science by proposing for its immediate object pleasure, not
truth and from all other species it is discriminated by proposing to itself such
delight from the whole, as is compatible with a distinct gratification from each
component part.
Thus according to Coleridge the poem is distinguished from prose
compositions by its immediate objects. The immediate object of prose is to give
truth and that of poem is to please. He again distinguishes those prose
compositions from poem whose object is similar to poem as if to please. He calls
this poem a legitimate poem and defines it as, "it must be done, the parts of which
mutually support and explain each other, all in their proportion harmonizing with
and supporting the purpose and known for influences of metrical arguments".
Therefore, the legitimate poem is a composition in which the rhyme and the metre
bear an organic relation to the total work. While reading this sort of poem "the
reader should be carried forward, not merely or chiefly by the mechanical impulse
of curiosity or by a restless desire to arrive at the final solution, but by the
pleasurable activity of mind excited by the attractions of the journey itself". Here
Coleridge asscerts the importance of the impression crated by the harmonious
whole of the poem. To him, not one or other part but the entire effect, the journey
of reding poem should be pleasurable thus Coleridge whether the end of the is
instruments or delight. Its aim is definitely to gives a pleasure, and further poem is
its own distinctive pleasure. Pleasure arising from the parts, and this pleasure of the
parts supports and increases the pleasure of the whole.
According to Coleridge poem is the product of imagination working on
objects of life and bature thevreal soul of poetry lines in its power if expressing and
arousing emotions, feelings, rhyme and rhythm. And also add to the charm and
pleasure to poetry. A good piem is a piece of writing. And the ultimate object of
which is pleasure from individual parts as they are commensurate with the whole,
therefore giving equal pleasure as the parts. As without emotions, and feelings
body is likes a statue. As the poem without rhyme, rhythm, meters, is also
uninterested. Rhyme, rhythm, meters are the soul of poem. And without also
feelings, emotions poem is like a useless. So these are important parts of the poem.
The cardinal points of poetry the power of exciting the sympathy of the
reader by a faithful adherence to the truth of nature, and the power of giving the
interest of novelty by the modifying colors of imagination. The sudden cgarm,
which accidents of light and shade, which moon light or Sun set diffused over a

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known and familiar landscape, appears to represent the practicability of combining
both. These are the poetry of nature.
In this respect, Coleridge says that "A poem contains the some elements
as a peose composition". But one different is to be noticed here metre or rhyme or
both is used in poem. But they are not used in prose composition. According to
Coleridge the immediate purpose of a poem is the communication of pleasure.
Coleridge takes issue with the idea that rustic life is especially "real", or
that country people speak a more genuine kind of language than others do. He also
states that poetry does not, and cannot, be the same as prose, just as written prose is
not the same as conversational speech. In Coleridge's view the same in poetry and
prose he uses an analogy with architecture but the resulting structure is different.
Coleridge in his discussion of meter, gives a more subtle and for
reaching description of the essence of poem. Both are written in different ways.
Poem is written in lines and prose written in paragraph. Each of words suggests a
deep meaning. Sometimes their emotions expresses in their work poem or prose.
Sometimes it is easy to express emotions through words. But it is not easy for
everyone.
Poem is a natural function as Coleridge explaining his idea and view towards it
is saying that poem is a heart of reality work that poet convey the fellings by
rhyme and that took place as golden shield. Sometimes that words expresses good
feelings, good memories but sometimes it expresses bad feelings, bad incidents or
some bad memories also poet uses in their poem through imagination or
supernatural elements. That's why it is really not happens in reality. He imagines
the situation than he wrire. Sometimes their imagination is also right. Concept is
also different. Subject matter is also important for poem and prose. It is changing
time by time. And It's meaning also change time by time or reader from another
reader.

=> Conclusion :-
Coleridge is one of the most important figure in English poetry . His poems
directly and deeply influenced all the major poets of the age. Ge was known by his
contemporaries as a meticulous craft man who was more rigorous in his careful
reworking of his poems than any other poet and Southey and Wordsworth were
dependent on his professional advice.

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Assignment - 3 Evaluate a story of Robinson Crouse


Name :- Rathod Nikita P.
Roll no :- 32
Enrollment no :- 2069108420190038
Pepar no :- 2 ( The Neo-Classical Lirerature )
Sem :- M.A. Sem:- 1
Year :- 2018-2020
Email-id :- [email protected]
Assignment Topic :- Evaluate a story of Robinson Crouse
Submitted to :- Smt.S.B.Gardi Department of English , Maharaja
krishankumarshinji Bhavanagar Univwersity.












(1) Evaluate a story of Robinson Crosoe.
This novel is written by Daniel Defoe. This novel is Adventure story. This novel is
written in 1719 in London, England. In this novel Robinson crosoe is main

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character. He is narrator of the novel. And narrator begins the novel as a young
middle class man in York in search of a career . His father recommends the law but
crusoe years for a life at sea and his subsequent rebellion and decision to become a
merchant is the starting point for the whole adventure that follows . His voyage but
recurring feelings of gulit over his disobedience color the first of the first half of
the story and show us how deep crusoe’s religious fear is. The life and strange
surprising Adventure of Robinson Crousoe , of York, Mariner : who lived Eight
and Twenty years, all alone in an uninhabited Island on the Coast of America , near
the Mouth of the Great River of Oroonoque; Having been cast on Shore by
Shipwreck , wherein all the men perished but himself . With An account how he
was at least as strangely delivered by pyrates.
The narrator introduces himself as Robinson Crusoe. He was born in 1632 in
the city of York to a good family. His father is a foreigner who made money in
merchandise before setting to down and marrying his mother, whose surname is
Robinson. His true last name is Kreutznaer, but has been corrupted into crousoe by
the English. There are two older brothers in the family ; one died in the English
regiment, and Robinson does not Know what became of the other.
Crusoe’s father has designed him for the law, but early on his head is
filled with “rambling thoughts “ of going to sea. No advice or entreaties can
diminish his desire. His father gives him “excellent advice and counsel, “telling
him that only men of desperate and superior fortunes go abroad in search of
adventures, and that he is too high or too low for such activites . His station is the
middle station , a state which all figures , great and small, will envy eventually ,
and his happiness would be assured if he would stay at home. Nature has provided
this life, and Robinson should not go against this. After all, look what happened to
this life, and Robinson should not go against this. After all, look what happened to
his brother who went into the army. The narrator is truly affected by his father’s
discourse, but after a few weeks he decides to run away. He prevails upon his
mother to speak to his mother to speak to his father and persuade him to allow one
voyage. If Robinson does not like it, he resolves to go home and think of the sea no
more. She reluctantly reports their conversation, but no headway is made, no
consent given. About a year later, he is able to procure free passage on a friend’s
boat heading to London. Asking for no blessing or money, he boards the ship and
leaves.
Misfortune begins immediately. The sea is rough, and Robinson regrets his
decision to leave home. He sees now how comfortably his father lives. The sea
calms, and after a few days, the thoughts are disnmissed. The narrator speaks with
his companion, marveling at the “storm”. His companion laughs and says it was
nothing at all. There is drinking that night, and Robinson forgets his fear of
drowning. Within a few more days, the wind is behaving terribly , and then a true

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and terrible storm begins. Robinson spends much time in his cabin, laying down in
fright . he sees nothing but distress , and is convinced he is at death’s door. The
ship is being flooded , and he is commissioned to help bail water. At one point
Robinson fraints , but is roused quickly . The water is coming too fast, so they
board life boats. People on shore are ready to assist them, if they can reach land.
The boats arrive at Yarmouth, and the magistrate gives the men rooms. They must
decide whether or not to continue to London or return to Hull. His comrade notes
that Robinson should take this as a sign that he is not meant to go to sea. They part
in an angry state. Robinson travels to London via land. He is ashamed to go home
and be laughed at by neighbors. Finally he decides to look for a voyage. He is deaf
to all good advice, and boards a vessel bound for Guiana because he befriends the
its captain. This voyage, save seasickness, goes well, but upon arrival the captain
dies. Robinson resolves to take his ship and be a Guiana trader.
Upon exploring the new land, Robinson himself says that they will both go
and die together if one must die at all. Out on the sea is the semblance of
proprieties, but these two follow their own laws.
Robinson is master of Friday. Robinson saves him for some people. He meets
him on Friday that’s why he gives name him Friday. Friday is slave. Both’s master
slave relationship highlighted in the novel. Robinson teaches him. For Friday it is
strenge and new. After having been there about 12 days, Robinson decides to keep
a calendar by making a large wooden post. He is very happy to have some pen and
paper, three Bibles, two cats and a dog, all from the ship. Robinson is growing
curious about the land on the other side of the island. Xury is a friend and servant
of crusoe.
The appearance of Friday will allow crusoe to live out his role as ruler of
the island. As Friday and Robinson await their return, they spy another ship close
to shore . It appears to be an English boat. Some men row to the island. Three of
them are prisoners. The seaman are running about, trying to explore this strange
place. Robinson dearly wishes that the spaniared and Friday’s father were here to
help fight. While the seaman sleep, crusoe and Friday approach the prisoners,
who see them as God- sent. They learn from one that is the captain of the ship , and
his crew has mutinited. They want to leave him with the first mate and a passenger
to perish. Robinson says he will try to save them on authority on the island, and
that if the battle is won, that they take Friday and himself to England passage- free.
It is agreed. They are able to surprise everyone on land, killing some and granting
mercy to those who beg for their lives. Crusoe tells the captain of his life on the
island. The captain of his life on the island. The captain is visibly moved. Next
they want to recover the ship. On the water they hear shots. With the aid of a
binocular-type instrument, they see another small boat of men approaching. The
captain says only a few can be trusted; the chief organizer of the mutiny is in the

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boat. Robinson marshals his “troops,” consisting of Friday and the prisoners. They
wait to start the battle.
The plot becomes tangled at the end of the novel, with many new characters.
Why the author waits so long to wrap up crusoe’s time on the island is not clear.
We can see this chapter as an extension of Crusoe’s imagined world, in which he is
a powerful sovereign. Now, however, imagination blurs with reality, for Robinson
truly is taking on the role of heroic leader. He does plan attack on the savages, and
the rest of the men listen to him dutifully. Defoe wastes no time in changing the
terminology referring to the captured men from “prisoners” to “my people” in the
mind of the narrator. A lable such as “the Spaniard” becomes “my Spaniard”. It is
certain that everyone under his gaze is added to his group of subjects, which had
previously consisted of the Friday and the animal.
Robinson crusoe starts farming on this Iceland. Crusoe representing English
man. He crests myth. He stars earning. His identity reached on this Iceland.he is
alone. He is stranger. He learns. He tries to know. He is not able to find way of
England. On Iceland he begins his new life. He learns farming. He makes hut. He
makes a cave for protection. Then he got a company of animals and Friday. He is
life savior for Friday. He becomes the king of his Iceland. He becomes a master.
He is helpful. He becomes a source of inspiration. His creativity, imagination
makes him better. Xury and Crusoe both are travelers. Xury helps Crouse. Xury is
black man. Xury is silent in the novel. The at the end of the novel he is return to his
home England. But he does not want to leave this Iceland. He is very much
attached with this Iceland but he goes.
ð Conclusion :-
The novel suggests the journey of Robinson Crusoe. He is centre of the novel. All
the incidents happens around him. Robinson Crusoe earns money on this Iceland.
He is selfish. He has given his shares to widow. Crusoe is mainly instrested in
expanding his empire. In this novel we find one person narrator, imagery form and
natural world and characters are interesting and believable.

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Assignment :- 4 Evaluate a story of Kanthapura


Name :- Rathod Nikita P.
Roll no :- 32
Enrollment no :- 2069108420190038
Sem :- M.A. Sem-1
Pepar :- 4 ( Indian Wtiting in English ( Pre-Independence) )
Assignment topic :- Evaluate a story of Kanthapura.
Email-id :- [email protected]
Year :- 2018-2020
Submitted to :- Smt. S.B.Gardi Department of English, Maharaja
Krishankumarshinji Bhavanagar University.













(1) Evaluate a story of Kanthapura.
ð Kanthapura is in written in1938 .kanthapura is written by Raja Rao. In Kanthapura ,
Raja Rao tells a story about a village in the southern portion of India where there is
a traditional caste system. The town known as Kanthapura does not abide by
modern processes, however most people within the location believe that they are
blessed by an entity known as Kechamma. The village has approximately 120
homes with about 700 people. Within the caste system, the Brahmins are said to be
the highest group and then there are two different groups that are known as
tradesmen who are both weavers and potters. After the tradesmen, there are sudras
who are known as laborers and pariahs who are known as untouchables.

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During the introduction and first chapter of the novel, the reader is informed that
the story is told during the 1930s, during the same time that Mahatma Gandhi tries
to familiar liberation in terms of politics. The narrator of the story is an old widow
by the name of Achakka and she is known to a Brahmin, which is the highest caste
in the system. She tells the story of the main character known as a Moorthy, also a
Brahmin, who has left University in order to become an activist for the Congress of
India.

In chapters two and three, Moorthy tries his best to promote the teachings of
Gandhi throught the nation of India. He frimly believes in non-cruelty and he
indicates that each person should be able to have a sense of inner peace. Even
though he tries to relay this message, he is often distracted by the many negative
factors within the village of Kanthapura. Many people do not believe in Gandhi’s
message and in turn they do not take Moorthy seriously. Since there is a great
level of resistance in the village, police authorities are forced to oversee daily life
in Kanthaputra. One of the policemen known as Bade Khan does not believe in
Moorthy’s actions at all and he indicates thst Gandhi’s teaching undermines all of
social order and religion in the world.
As rhe chepters progress his knowledge she is shows her courage. He is stands up
to local authority. Eventually Moorthy’s mother passes away. The Brahnnins
clerks of Kanthapura invite Moorthy to the
Estate in order to create an increased sense of awareness regarding the social
injustice taking place. When Moorthy enters the estate, Bade Khan shows up and
physically injures him. Fortunately, there are other members in the estate who are
able to defend Moorthy. After the incident, Moorthy is very unhappy with the turns
of events and he prays that violence would just come to an end.

Due to the injustice that was faced at the estate, Moorthy decides to go on a fast for
three days, just like Gandhi would participate in. At the end of the fast, Moorthy is
very happy and he feels victorious that he is able to rise above those people with
small minds. Even though he is satisfied with himself, the foreign government
approaches Moorthy and tells him that he is provoking violence throughout
Kanthapura. Due to his actions, the police officers decide to arrest him.

Moorthy is sent into prison. For three months because the authorities believe that
he is the reason that there are many violent outbursts. In his presence, Rangamma
stays active and she develops a volunteer crops committee. Within the group, she
inspires women to have courage and to continue fighting for their freedom through
the use of non-violence.

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Once Moorthy is released from jail. He maintains a positive stance. When he
approaches his home, he finds that there are many people waiting for him, cheering
him on since they believe in this peaceful attitude. After Moorthy’s release from
prison, there continue to be arrests of people who are protesting social injustice and
brutality, especially against the women. There are police officers who are seen
chasing women and trying to abuse them. There are also instances where the
officers start beating people for no justifiable reason. Within Kanthapura the
increased violence that is he has taken the time to promote peace, following
Gandhi’s philosophy. Regardless, Moorthy continues to try and make strides in
order to change the ways of Kanthapur.

Once one year has passed, it is seen that approximately 30 refugees from
Kanthapura have fled and have settled in Kashipur. These people look to their
Lord save them from the injustices that were once brought to them in Kanthapura.
As time goes on, they still have a desire to make their nation free again through the
assistance of Gandhi and the belief in their deities.
As a village, Kanthapura is divided into the Indian caste system, much
The whole village divides in caste system. And they strically follows the rules of
religion or caste-system. For people religion and caste is more important. Moorthy
is Gandhian man. He is young Brahmin who leaves for the city to study, where he
becomes familiar with Gandhian lifestyle, wearing home-spun khaddar and
discarded foreign clothes and speaking out against the caste system. At that time
people are rigid. Heartbroken to hear this , Moorhy’s mother Narasamma dies.
After this, Moorthy starts living with an educated widow, Rangamma,who is active
in India’s independence movement.

Morthy is then invited by Brahmin clerks at the Skeffington coffee estate to create
an awareness of Gandhian teachings among the pariah coolies. Ehen Moorthy
arrives; he is beaten by the policeman Bade Khan- and action for which they are
then thrown out of the estate. Moorthy continues his fight against injustice and
social inequality and becomes a staunch ally of Gandhi. Although he is depressed
over the violence at the estate, he takes responsibility and goes on a three-day fast
and emerges morally elated. A unit of the independence committee is then formed
in Kanthapura, with the office bearers vowing to follow Gandhi’s teaching under
Moorthy’s leadership. The British government accuses Moorthy of provoking the
townspeople to inflict violence and arrests him. Though the committee is willing to
pay his bail, Moorthy spends the next three months in prison, the woman of
Kanthapura take charge, forming a volunteer crops under Rangamma’s leadership.
Rangamma instills a telling them stories of notable women from Indian history.
They face police brutality, including assault and rape, when the village is attacked

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and burned. Upon Moorhy’s release from prison, he is greeted by the loyal
townspeople, who are now united redardless of caste. The novel ends with Moorhy
and the town looking to the future and planning to continue their fight for
independence.
Achakka provides a detailed picture of the rural setting. Achakka is quickly creates
a faithful image of an Indian way of life. The main theme of Kanthapuara is the
struggle for freedom. They wants freedom. That’s why they does hard work for
freedom. People of this village believes Gandhian principles. That’s why they
follows Gandhian principle. In this Moorhy is like a Gandhi. When Gandhi fights
for freedom. As well Moorthy is also fights for freedom. Moorhy is the centre of
the novel. Whole incidents for freedom he plays a lead role in this movement.
Whole the story is around him. He believes in non-violence like Gandhi. People of
village also give a support to him. though there are

The theme of Kanthapura is the unification of different Indian castes under a
Gandhian system of social justice during the fight against British rule of India. At
the beginning of the novel. Kanthapura , a rural Indian village, is divided by caste.

As a village, Kanthapura is divided firmly by the Indian caste system, much like
India is divided during this period. This manifests in both physical and subtler
ways- the village is literally divided into quarters for each caste, and the system is
enforced by social oversight. Although there are friendships across certain classes,
the pariah class are uniformly treated as exiles from society and ostracized by all
classes .morhey’s embrace of them is one of the greatest shocks to the existing
social structure, and leads to his excommunication from the Brahmin Class.
Outsiders who do not fit.

ð Conclusion :-
In this novel there is a unique way to telling a story is there. This story attached
with felling and emotions. Achakka when tells a story she is becomes emotional.
Her feelings described in this story. Past and present logic used in this story. In
village there is a mixture of religion and political issues are there. Here in this story
Lord Shiva compared with Swaraj. It is important to reformed society. In this
Spinning and prayer compared for purification. In this religion is in base. Raja Rao
mixes the issue very well.

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Assignment :- 5 The theme Of Sense and Sensibility

Name :- Rathod Nikita P.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 2
Year :- 2018-2020
Paper no :- 5 (The Romantic Literature)
Assignment topic :- The theme of sense and sensibility
Email - id :- [email protected]
Submitted to :- S. B. Gardi Department of English, Maharaja Krishankumarshinji
Bhavanagar University.












(1) The theme of sense and sensibility.
=> sense and sensibility is novel written by Jane Austen. She was an English
novelist known primarily for her six major novels, which interpret, critique and
comment upon the British Ianded gentry at the end of the 18th century. Austen's
plots often explore the dependence of women on marriage in the pursuit of
favourable social standing ans economic security. Her works critique the novels of
sensibility of the second half of the transition to 19th century literary realism,
humour, and social commentry, have long earned her accaim among critics,
scholars, and Popular audiences alike. Sense and sensibility is novel published in
1811.

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The main theme in this novel is the danger of excessive sensibility. Austen is
concerned with the prevalence of the "sensitive" attitude in the romantic novel
which, after the 1760s, turned to emphasizing the emotional and sentimental nature
of people rather than, as before, their rational endowments. The influences which
worked his change were many. Austen tries to discredit this trend towards
sentimentality by pointing out its dangers in the example of Marianne and showing
the superiority of sense, in the example of Elinor.
There is a dual plot and dual heroines. Elinor and Marianne each purses her
romance according to her temperament and beliefs. Each has an unhappy love
affair at the start. The parallel plots, illustrating the dual theme, are one of the
weaknesses of the novel, for they occur too "conveniently" and are therefore not
convincing.
The theme of sensibility was illustrated in the love affair between Marianne and
Willoughby. The theme of sense is begins with the relationship of Elinor and
Edward. The two plots are carefully interwoven. Marianne's romance is ideal until
Willoughby deserts her. Story is around the both the female characters and their
situation. Love, marriage, jealously are the main theme of the novel. Elinor's
chracter is completely different from the chracter of Marriane. Elinor's is always
ready to sacrifice her wish for her family. She is not self centered. But Marriane is
self centered. She always think about herself. So she is selfish. But Elinor is not
selfish. So there is many difference in both the characters Elinor and Marriane.
Elinor's is threatened from the start. Marianne's reactions are always impassioned
and uncontrolled; Elinor is always sensible and restrained.

Sense is finally justified and sensibility shown to be a weakness. Ironically,
Marianne marries a prosaic older man, and for both it is a second love, something
Marianne vowed she could never tolerate. Elinor's fate is more romantic; she
marries her first and only love and is quite happy to settle down as the wife of a
country parson.

Austen, in expostulating this theme, is setting up in the process what she believes
to be a fitting standard of behavior. But the issues are not so clear cut. The
proponents of sensibility actually emerge as much more favorable characters than
do those that stress the tenets of sense. The moral qualities of goodness and loyalty
to one's family are an integral part of what Austen means by good sense. In fact,
they are the most important parts of it. Thus Marianne and her mother, while
immature and overly romantic, are, on the whole, good people. Sir John is much
more pleasing than his wife, and Mrs. Palmer is preferable to Mr. Palmer for just
those qualities of feeling that he abhors. Willoughby, John and Fanny Dashwood,
and Mrs. Ferrars, the villains of this novel, all lack the necessary human

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sentiments. Only Elinor and Colonel Brandon remain unscathed, and both have
ample portions of both sense and sensibility.

Austen is mirroring the basic tension of her times in this work. Reason, the
eighteenth-century symbol of all that is good, and the accompanying moral order
of the times, which is exemplified in the standards of the community at large, are
being challenged by the nineteenth-century romantic strain, where morality is
interpreted by the individual. What was to result is literary history.

Though Austen's style was highly individual, it is based on her close study of the
eighteenth-century writers, whose simplicity, accuracy, and precision she admired
and imitated. Austen picked up the technique, popularized by Fielding, of the
omniscient narrator. But her particular style is more objective. While she definitely
has an ironic point of view, she allows her characters freedom within this, for her
implications are subtle, and in many cases reserved. Despite the constant satire,
there is a sense of psychological immediacy which increases the verisimilitude.
Austen uses the consciousness of Elinor as the means through which to narrate her
story. As Elinor is rarely treated ironically, her feelings and observations have a
seriousness which transcends the ironic. Colonel Brandon, too, is hardly treated
comically, and even Marianne, although often seen ironically, is finally taken
seriously.

Contrast is used with line effect. Elinor's sense is contrasted with her sister's
sensibility. Edward's loyalty to Lucy contrasts with Willoughby's betrayal of
Marianne. Mrs. Jennings' good humor is in strong contrast to Mrs. Ferrars'
sourness.

Every page of the novel reflects Austen's own quiet temperament, her good sense,
and her humor. Though she can be satirical or ironic on either a small or a grand
scale, she is never malicious, and her humor never exceeds the bounds of good
taste and credibility.

It has been said that in Austen's novels "nothing ever happens." That is because she
recognized her own limitations and kept within them. "What should I do with your
strong, vigorous sketches, full of variety and glow?" she asked her nephew, a
writer. "How could I possibly join them on to the little bits (two inches wide) of
ivory on which I work with so fine a brush as produces little effect after much
labor?"

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In her own style, she is superb. The events of her story may not be startling, but
she makes ordinary happenings as interesting, and sometimes as dramatic, as the
most exciting adventure story or romance. Much of the perfection of her style
comes from the infinite care and patience with which she polishes her work.
There is a satire on humans behaviour. It is presents the situation of society. So it
becomes very significant. In the novel Elinor marries with Edward. And when
Marianne falls in lobe with Willoughby. Marianne's love for Willoughby is true.
But Willoughby leaves her because of money. For him money is more important
than Marianne. So Willoughby also selfish. So selfishness also becomes the theme
of the novel. And also Willoughby marries with Sophia. Because of money. Money
is becomes the reason of marriage. Because Sophia is belongs to rich class. That's
why Willoughby marries with her. Elinor is a elder sister. That's all the
responsibility on her. When Willoughby cheats her. At that time she is becomes
upset. For her it is unaccepted situation. That's why she becomes alone. She can
not bear this shock. And she becomes ill. And then Elinor takes a care of her. And
then slowly slowly she recovers. And then she marries with Colonel Brandon. At
the end of novel is happy ending is there. But in the novel many circumstances are
there.
Austen uses irony as a means of moral and social satire. Her sentences, while
usually simple and direct, contain within them the basic contradictions which
reveal profound insights into character and theme. This is most obvious in her
blunt character sketches. John Dashwood "was not an ill-disposed young man,
unless to be rather coldhearted, and rather selfish, is to be ill-disposed." Note that
in the first half of the sentence, she seems to be viewing his character amiably.
Suddenly she changes direction, and the general impression we receive about John
is far more bitingly negative than a mere statement of disapproval. Thus she
contains in her statement all the elements of disapproval without directly stating
that he was ill-disposed.

Laws surrounding inheritance are what put the Dashwood women in limbo at the
beginning of the novel; and their lack of money, compounded with their inability
to work, means that they cannot ease their situation, except through marrying well.
Money also dictates the eligibility of Elinor and Marianne, as women with larger
dowries are of course seen as better prospects for marriage.
Throughout the novel, many characters develop expectations based on sparse
evidence or faulty perceptions; this, of course, leads to disappointment as reality
proves very different. Joyful expectations are often dashed by harsher turns of
events, as Marianne is extremely disappointed by her expectation of being married
to Willoughby, and is pushed.

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Relates mostly to Lucy Steele, and is the prime determinant of her behavior toward
Elinor. Willoughby also becomes jealous of Colonel Brandon marrying Marianne,
and other, petty jealousies become evident in characters. Indicates insecurity, or
poor character.


Assignment :- 6 Character Of Oliver Twist

Name :- Rathod Nikita P.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 2
Year :- 2018-2020
Paper no :- 6 (The Victorian Literature)
Assignment topic :- Chracter of Oliver Twist
Email - id :- [email protected]
Submitted to :- S. B. Gardi Department of English, Maharaja Krishankumarshinji
Bhavanagar University.












(1) Character of Oliver Twist.
=> Oliver Twist is novel written by Charles Dickens. He was an English writer and
social critic. He created some of the world's best - known fictional chracters and is
regarded by many as the greatest novelist of the Victorian era. His works enjoyed
unprecedented popularity during his lifetime, and by the 20th century critics and
scholars had recognised him as a literary genius. His novels and short stories are
still widely read today.

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In Oliver twist, Oliver is a main character. Whole story is around him. Oliver twist
is born in a workhouse to an unmarried woman called Agnes Fleming who dies
giving birth to him. The story takes off when Oliver is twelve years old and he is
deemed old enough work. A series of circumstances propel him from a poorhouse
to an undertakers as an apprentice and finally to the corrupt parts of London where
he unwittingly joinsa gang of pickpockets and thieves. Portrayed as an extremely
naive child he does not realise that he is being put through training to become a
pickpocket until he watches two of Fagin's boys in the act. He is captured by
mistake for their crime and is soon released to Mr. Brownlow who takes care of
him. Recaptured by Fagin's gang, the reader gets to see his innate aversion to crime
especially in the incidents where he wishes to return Mr. Brownlow's money and
books and much later when he decides to warn the inmates of the house he is
forced to help rob. Oliver retains an innocence that cannot be corrupted despite the
evil situations he is drawn into and this renders him, as several critics have pointed
out, unbelievable. Oliver's incorruptibility is a source of consternation of Fagin and
Oliver's half brother Monks, who try to make him a thief and thus deprive him of
the fortune willed to him by his late father. They fail as Oliver is under the
protection of the Maylies who then join forces with Mr. Brownlow to protect him
from his corrupt brother. Nevertheless, he is a rather flat character who is
uniformly good and is more an instrument to move the plot forward rather than
effecting changes on his own.
Oliver is a orphan child. He is innocent. He is kind hearted person. Mr. Bumble
is the beadle at the workhouse where Oliver is taken to when he is twelve years old
: in fact he has been associated with the boy right at birth for he is responsible for
having Christened him with the name 'Twist'. A greedy, hypocritical and self -
important man, he preaches morality and yet is unwarrantedly cruel to the pauppers
under his care, inflicting corporeal punishment upon them and taking pleasure in
doing so. He later marries with Mrs. Corney who is equally materialistic and
callous. They both from an alliance with Monks and aid in destroying all
remaining evidence of oliver's parentage. Dickens attacks the poor laws of the time
through a stringent critique of the poorhouses and workhouses and particularly the
people who ran these institutions. In an ironic twist of fate the Bumbles end up
paupers in the same poorhouse they lorded over, contributing to the theme of
poetic justice that Dickens seems to work through the novel.
As the child hero of a melodramatic novel of social protest, Oliver Twist is
meant to appeal more to our sentiments than to our literary sensibilities. On many
levels, Oliver is not a believable character, because although he is raised in corrupt
surroundings, his purity and virtue are absolute. Throughout the novel, Dickens
uses Oliver’s character to challenge the Victorian idea that paupers and criminals
are already evil at birth, arguing instead that a corrupt environment is the source of

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vice. At the same time, Oliver’s incorruptibility undermines some of Dickens’s
assertions. Oliver is shocked and horrified when he sees the Artful Dodger and
Charley Bates pick a stranger’s pocket and again when he is forced to participate in
a burglary. Oliver’s moral scruples about the sanctity of property seem inborn in
him, just as Dickens’s opponents thought that corruption is inborn in poor people.
Furthermore, other pauper children use rough Cockney slang, but Oliver, oddly
enough, speaks in proper King’s English. His grammatical fastidiousness is also
inexplicable, as Oliver presumably is not well-educated. Even when he is abused
and manipulated, Oliver does not become angry or indignant. When Sikes and
Crackit force him to assist in a robbery, Oliver merely begs to be allowed to “run
away and die in the fields.” Oliver does not present a complex picture of a person
torn between good and evil—instead, he is goodness incarnate.

Even if we might feel that Dickens’s social criticism would have been more
effective if he had focused on a more complex poor character, like the Artful
Dodger or Nancy, the audience for whom Dickens was writing might not have
been receptive to such a portrayal. Dickens’s Victorian middle-class readers were
likely to hold opinions on the poor that were only a little less extreme than those
expressed by Mr. Bumble, the beadle who treats paupers with great cruelty. In fact,
Oliver Twist was criticized for portraying thieves and prostitutes at all. Given the
strict morals of Dickens’s audience, it may have seemed necessary for him to make
Oliver a saintlike figure. Because Oliver appealed to Victorian readers’ sentiments,
his story may have stood a better chance of effectively challenging their prejudices.
The Artful Dodger is a favourite of and one of the most accomplished of
Fagin's pickpockets and has the added distinction of having introduced Oliver twist
to Fagin. And Rose Maylie is the ward of Mrs Maylie and she is revealed to be
oliver's aunt, his mother Agnes's sister. Monks or Edward Leeford is the half -
brother of Oliver Twist and the legitimate son of Oliver's father. A vicious man,
slightly crippled and prone to frequent attacks of epilepsy, he hates Oliver and
attempts to turn him into a thief to prevent him from getting his rightful share of
his father's property. Mr.Brownlow adopts Oliver. He is also kind hearted person.
He takes care of Oliver. Oliver's like a company of Mr. Brownlow. Mrs. Bedwin is
a housekeeper of Mr. Brownlow. She also takes care of Oliver.
He was the first child protagonist in an English novel. His generosity of spirit is
total, and even when faced with serious maltreatment, he never loses his sense of
morality or kindness. Oliver Twist is notable for its unromantic portrayal by
Dickens of criminals and their sordid lives, as well as for exposing the cruel
treatment of the many orphans in London in the mid-19th century.In this early
example of the social novel, Dickens satirises the hypocrisies of his time, including
child labour, the recruitment of children as criminals, and the presence of street

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children.The novel may have been inspired by the story of Robert Blincoe, an
orphan whose account of working as a child labourer in a cotton mill was widely
read in the 1830s. It is likely that Dickens's own youthful experiences contributed
as well.
Oliver is a child that's why he does not know anything. He is completely
unknown to the world. That's why he easily becomes the part of pickpocketers. He
does know about the situation that happens around him. For him it is completely
new and strenge experience. So that's why he learns through that situation are
happens around him. He becomes the part of this incidents unknowingly. In the
novel is works in workhouse. And Mr. Bumble is a master of workhouse. He is
very strick. And when Oliver wants some more food. At that time he is angry on
Oliver. Mr. Bumble behaves with children very strictly. They work hard but they
does not get enough food to eat. That's why children's are lives in very bad
condition. Every child of workhouse has fear of Mr. Bumble. They feels fears.
Nobody raises their voice against this situation. Because they feels a fear for
punishment. That's why no one can raise their authority. And In another situation
Fagin is a mast of this gang. He orders and childrens are follow his rules. And
same Oliver also works in this direction. And when Dogger tries to steals the
handkerchief of Mr. Brownlow and he captured by people. And the blame goes on
the Oliver. And he goes in with the people. And he tries to proves himself as
innocent but he fails to proves himself as innocent. At that time Mr. Brownlow
understands him. And he believes in oliver's words. And then Oliver proves
innocent. And goes with Mr. Brownlow.
Charles Dickens wrote in very humour way. He portrays the characters in very
humorous way. That's why it creates a comic atmosphere for readers. And that's
why he satires in very humorous way. He satire on the situation of society. That's
why through his writing style he gives a comic relief to the audience and also
criticise the situation of society. .





Assignment :- 7 T. S. Eliot : Traditional and Individual Talent

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Name :- Rathod Nikita P.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 2
Year :- 2018-2020
Paper no :- 7 (Literary Theory and Criticism 2 (20th century Western and Indian
poetics.)
Assignment topic :- T. S. Eliot : Tradition and Individual Talent
Email - id :- [email protected]
Submitted to :- S. B. Gardi Department of English, Maharaja Krishnakumarsinhji
Bhavnagar University.











. (1) T. S Eliot: Tradition and Individual Talent
=> T. S. Eliot's "Tradition and Individual Talent" was published in 1919 in
The Egoist - the Times Literary Supplement. Later, the essay was published in The
sacred wood: Essay on poetry and Criticism in 1920/2. This essay is described by
David Lodge as the most celebrated critical essay in the English of the 20th
century. The essay is divided into three main sections:
1. The first gives us Eliot's Concept of tradition.
2. The second exemplifies his theory of depersonalization and poetry.
3. And In third part he concludes the debate by saying that the poet's sense of
tradition and the impersonality of poetry are complementary things.
Poetry are complementary things. At the outset of the essay, Eliot asserts that the
word 'tradition' is not a very favourable term with the English who generally utilize
the same as a term of censure. The English do not possess an orientation towards
criticism as the French do, they praise a poet for those aspects of the work that are
individualistic. However, they fail to realize that the best and the most individual
part of the poet's work is that reflects of the past tradition. This would amount to
mere copying or slavish imitation. For, Eliot, Tradition has a three-fold
significance. Firstly, tradition cannot be inherited and involves a great deal of

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labour and erudition. Secondly, it involves the historical sense which involves
apperception not only of the pastness of the past, but also of its presence. Thirdly
the historical sense enables a writer to write not only with his own generation in
mind, but with a feeling that the whole of the literature from Homer down to the
literature of his own country forms a continuous literary tradition. As claimed by
Chris Baldick that Eliot had created an inverted literary history in which history
being second to the permanent quality of literature, is readjusted to accommodate it
to literature. Therefore, Eliot's conception of history is a dynamic one and not
static: and is forever in a state of flux.
Eliot presents his conception of tradition and the definition of the poet and poetry
in relation to it. He wishes to correct the fact that, as he perceives it, "in English
writing we seldom speak of tradition, though we occasionally apply its name in
deploring its absence." Eliot posits that, though the English tradition generally
upholds the belief that art progresses through change – a separation from tradition,
literary advancements are instead recognised only when they conform to the
tradition. Eliot, a classicist, felt that the true incorporation of tradition into
literature was unrecognised, that tradition, a word that "seldom... appear[s] except
in a phrase of censure," was actually a thus-far unrealised element of literary
criticism.

For Eliot, the term "tradition" is imbued with a special and complex character. It
represents a "simultaneous order," by which Eliot means a historical timelessness –
a fusion of past and present – and, at the same time, a sense of present temporality.
A poet must embody "the whole of the literature of Europe from Homer," while,
simultaneously, expressing their contemporary environment. Eliot challenges the
common perception that a poet's greatness and individuality lie in their departure
from their predecessors; he argues that "the most individual parts of his [the poet's]
work may be those in which the dead poets, his ancestors, assert their immortality
most vigorously." Eliot claims that this "historical sense" is not only a resemblance
to traditional works but an awareness and understanding of their relation to his
poetry.

This fidelity to tradition, however, does not require the great poet to forfeit novelty
in an act of surrender to repetition. Rather, Eliot has a much more dynamic and
progressive conception of the poetic process: novelty is possible only through
tapping into tradition. When a poet engages in the creation of new work, they
realise an aesthetic "ideal order," as it has been established by the literary tradition
that has come before them. As such, the act of artistic creation does not take place
in a vacuum. The introduction of a new work alters the cohesion of this existing
order, and causes a readjustment of the old to accommodate the new. The inclusion

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of the new work alters the way in which the past is seen; elements of the past that
are noted and realised. In Eliot’s own words, "What happens when a new work of
art is created is something that happens simultaneously to all the works of art that
preceded it." Eliot refers to this organic tradition, this developing canon, as the
"mind of Europe." The private mind is subsumed by this more massive one.

This leads to Eliot’s so-called "Impersonal Theory" of poetry. Since the poet
engages in a "continual surrender of himself" to the vast order of tradition, artistic
creation is a process of depersonalisation. The mature poet is viewed as a medium,
through which tradition is channelled and elaborated. They compare the poet to a
catalyst in a chemical reaction, in which the reactants are feelings and emotions
that are synthesised to create an artistic image that captures and relays these same
feelings and emotions. While the mind of the poet is necessary for the production,
it emerges unaffected by the process. The artist stores feelings and emotions and
properly unites them into a specific combination, which is the artistic product.
What lends greatness to a work of art are not the feelings and emotions themselves,
but the nature of the artistic process by which they are synthesised. The artist is
responsible for creating "the pressure, so to speak, under which the fusion takes
place." And, it is the intensity of fusion that renders art great. In this view, Eliot
rejects the theory that art expresses metaphysical unity in the soul of the poet. The
poet is a depersonalised vessel, a mere medium.
He looks in new way. He gives a new concept of tradition. He defence the
importance of tradition. Tradition and Individual Talent are not separate entity.
Pastness of past and historical sense both are important. To appreciates work poem
rather than poet is very important. Poetry is a drpersonalized work of art. Writer
kills himself in his works is very important. When poets or writer creates his works
at that time he is present in his work. But when product is created at that time poet
is not present. Tradition is not dead but it is alive. Great works do not express the
personal emotion of the poet. The poet does not reveal their own unique and novel
emotions, but rather, by drawing on ordinary ones and channelling them through
the intensity of poetry, they express feelings that surpass, altogether, experienced
emotion. This is what Eliot intends when he discusses poetry as an "escape from
emotion." Since successful poetry is impersonal and, therefore, exists independent
of its poet, it outlives the poet and can incorporate into the timeless "ideal order" of
the "living" literary tradition.
The theory is that the expression of emotion in art can be achieved by a specific,
and almost formulaic, prescription of a set of objects, including events and
situations. A particular emotion is created by presenting its correlated objective
sign. The author is depersonalised in this conception, since he is the mere effecter
of the sign. And, it is the sign, and not the poet, which creates emotion.The

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implications here separate Eliot's idea of talent from the conventional definition
(just as his idea of Tradition is separate from the conventional definition), one so
far from it, perhaps, that he chooses never to directly label it as talent. Whereas the
conventional definition of talent, especially in the arts, is a genius that one is born
with. Not so for Eliot. Instead, talent is acquired through a careful study of poetry,
claiming that Tradition, "cannot be inherited, and if you want it, you must obtain it
by great labour." Eliot asserts that it is absolutely necessary for the poet to study, to
have an understanding of the poets before them, and to be well versed enough that
they can understand and incorporate the "mind of Europe" into their poetry. But the
poet's study is unique – it is knowledge that "does not encroach," and that does not
"deaden or pervert poetic sensibility." It is, to put it most simply, a poetic
knowledge – knowledge observed through a poetic lens. This ideal implies that
knowledge gleaned by a poet is not knowledge of facts, but knowledge which leads
to a greater understanding of the mind of Europe. As a critic T. S. Eliot was very
practical. He called himself "a classicist in literature". According to Eliot, a critic
mast obey the objective standards to analyze any work. Eliot demands, from any
critic, ability for judgement and powerful liberty of mind to identify and to
interpret.



Assignment :- 8 Postmodernism and Popular Culture

Name :- Rathod Nikita P.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 2
Year :- 2018-2020
Paper no :- 8 (Cultural Studies)
Assignment topic :- Postmodernism and Popular Culture
Email - id :- [email protected]
Submitted to :- S. B. Gardi Department of English, Maharaja Krishankumarshinji
Bhavanagar University.

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(1) Postmodernism and Popular Culture.
=> postmodernism and Popular culture are the types of cultural studies.
1. Postmodernism :-
Postmodernism is a broad movement that developed in the mid- to late 20th
century across philosophy, the arts, architecture, and criticism and that marked a
departure from Modernism. The term has also more generally been applied to the
historical era following modernity and the tendencies of this era.
While encompassing a wide variety of approaches, postmodernism is generally
defined by an attitude of skepticism, irony, or rejection toward the meta-narratives
and ideologies of modernism, often calling into question various assumptions of
Enlightenment rationality.Consequently, common targets of postmodern critique
include universalist notions of objective reality, morality, truth, human nature,
reason, language, and social progress.Postmodern thinkers frequently call attention
to the contingent or socially-conditioned nature of knowledge claims and value
systems, situating them as products of particular political, historical, or cultural
discourses and hierarchies. Accordingly, postmodern thought is broadly
characterized by tendencies to self-referentiality, epistemological and moral
relativism, pluralism, and irreverence.
Postmodern critical approaches gained purchase in the 1980s and 1990s, and have
been adopted in a variety of academic and theoretical disciplines, including
cultural studies, philosophy of science, economics, linguistics, architecture,
feminist theory, and literary criticism, as well as art movements in fields such as
literature and music. Postmodernism is often associated with schools of thought
such as deconstruction and post-structuralism, as well as philosophers such as
Jean-François Lyotard, Jacques Derrida, and Fredric Jameson.
Postmodernism arose after World War II as a reaction to the perceived failings of
modernism, whose radical artistic projects had come to be associated with
totalitarianism or had been assimilated into mainstream culture. The basic features
of what is now called postmodernism can be found as early as the 1940s, most
notably in the work of artists such as Jorge Luis Borges. However, most scholars
today would agree that postmodernism began to compete with modernism in the
late 1950s and gained ascendancy over it in the 1960s. Since then, postmodernism

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has been a dominant, though not undisputed, force in art, literature, film, music,
drama, architecture, history, and continental philosophy.
Salient features of postmodernism are normally thought to include the ironic play
with styles, citations and narrative levels, a metaphysical skepticism or nihilism
towards a "grand narrative" of Western culture, a preference for the virtual at the
expense of the Real (or more accurately, a fundamental questioning of what 'the
real' constitutes) and a "waning of affect" on the part of the subject, who is caught
up in the free interplay of virtual, endlessly reproducible signs inducing a state of
consciousness similar to schizophrenia.
Since the late 1990s there has been a small but growing feeling both in popular
culture and in academia that postmodernism "has gone out of fashion".
Postmodernism, like post-structuralism and deconstruction, is a critique of the
aesthetics of the preceding age, but besides mere critique, postmodernism
celebrates the very act of dismembering tradition. Postmodernism questions
everything rationalist European philosophy held to be true, arguing that it is all
contingent and that most cultural constructions have served the function of
empowering members of a dominant social group at the expense of "others".
Beginning in the mid-1980s,postmodernism emerged in art, architecture, music,
flim, literature, sociology, communications, fashion, and other fields.
Postmodernism borrows from Modernism disillusionment with the givens of
society : a penchant for Irony : the self- conscious "play" within the work of art:
fragmentation and ambiguity and a destructured, decentered, dehumanized subject.
But while Modernism, presented a fragmented view of human history, this
fragmentation was seen as tragic. Frederick Jamson sees artistic movements like
Modernism and postmodernism as cultural and are to extent constructed by it.
Realism was the predominant style within eighteenth and nineteenth-century
market capitalism, with its new technologies such as the stream engine that
transformed every - day life. From the late nineteenth century through world war
2,Modernism ruled the arts within monopoly capitalism, associated with electricity
and internal combustion. The third phase is dominated by global consumer
capitalism, the emphasis is dominated by global consumer capitalism, the emphasis
placed on advertising and selling goods, now called the Information age.
Technology came in existence and slowly slowly revolution came in all the field.
Changes came in every field. Change came in writing's field also.
The postmodernism is often applied to the literature and art after World War 2.
When the effects on western morale of the first war were greatly exacerbated by
the experience of Nazi totalitarianism and mass extermination, the threat of total
destruction by the atomic bomb, the progressive devastation of the natural
environment, and the ominous fact of overpopu. Postmodernism involves not only
a continuation, sometimes carried to an extreme, of the counteraditional

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experiments of Modernism, but also diverse attempts to break away from
Modernist forms which had, inevitably, become in their turn conventional, as well
as to overthrow the elitism of Modernist "high art" by recourse to the models of
"mass culture" in flim, television, newspaper, cartoons, and Popular music.
Societies must have order. Jean - Francois Lyotard argues that stability is
maintained through "grand narratives" or "master narratives", stories a culture tells
itself about its practice and beliefs in order to keep going. A grand narrative in
American culture might be the story that democracy is the most enlightened or
universal human happiness. But postmodernism, Lyotard afds, is characterized by
"incredulity toward metanarratives" that serve to mask the contradictions and
instabilities inherent in any social organization. Postmodernism prefers "mini-
narratives" of local events. Similarly, Jean Baudrillard describes the "simulacra,"
of postmodern life which have taken the place of "real" objects. Think for example
of video games or music compact discs, for made of original paintings or statues.
Virtual reality games add another dimension to the artificiality of postmodern life.
Perhaps postmodernism is best compared to the emergence of computer
technology. For Baudrillard, postmodernism marks s culture composed "of
disparate fragmentary experiences and images that constantly bombard the
individual in music, video, television, advertising and other forms of electronic
media. The lines between reality and artifice can become so blurred that reality TV
is now hard to distinguish from reality - and from television entertainment.
2. Popular culture :-
Popular culture studies is the study of popular culture from a critical theory
perspective combining communication studies and cultural studies. There was a
time before the 1960s when popular culture was not studied by academics - when it
was, well, just popular culture. But within American studies programms at the first
and then later in many disciplines, including semiotics, rhetoric, literary criticism,
flim studi, anthropology, history, women's studies, ethnic studies, and
psychoanalytic approaches, critics examine such cultural media as pulp fiction,
comic books, television, flim, advertising, popular music, and computer
cyberculture. They assess how such factors as ethnicity, race, gender, class, age,
region, and sexuality are shaped by and reshaped in popular culture. There are four
main types of popular culture analyses : production analysis, texual analysis,
audience analysis, and historical analysis.
In popular culture today what is more famous it becomes the subject of analysis.
Through analysis we find why it ia popular and we finds there is a different reasons
are there. There is a different reasons behind the interest.
The approach view culture as a narrative or story - telling process in which
particular texts or cultural artifacts consciously or unconsciously link themselves to
larger stories at play in the society. A key here is how texts create subject positions

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or identities for those who use them. Postmodernists tend to speak more of subject
positions rather than the humanist notion of independent individuals. Production
analysis asks the following kinds of questions : Who owns the media?, Who
creates texts and Why?, Under what constraints?, How democratic or elitist is the
production of popular culture?, what about works written only for money?, .
Texual analysis examines how specific works of popular culture create meanings.
Audience analysis asks how different groups of popular culture consumers, or
users, make similar or different sense of the same texts. Historical analysis
investigates how these other three dimensions change over time. Sometimes when
book or movie published or realised at that time not get a instant success. But late
on it becomes a part of popular culture. It is very interesting to finding the reason
behind this gap or situations. This process is also very important. So it becomes a
deep reading of events and situations.
popular culture is taken as a terrain of academic inquiry and has helped change the
outlooks of more established disciplines. It broke down conceptual barriers
between so-called high and low culture which led to people's escalated interest in
popular culture and encompasses diverse media as comic books, television, and the
Internet. Divisions between high and low culture have been increasingly seen as
political distinctions rather than as defensible aesthetic or intellectual ones.






Assignment :- 9 Themes Of The Birthday party

Name :- Rathod Nikita p.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 3
Year :- 2018 - 2020
Paper no :- 9 ( The Modernist English Literature)
Email-id :- [email protected]
Words :- 1663

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Topic :- Themes Of The Birthday party
Submitted to:- S. B. Gardi Department of English. Maharaja krishnakumarsinhji
Bhavnagar University.












(1) Theme of The Birthday party
=> The Birthday party is play written by Harold Pinter. This is a absurd play. In
the play there is a lot of confusion and difficulties are there. In the play main
chracter is Stanley. He lives with Meg and petey. In the play sme situation creates
confusion. This situation becomes difficult to understand. In the play some
mysterious elements are there. In the play violence is there. Nobody provids any
proper detail in play. When we read play, something is missing. We feel that type
of absurdity. Stanley is main character in the play. Stanley also talks about his past
with Meg in Act one. Stanley also confused about his past life. And then two
strengers are came in their home. Both are suspicious. Stanley does not like. Both
are came to take Stanley with them. But Stanley is not ready to go with them. They
argues with Stanley. One's name is Goldberg and one's name is Mccann. Goldberg
has a confidence but Mccann has some fear. He has a less confidence, that's why
he asks many questions to Goldberg. He asks questions because of surity.
Situations creates many difficulties among them. In the play things becomes
symbol. Light and darkness are symbol. Spectacles also becomes symbol and
Drum also becomes symbol in the play.
There is a only one truth is there about the play Birthday party is that there is
no any truth, but only situation creates chaos and confusion in their life. Pinter
shows the reality of life through this play. Ultimately chaos and confusion is a part
of our life. Some ignorance also becomes part of this play.
In the starting of the play,we find healthy relationships between Meg and petey.
Petey is reading a newspaper. So newspaper also becomes symbol. He tries to
avoid something and tries to concentrate on another thing, to forget something. So

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newspaper becomes symbol to escape himself from the reality of life. Situation
brings a changes in their life.
Stanley is in some situations he becomes angry. So his anger also shows his
mental condition. He is too clearly chosen the safety of complacency,as he makes
no effort to change his life. His lifestyle is different. His lethargic lifestyle reflects
the attraction comfort has for him. When Goldberg and Mccann arrive, they
challenge this complacent lifestyle until the whole place falls into chaos.
Ultimately petey chooses to refortify the complacency of the boarding house over
bravely fighting for Stanley : neither choice is truly attractive.
In the play language play important role. Pinter uses crafting his rhythmic silences
is enough to justify language as a major theme, but he moreover revealed how
languages can be used, as a tool. We feel the pause, silence. Pause and silence is
also important part of the play. When we read at that time also we find that how it
used in the play, how silence and pause becomes necessary. When we becomes
speechless, wordless at that time something hidden also speaks. And we talks with
our hidden self. This way of talking with hidden self is completely silent way.
When both are came Goldberg and Mccann, at that time we find sudden change in
Stanley 's behaviour.
Each of the characters uses language to his or her advantage. In effect, chracters
manipulate words to suggest deeper subtexs, so that the audience understands that
true communication happens beneath language, and not through word themselves.
When Stanley insults Meg, he is actually expressing his self- hatred and guilt.
Goldberg is a master of language manipulation. He uses speeches to deflect others
questions, to redirect the flow of conversations, or to reminisce about past events.
His words, are rarely wasted. Meg, on the other hand, repeats herself, asking
questions the same questions over and over again in a bid for attention. Even
though she often speaks without affection, her words masks a deep neurosis and
insecurity. These are just a few examples of instances in which language is used
not to tell the story, but to suggest that the story is hidden. In essence, language in
The Birthday party is a dangerous lie.
In the Birthday party play the title Birthday party suggests that something good
happens. But later on when we interpret the title at that time we find that nothing
good is happens in the play. All people celebrate their birthday. Everyone feels
happiness in their own birthday. So Birthday party becomes a symbol of happiness.
But In the play it suggests the tragic incident happens on the day of Birthday party.
It is not happy. But it is tragic movement. And the main chracter also does not
know about his birthday. He says that today is not my birthday. But everyone does
not believes in his words. And they celebrate his birthday. Stanley is not happy.
Everybody enjoys on his birthday. But he is not enjoys. And In this birthday
celebrations some tragic incidents happens. Somebody rapes on Lulu. Lulu blames

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on Mccann. She came another day and said Mccann rapes on her. And the situation
is same like in act one. In birthday party Petey is absent. But another day same
situation is there. He is reading a newspaper. And Meg prepares breakfast for him.
Starting is same in both the acts, but ending is different.
In the Birthday party all situation we find that it is looks like a realistic situation. In
the play home is center. In home all the incidents happens. So In real life also this
type of situation happens. So the play is relevant with the day to day life.
The theme of atonement runs throughout the play. Stanley 's past is never detailed,
but he is clearly a guilty man. He is vague about his past, and does anything to
distract Goldberg and McCann. He does not wish to atone for whatever he did, but
is forced to do so through torture. Goldberg, too wishes to avoid whatever sins
torture him but cannot fully escape them. His mood in act Three shows that he is
plagued by feelings. He does not wish to have. In the end, all of the characters are
like Lulu, who flees when Mccann offers her a chance to confess - everyone has
sins to atone for, but nobody wants to face them.
Perhaps most fitting for a contemporary audience who would see this play as
something of a period piece, the theme of nostalgia is implicit but significant in the
Birthday party. Goldberg, particularly is taken by nostalgia frequently waxing
poetic both on his, own past and on the good old days.
When men respected women, certainly Goldberg tells some of these stories to
contrast with the way Stanley treats women, but they also suggest a delusion he
has, a delusion he has a delusion that breaks down when he himself assaults Lulu
between the second and third acts. He idealizes some past that he cannot live up to.
Other characters reveal an affection for nostalgia as well. During the birthday
party, Meg and Lulu both speaks about their childhoods. However, their nostalgic
feelings have darker sides. Meg remembers of being young lead Goldberg to
bounce her perversely on his knee. Similarly, the chracters play blind Man's bluff
specifically because it makes them nostalgic, but the sinister sides of such nostalgia
is inescapable in the stage image of Stanley preparing to rape Lulu. Nostalgia is
lovely to feel, the play seems to suggest, but more insidious in its complexities.
The Birthday party is full of violence both physical and emotional overall
suggesting that violence is a fact of life. In the play Stanley mentally suffers a lot.
He tries to hides something when both the strengers came at that time he feels
anxiety. He tries to hides his self in front of them. He has a unknown fear that's
why in the play some pause and silence came it shows his anxiety, his fear. He
suffers because he has a unknown fear maybe both are knows about Stanley 's past
life. And he also argues with them, constantly. But he fails and both are win. They
takes Stanley with them. Both are came to take Stanley for Monty. Who is Monty
and why they takes him these types of questions raises, but we does not finds any
answers. So absurdity is there in the play. The violence affects in their life. Stanley

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is cruel and vicious towards Meg. But much more cowardly against other men.
Both Mccann and Goldberg have violent outbursts no matter how they try to
contain themselves. Both's intentions alsb suspicious. And Stanley 's fear also
suspicious.
Much of the violence concerns on woman. Woman suffers and they become victim
of man' s violence and man's anger. Atmosphere and silences, pause are the
important part of the the play. Sexual tension is present throughout the entire play,
and it's results in tragic consequences. Meg and Stanley have strenge possible
sexual relationships that they forces him to treat her very cruelly. Petey maybe also
knew about their relationship, but he tries to hide his self, and also tries to ignore,
he hides himself in behind the newspaper. And Lulu also takes interest in Stanley.
But he does not gives any response, to her and he does not gives attention to her.
Then she meets with Goldberg. She is quickly attracted to Goldberg in act two. Her
innocence makes her prey to men's sexuality.
* Conclusion :-
So In the play confusion and chaos, complacency, Language, Atonement,
Nostalgic, Violence, sex are the main theme. This play is full of absurdity.




Assignment :- 10 Critical Analysis of The Scarlet Letter

Name :- Rathod Nikita p.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 3
Paper no :- 10 ( The American Literature)
Topic :- Critical Analysis of The Scarlet Letter
Email - id :- [email protected]
Words :- 1533
Year :- 2018 - 2020
Submitted to :- S. B. Gardi Department of English. Maharaja krishnakumarsinhji
Bhavnagar University.

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(1) critical Analysis Of The Scarlet Letter.
=> The Scarlet Letter is written by Nathaniel Hawthorn. The main theme in the
Scarlet Letter, as in most of Hawthronne's work, is that of sin and its effects both
on the individual and on society. In the story Hester is main character. In the play
Hester is center. Her situation becomes the important part of the play. It is
frequently noted that the Hawthorne' preoccupation with sin springs from the
puritan - rooted culture.
" The custom House" sketch has not always been appended to the sacarlate Letter
in all its editions. Indeed, many editions of the book have totally dispensed with
this "introductory" sketch to print only the text of the tale in the past. While "The
custom House" is not an integral part of the story of the book in any obligatory
sense, it has certain affinities with the latter. For one thing, this sketch offers us an
imaginary and fictitious account of the genesis of the tale of the Scarlet Letter,
secondly, it offers of Hawthorne's life over a period of three years immediately
preceding the publication of the Scarlet Letter in 1850.
Important technique in the story is the use of the scaffold as a structural device. It
is used in the beginning, the and the end of the story. In the story Hester 's and her
difficulties are there.
In the story Hester is married woman. And then she has a affair with Arthur
Dimmsdale. And then she becomes pregnant. Then people knows about her truth.
And then society gives punishment to her. She is not only part of this crime. But
her lover Dimmsdale also part of this crime. But he does not get any punishment.
Only Hester get punishment. So In the novel differences are there.
Hawthorne uses Hester prynne, Arthur Dimmesdale, and Roger Chillingworth to
explored the concept of sin in the Scarlet Letter. While Hester is clearly made to
show her 'sin' on her clothes with the letter A, she is the one chracter in the book
who has reconciled herself with her difficulties. She is fine with God, and she
believes that God is fine with her. She spends her days working to make needy
people in the town feel better, and they, in turn, come to view her as someone who
gives back to society. They see her with more compassion than some of the
townspeople, Individuals in private life, meanwhile, had quite forgiven Hester

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Prynne for her frailty, may more, they had began to look upon the scarlet Letter as
the token, not of that one sin, but of her many good deeds since'.
Hester is at peace with her self and with life. She has come to terms with who she
is, and she is happy to give to those around her. She understands the concept of sin,
and it does not stop her from showing compassion to others who cross her path.
She understands humanity and she is comfortable with her sense of social identity
in ways that others are not. Arthur Dimmesdale, who is the father of Hester's child,
pearl, suffers greatly with his secret guilt. He is a pastor who cannot look God in
the eye, his shamis so great, and he has a difficult time facing his parishioners and
ministering to them. His guilt is immense.
Hester stands and confesses her bad deeds but he remains silent and continues to
preach while the people continue to praise him. This fact haunts and eats at him.
He longing to the spoke out of the from his own pulpit, at the full height of his
voice, and tell his people who he was. In this chracter we can watch that the
destructive force of keeping shame and guilt inside rather than making it public
and allowing reconciliation to take place. The outcome is destructive, as we see
when his life ends.
And allegory in literature is a story of where chracters, objects and events have a
hidden meaning and are used to present some universal lessons. Hawthorn has a
perfect atmosphere for the symbol in The Scarlet Letter because the puritans saw
the world through allegory. For them, simple patterns, like the meteor streaking
through the sky, became religious or moral interpretations for human events,
objects, such as the scaffold were ritualistic symbols for such concepts as sin and
penitence.
Hester is the public sinner who demonstrates the effects of the punishment on
sensitivity and human nature. She is seen as a fallen woman, a culprit who
deserves the ignominy of her immoral choice. She struggles with her recognition of
the letters symbolism just as people struggled with them morality plays important
role. Paradox is that the puritans stigmatize her with the mark of sin and in so
doing, reduce her to a dull, lifeless woman whose characteristics color is gray and
whose vitality and feminity are suppressed.
Over the seven years of her punishment, Hester's Inner struggle changes from a
victims of puritans branding to a decisive woman in tune with human nature. When
she meets Dimmesdale in the forest in chepter 18, Hawthorn says, "The tendency
of her fate and fortunes had been to set her free. The Scarlet Letter was her
passport into regions where other woman dared not tread".
In time, even the puritans community sees the letters as meaning "Able or Angel".
Her sensitivity with society's victims turns her symbolic meaning from a person
whose life was originally twists and repressed to a strong and sensitive woman
with respect for the humanity of others. In her final years, " The Scarlet Letter

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ceased to be a, stigma which attracted the worlds scorn and bitterness and become
a type of something to be sorrows over, and looks upon with awe, yet with
revenge, too". Since her chracter is strongly tied to the Scarlet Letter, Hester
represents the public sinner who changes and learns from her own sorrow to
understand the humanity of others. Often humans being who are suffers great loss
and life changing experiences become survivors with an increased understanding
and sympathy for the human loses of others Hester is such a symbol.
At worst, Dimmesdale is a symbol of hypocrisy and self - centered intellectualism,
he knows what is right but has not the courage to make himself to do the public
act. When Hester tells him that the ship for Europe leaves in four days, he is
delighted with the timing. He will be able to give his Election sermon and fulfills
public duties before escaping. At best, his when he worries, that his congregation
will see his features in pearl's face.
Dimmesdale 's inner struggle is intense and he struggled to do the right thing. He
realised the scaffold is the place to confess and also his shelter from his tormentor,
Chillingworth, yet, the very thing that makes Dimmesdale a symbol of the secret
sinner is also what redeems him. Sin and its acknowledgement humanise
Dimmesdale. When he leaves the forest and realises the extent of the devil's grip
on his soul, he passionately writes his sermon and makes his decision to confess.
As a symbol, he represented the secret sinner who fights the good fight in his soul
and eventually wins.
In the play she suffers alot alone. Nobody gives support to her. Society creates
difficulties for her. So it becomes difficult to live alone. But she does not loose her
strength and faces the society. And she fights alone with society. She also confess
her crime in front of society. She has courage to confess her crime. She does not
loose her hope. But constantly society raises questions for her. But she gave the
answer very clearly. She does not hesitate. But she has confident. And that's why
her confidence gives strength to her. She also does not blames on Dimmesdale. She
also does not takes his name in front of society. She remains silent. Maybe she has
a hope that one day Dimmesdale confesses his truth in front of society. She is
married that's why the situation becomes more difficult for her. And her hope
becomes true and one day Dimmesdale confesses his truth in front of society. For
Hester becomes difficult, and she get punishment to ware A, and that's why it
becomes more difficult. Whenever she goes at place everybody talks about her.
And they behave with her very rudely. But she becomes strong, and capable, dhe
gives birth to child. And she takes the all responsibility. And she manages all.
* Conclusion :-
In the play both are equally part of this crime. But only Hester suffers. And
Dimmesdale has a fear of society that's why he does not confesses his truth. And
later on he realised his mistake and confesses his truth in front of society.

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Assignment :- 11 A brief note on The Tempest

Name :- Rathod Nikita p.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 3
Paper no :- 11 ( The post- colonial Literature)
Topic :- A Brief note on The Tempest
Year :- 2018 - 2020
Words :- 1585
Email - id :- [email protected]
Submitted to :- S. B. Gardi Department of English. Maharaja krishnakumarsinhji
Bhavnagar University.












(1) Brief note on The Tempest
=> The Tempest is a written by William Shakespeare, probably written in 1610-
1611, and thought to be one of the last plays that Shakespeare wrote alone.
* Characters :-
Prospero - The play’s protagonist, and father of Miranda. Twelve years before the
events of the play, Prospero was the duke of Milan. His brother, Antonio, in
concert with Alonso, king of Naples, usurped him, forcing him to flee in a boat

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with his daughter. The honest lord Gonzalo aided Prospero in his escape. Prospero
has spent his twelve years on the island refining the magic that gives him the
power he needs to punish and forgive his enemies.
Miranda - The daughter of Prospero, Miranda was brought to the island at an early
age and has never seen any men other than her father and Caliban, though she
dimly remembers being cared for by female servants as an infant. Because she has
been sealed off from the world for so long, Miranda’s perceptions of other people
tend to be naïve and non-judgmental. She is compassionate, generous, and loyal to
her father.
Ariel - Prospero’s spirit helper. Ariel is referred to throughout this SparkNote and
in most criticism as “he,” but his gender and physical form are ambiguous.
Rescued by Prospero from a long imprisonment at the hands of the witch Sycorax,
Ariel is Prospero’s servant until Prospero decides to release him. He is
mischievous and ubiquitous, able to traverse the length of the island in an instant
and to change shapes at will. He carries out virtually every task that Prospero needs
accomplished in the play.
Caliban - Another of Prospero’s servants. Caliban, the son of the now-deceased
witch Sycorax, acquainted Prospero with the island when Prospero arrived.
Caliban believes that the island rightfully belongs to him and has been stolen by
Prospero. His speech and behavior is sometimes coarse and brutal, as in his
drunken scenes with Stephano and Trinculo, and sometimes eloquent and sensitive,
as in his rebukes of Prospero in Act I, scene ii, and in his description of the eerie
beauty of the island in Act III, scene ii.
Ferdinand - Son and heir of Alonso. Ferdinand seems in some ways to be as pure
and naïve as Miranda. He falls in love with her upon first sight and happily submits
to servitude in order to win her father’s approval.
Alonso - King of Naples and father of Ferdinand. Alonso aided Antonio in
unseating Prospero as Duke of Milan twelve years before. As he appears in the
play, however, he is acutely aware of the consequences of all his actions. He
blames his decision to marry his daughter to the Prince of Tunis on the apparent
death of his son. In addition, after the magical banquet, he regrets his role in the
usurping of Prospero.
Antonio - Prospero’s brother. Antonio quickly demonstrates that he is power-
hungry and foolish. In Act II, scene i, he persuades Sebastian to kill the sleeping
Alonso. He then goes along with Sebastian’s absurd story about fending off lions
when Gonzalo wakes up and catches Antonio and Sebastian with their swords
drawn.
Sebastian - Alonso’s brother. Like Antonio, he is both aggressive and cowardly.
He is easily persuaded to kill his brother in Act II, scene i, and he initiates the
ridiculous story about lions when Gonzalo catches him with his sword drawn.

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Gonzalo - An old, honest lord, Gonzalo helped Prospero and Miranda to escape
after Antonio usurped Prospero’s title. Gonzalo’s speeches provide an important
commentary on the events of the play, as he remarks on the beauty of the island
when the stranded party first lands, then on the desperation of Alonso after the
magic banquet, and on the miracle of the reconciliation in Act V, scene i.
Trinculo & Stephano - Trinculo, a jester, and Stephano, a drunken butler, are two
minor members of the shipwrecked party. They provide a comic foil to the other,
more powerful pairs of Prospero and Alonso and Antonio and Sebastian. Their
drunken boasting and petty greed reflect and deflate the quarrels and power
struggles of Prospero and the other noblemen.
Boatswain - Appearing only in the first and last scenes, the Boatswain is
vigorously good-natured. He seems competent and almost cheerful in the
shipwreck scene, demanding practical help rather than weeping and praying. And
he seems surprised but not stunned when he awakens from a long sleep at the end
of the play.
* About play :-
The Tempest opens in the midst of a storm, as a ship containing the king of Naples
and his party struggles to stay afloat. On land, Prospero and his daughter, Miranda,
watch the storm envelop the ship. Prospero has created the storm with magic, and
he explains that his enemies are on board the ship.
The story Prospero relates is that he is the rightful Duke of Milan and that his
younger brother, Antonio, betrayed him, seizing his title and property. Twelve
years earlier, Prospero and Miranda were put out to sea in little more than a raft.
Miraculously, they both survived and arrived safely on this island, where Prospero
learned to control the magic that he now uses to manipulate everyone on the island.
Upon his arrival, Prospero rescued a sprite, Ariel, who had been imprisoned by the
witch Sycorax. Ariel wishes to be free and his freedom has been promised within
two days. The last inhabitant of the island is the child of Sycorax and the devil:
Caliban, whom Prospero has enslaved. Caliban is a natural man, uncivilized and
wishing only to have his island returned to him to that he can live alone in peace.
Soon the royal party from the ship is cast ashore and separated into three groups.
The king's son, Ferdinand, is brought to Prospero, where he sees Miranda, and the
two fall instantly in love. Meanwhile, Alonso, the king of Naples, and the rest of
his party have come ashore on another part of the island. Alonso fears that
Ferdinand is dead and grieves for the loss of his son. Antonio, Prospero's younger
brother, has also been washed ashore with the king's younger brother, Sebastian.
Antonio easily convinces Sebastian that Sebastian should murder his brother and
seize the throne for himself. This plot to murder Alonso is similar to Antonio's plot
against his own brother, Prospero, 12 years earlier.

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Another part of the royal party — the court jester and the butler — has also come
ashore. Trinculo and Stefano each stumble upon Caliban, and each immediately
sees a way to make money by exhibiting Caliban as a monster recovered from this
uninhabited island. Stefano has come ashore in a wine cask, and soon Caliban,
Trinculo, and Stefano are drunk. While drinking, Caliban hatches a plot to murder
Prospero and enrolls his two new acquaintances as accomplices. Ariel is listening,
however, and reports the plot to Prospero.
Meanwhile, Prospero has kept Ferdinand busy and has forbidden Miranda to speak
to him, but the two still find time to meet and declare their love, which is actually
what Prospero has planned. Next, Prospero stages a masque to celebrate the young
couple's betrothal, with goddesses and nymphs entertaining the couple with singing
and dancing.
While Ferdinand and Miranda have been celebrating their love, Alonso and the rest
of the royal party have been searching for the king's son. Exhausted from the
search and with the king despairing of ever seeing his son alive, Prospero has
ghosts and an imaginary banquet brought before the king's party. A god-like voice
accuses Antonio, Alonso, and Sebastian of their sins, and the banquet vanishes.
The men are all frightened, and Alonso, Antonio, and Sebastian run away.
Prospero punishes Caliban, Trinculo, and Stefano with a run through a briar patch
and swim in a scummy pond. Having accomplished what he set out to do, Prospero
has the king's party brought in. Prospero is clothed as the rightful Duke of Milan,
and when the spell has been removed, Alonso rejects all claims to Prospero's
dukedom and apologizes for his mistakes. Within moments, Prospero reunites the
king with his son, Ferdinand. Alonso is especially pleased to learn of Miranda's
existence and that Ferdinand will marry her.
Prospero then turns to his brother, Antonio, who offers no regrets or apology for
his perfidy. Nevertheless, Prospero promises not to punish Antonio as a traitor.
When Caliban is brought in, Caliban tells Prospero that he has learned his lesson.
His two co-conspirators, Trinculo and Stefano, will be punished by the king. Soon,
the entire party retires to Prospero's cell to celebrate and await their departure
home. Only Prospero is left on stage.
In a final speech, Prospero tells the audience that only with their applause will he
be able to leave the island with the rest of the party. Prospero leaves the stage to
the audience's applause.
* Conclusion :-
The main event that heals the wounds of the past is the union between Miranda
and Ferdinand. The Tempest end with a general sense of resolution and hope. The
sense of a new beginning that arises at the end of the play.

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Assignment :- 12 Second Language teacher education by Donald Freeman

Name :- Rathod Nikita p.
Roll no :- 23
Enrolment no :- 2069108420190038
Semester :- M. A. Semester - 3
Paper no :- 12 ( English Language Teaching - 1)
Topic :- Second Language Teacher Education by Donald Freeman
Year :- 2018 - 2020
Words :- 1522
Email - id :- [email protected]
Submitted to :- S. B. Gardi Department of English. Maharaja krishnakumarsinhji
Bhavnagar University.












(1) Second Language Teacher Education by Donald Freeman.
=> Second language (L2) teacher education describes the field of professional
activity through which individuals learn to teach L2s. In terms commonly used in
the field, these formal activities are generally referred to as teacher training, while
those that are undertaken by experienced teachers, primarily on a voluntary,
individual basis, are referred to as teacher development. I return to this issue of
nomenclature later on (see 'the role of input'); at this point, however, the reader
should understand that the term teacher education refers to the sum of experiences
and activities through which individuals learn to be language teachers. Those

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learning to teach - whether they are new to the profession or experienced, whether
in pre- or in-service contexts - are referred to as teacher-learners (Kennedy 1991).
The shifting ground of terminology has plagued L2 teacher education for at least
the past 30 years. The four-word concept has tended to be an awkward integration
of subject-matter ('second language') and professional process ('teacher education').
In this hybrid, the person of the teacher and the processes of learning to teach have
often been overshadowed. As the relative emphasis has shifted, the focus among
these four words has migrated from the content, the 'second language', to the
person of the 'teacher', to the process of learning or 'education', thus capturing the
evolution in the concept of L2 teacher education in the field. Until the latter half of
the 1980s, the emphasis was on L2 teacher education. Primary attention was on the
contributions of various academic disciplines - e.g. linguistics, psychology and
literature - to what made an individual an 'L2 teacher'.
Accompanying professional meetings further served to establish the core interest in
teacher education in the field and to articulate central issues (see Flowerdew et al.
1992; Li et al. 1994). Thus, the emphasis moved to the processes of teacher
education inherent in the phrase, L2 teacher education, and to examining teacher
education in L2s in its own right. Defining the content and processes of teacher
education presents a major set of issues. Understanding how people learn to teach
and the multiple influences of teacher-learners' past experiences, the school
contexts they must enter and career paths they will follow (e.g. Freeman and
Richards 1996) present, among others, an equally critical set of research and
implementation concerns. Linking the two, as must be done to achieve fully
effective teacher education interven-tions, is a third critical area of work.
It is ironic that L2 teacher education has concerned itself very little with how
people actually learn to teach. Rather, the focus has conventionally been on the
subject matter - what teachers should know - and to a lesser degree on pedagogy -
how they should teach it. The notion that there is a learning process that
undergirds, if not directs, teacher education is a very recent one (Freeman and
Johnson 1998). There are many reasons for this gap between teacher education and
teacher learning. Some have to do with the research paradigms and methods that
have been valued and used in producing our current knowledge. In the case of
teacher education, these paradigms raise questions about how teaching is defined
and studied in education and how teacher education links to the study of teaching
(see Freeman 1996a). Other reasons have to do with history. In the case of L2
teacher education, these reasons have raised the issue of how the so-called 'parent'
disciplines of applied linguistics - cognitive and experimental psychology - and
first language (LI) acquisition have defined what language teachers need to know
and be able to do. Still other reasons have had to do with professionalisation and

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attempts to legitimise teaching through the incorporation of research-driven, as
contrasted with practice-derived, knowledge to improve teaching performance.
There are many problems with this knowledge-transmission view (see Freeman
1994). Principally, it depends on the transfer of knowledge and skills from the
teacher education programme to the classroom in order to improve teaching. Thus,
this view overlooks, or discounts, the fact that the teacher learning takes place in
on-the-job initiation into the practices of teaching. Further, it does not account for
what practising teachers know about teaching and how they learn more through
professional teacher education than they receive in-service, during their teaching
careers.
The tension between researchers and practitioners, which could be termed
'colonialist', fuelled changes in research paradigms and agendas in education. In
the mid-1970s new directions in research started to surface which sought to
describe the cognitive processes teachers used in teaching. Variously labelled
thoughts, judgements and decisions, these processes were examined for how they
shaped teachers' behaviours, interactions and curriculums (see Shavelson and Stern
1981; Clark and Peterson 1986). In this interpretative or hermeneutic research
paradigm, teachers were assumed to conduct their work in thoughtful, rational
ways, drawing on contextual information about their students, curriculums, school
cultures, policies, which was filtered through their own beliefs, judgements and
values. Even with this shift in emphasis, however, teachers themselves were
minimally included in these research and documentation processes. In fact, the
research focused on finding conceptual models of teacher thinking that could be
used in educating new teachers 'to perceive, analyse, and transform their
perceptions of classroom events in ways similar to those used by effective teachers'
(Clark and Peterson 1986: 281).
Background Research plays important role. Through Research we find the
different opinions of the students are there. When we get different opinions at that
time we find that how people believes in different ideas, and we also get some idea
through this research. We know about their knowledge, their point of view, their
ability. And we interacts with them. That's why they also clear about the research.
Their doubts we solves only through conversation and interaction. So for teacher to
interact congratulations becomes important tool. And through this communication
some debates also happens, through this debates we find that the benefits and some
negative points also there. So research becomes more useful. In teaching, the
method becomes more important. Because through this method students learned a
lot. And that's why it becomes important. And as a Teacher it becomes necessary,
that student understands or not, students's point of view is important, creates some
healthy atmosphere. This responsibility on the teacher. And students also get
courage to speak, and they becomes active, and they participate, they involves and

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they also give suggestions. Their participation and their involvement is necessary
and most important part. It is also depends upon the teacher also, how they behaves
with students, their behaviour becomes important. Atmosphere plays important
role in learning process. Creates some new techniques and apply and then because
of atmosphere students inspires to do something. Through the teaching process,
learning process also happens. And teacher get more innovative ideas. And
Through the practice we learn. So practice also becomes important. And more
practice gives more benefits and later on it becomes perfect. Through the new
techniques, it brings a new change, for students it becomes completely new and
strenge that's why they stars taking interest.
Acknowledging the existence of prior knowledge in teacher education has led
directly to serious reconsideration of the role of institutional contexts in learning to
teach. Clearly teacher-learners' ideas about teaching stem from their experiences as
students in the context of schools; similarly, their new practices as teachers are also
shaped by these institutional environments. The question is, what is the role of
schools in learning to teach? In general, little attention has been paid to how the
sociocultural forces and values in these institutional environments can shape,
impede, encourage or discourage new teachers. Pre-service teacher education has
treated schools as places where teacher-learners go to practise teaching in practica
or internships, and eventually to work. Classrooms, students and schools have been
seen as settings in which teacher-learners can implement what they are learning or
have learned in formal teacher education.
These tensions - in time between specific needs and broad professional
development, in place between the school and the teacher education institution, and
in knowledge between what teacher-learners believe and what they should know -
will always be central in the provision of teacher education. However, the more
that providers of teacher education can account for time, place and prior
knowledge in their programme designs, the more successful these programmes are
likely to be.
* Conclusion :-
There has been an assumption in teacher education that the delivery of
programmes and activities is the key to success. In this view, learning to teach is
seen as a by-product of capable teacher-learners and teacher educators, and well-
structured designs and materials. Thus, in a broad sense, teacher education has
depended largely on training strategies to teach people how to do the work of
teaching.

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Assignment :- 13 Class difference in The White Tiger

Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Assignment Topic :- Class difference in The White Tiger
Paper no :- 13 (The New Literature)
Year :- 2018-2020
Email-id :- [email protected]
Words :- 1517
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja
krishnakumarsinhji Bhavnagar University.

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(1) Class difference in The White Tiger.
=> The White Tiger is novel written by Arvind Adiga. First published in India in
2008 and also win the Man Booker Prize in 2008. In the story Balram Halwai is
main character. He is the center in the story. The struggle among social classes has
become prominent to a grea extent and the upper class society has been
subjugating the middle and lower classes to suit their own needs. The White Tiger
explores the controversial issues of Indian poverty and corruption vividly in a
setting of 1990S economically booming Modern India.
The writer broadly discusses that the existence of neo-imperialism and the
economical domination which were created under the colonial rule, still control the
postcolonial nations like India, by their own elite groups. Only the authorities have
been changed from the colonial masters to the upper class landlord's and Industrial
magnates.
The white Tiger revolves around Balram Halwai, the Self-made entrepreneur who
had once been a rickshaw puller's son. Rural India is shown to be dominated by
economy. Balram belongs to the working class of rural Laxmangarh small village
located in Bihar State in India. His family was very large and father is rickshaw
puller who left his soul on the steps of government hospital. Balram is worked
with his brother in tea canteen but cannot earn bread and butter for running family.
So he determined to seek out new job of driving for better proppects. Balram has
initial become aware about his ability, when school inspector asked questions, and
he offers brilliant answers. He was named as "The White Tiger" by the school
inspector. But poverty forces him to leave his school.
One working class exploits other class. And with the help of one village person he
learns to drive. Poverty was the prime cause behind this entire predicament so for
money he moves Dhanbad to Delhi in search for work. In Delhi, he got job as
driver in a royal family having connections with political leaders in Delhi. He got
job because he is from their village thus here we have tendency to see that class
has sympathy about their village people. Balram takes support of religion to

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achieve first post in working class. He has struggled alot to achieve the faith of his
owner and becomes successful as faithful servant.
Adiga has shown how poverty has usurped the whole society where the poor
people are deprived of the basic rights of free citizens, like education and health.
They exploited by rich people. Because of their poor condition. Such exploration
leads the chracter like Balram Halwai to indulge in betrayal, Murder.
Example :- Ashok asks some questions to Balram.
"Mr. Ashok asked, 'How many planets are there in the sky?'
" Balram, who was the first prime minister of India? "
" And then : 'Balram, what is the difference between a Hindu and a Muslim?' "
And then : 'What is the name of our Continent?'
Mr. Ashok leaned back and asked pinky madam, Did you hear his answers? '
' Was he joking?', she asked.
So In this conversation Ashok asks some questions to Balram. Balram does not
give any right answer of questions. Balram leaves his school because of poor
condition. He works for his family in very early age. And Pinky Madam is a wife
of Mr. Ashok. She does not like India. Balram does not English. That's why
whenever Balram is there, at that time pinky Madam and Mr. Ashok speaks
English language. So Language also becomes one reason of difference.
Then Balram said,
"Me, and thousands of others in this country like me, are half-baked, because we
were never allowed to complete our schooling. Open our skulls, look in with a
penlight, and you'll find an odd museum of ideas : sentences of history or
mathematics remembered from school textbooks (no boy remembers his schooling
like one who was taken out of school, let me assure you), sentences about politics
read in a newspaper while waiting for someone to come to an office, triangles and
pyramids seen on the torn pages of the old geometry textbooks which every tea
shop in this country uses to wrap its snacks in, bits of All India Radio news
bulletins, things that drop into your mind, like lizards from the ceiling, in the half-
hour before falling asleep - all these ideas, half formed and half digested and half
Correct, mix up with other half - cooked ideas in your head, and I guess these half-
formed ideas bugger one another, and make more half-formed ideas, and this is
what you act on and live with."
So Balram goes school but he does not complete his schooling because of poor
condition. His father also died and that's why Balram and his brother get
responsibility of his family. That's why he wants to complete his schooling but
situations forces him that's why he leaves his school. He sacrifice for his family.
They lives in very bad condition. And then he joins drivers job at Ashok's home.
He is good observer. He learns through his observations. That's why In his life's

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journey he learns many things through his observations. And he also learns through
his experience.
Adiga presents two different sides of India. One is dark side and another side is
light side. one is the dark side where people have been suffering from extreme
poverty, diseases, class struggle and illiteracy; and the other side is the glorious
city life after the economical libaralisation in 1991. Balrams father dies of
tuberculosis because of the poor treatment in the hospital and the corruption among
the workers in the public fields. Despite being a bright student and having the
rarest talent like the rare creature the white tiger Balram turns up to be the driver of
the sons of the Stork.
And Mr. Ashok and Pinky Madam mocks on him, using a English language. And
once Pinky Madam does incident. And because of her mistake that person is died.
And Later on blame goes on Balram. And Balram goes in the jail. He does not do
anything. But he becomes the part of that incident. And he becomes victims, even
he is not part of that incident. Pinky Madam runaway. He belongs to poor
condition that'swhy blame goes on him. And Pinky Madam remains innocent. Rich
people have power and position. But Poor people nothing else. That's why they
becomes helpless.
Adiga narrates story with dark humour. Social and political canvas is there. Ashok,
despite being the son of a corrupt landlord, trusts Balram wholeheartedly, but
Balram sees it as the ladder of his progression. Balram knows how the upper
caste/class Indians once exploited the lower class people like his forefathers under
the colonial rule. Despite being born in a poor family, Balram has a strong sense of
perception and he uses it to listen to others capturing the best to develop his status.
According to him, people are still living their lives in misery as they have less or
no desire to change their status. Only seeing the rotten things would not make any
change, one has to accumulate the best from the rotten ones.
Balram learns many things from his master. And He also kills his master Ashok.
And takes his identity and becomes rich. The relativity of the centre and
marginality is also a concern in this novel. The post-structural analysis of the novel
shows how the binary oppositions created on the basis of power structure are
completely relative. Master/slave, occident/orient, good/evil, day/night are just
easily breakable and reversible structures in Adigas novel. The Balram takes the
position of Ashok exploiting him. Balram also becomes like Mr. Ashok, he
becomes murderer and he does corruption. He becomes rich in wrong way. For
him money becomes more important.
Conclusion :-
So people are divided in class. Because economy people divide in poor or rich
category. One has power and another has no power. The major cause of class
conflict is inequality in the society that created distinction among people. When

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person does not possess access to the basic resources like nutritious food, healthy
life, basic education, a job and own a home. This suggests that person is not just
poor, but he is inadequate classes turned into class conflict. Poor people suffers to
fulfill for their basic need. In the story also Balram struggles to get money. And he
becomes rich. But his path is wrong. Balram comes from dark side, poverty and he
becomes the part of another side light, bright side of India. Starting of the novel is
poor and helpless but at end he becomes successful entrepreneur. He is man of
action. He changes his situation through his disicion. At the end of the novel he get
power and position in the society.

Work Cited :-

Singh, Smriti and Biswas, Sanjib Kr. Portrayal of Poverty and Corruption Ridden
Postcolonial India in Aravind Adigas The White Tiger. 05 2017. 9 March 2020
<https://www.researchgate.net/publication/317166161_Portrayal_of_Poverty_and_
Corruption_Ridden_Postcolonial_India_in_Aravind_Adiga's_The_White_Tiger/cit
ation/download>.

Mastud, Shahaji. From Class Consciousness to Individual Consciousness: The
Contour of Inequality in Aravind Adigas The White Tiger. 10 2017. 8 March 2020
<https://www.researchgate.net/publication/320754289_From_Class_Consciousnes
s_to_Individual_Consciousness_The_Contour_of_Inequality_in_Aravind_Adiga's
_The_White_Tiger/citation/download>.

Adiga, Arvind. The White Tiger. HarperCollins Publisher India a Joint Venture
with The India Today Grroup. New Delhi: HarperCollins Publisher India a Joint
Venture with The India Today Grroup, 2008.

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Assignment :- 14 Human relationships in Wole Soyinka's The Swamp Dweller


Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 14 (The African Literature)
Assignment Topic :- Human relationships in Wole Soyinka's The Swamp Dweller
Year :- 2018-2020
Email-id :- [email protected]
Words :- 1623
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja
krishnakumarsinhji Bhavnagar University.

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(1) Human relationships in Wole Soyinka's The Swamp Dwellers
=> The characters in The Swamp Dwellers fell into three groups: the parents
Makuri and Alo-conservative, the corrupt priest Kadiye, who beguiles his
superstitious followers; and the two positive individuals Igwezu and the Beggar,
moving, wondering, seeking and then uncertain what they have found. It is a play
of mood and atmosphere, constructed so as to provide the audience with ample
opportunity to make comparisons and reach judgment. Soyinka makes his points
through implied contrasts and comparisons. In the play, there is contrast between
twin brothers, father and son, between mother- in law and daughter- in- law,
between the Beggar and host, comparison between Igwezu and the Beggar and the
final contrast between the Beggar and the Priest Kadiye.
Two Brothers
The most obvious contrast is that between the twins brothers, who look alike but
behave differently Awuchike has left home for ten years and lives in town. There
he deals in timbers and thrives fast. But he never thinks of his poor old parents.
Besides, he does not even communicate with his parents, as a result his mother
thinks that, he died in swamp drowning, though his father knows that he is still
alive in town and earning money there. He is dead to his parents and family
responsibility/ whereas, Igwezu is quite opposite to him. He also goes to town with
his wife to seek his fortune. He promised that, with first earned money, he will
send a swivel chair for his father and he fulfils his promise. He communicates with
his parents and looks after them. After all, Awuchike is callous, self centered,
egoster, nonchalant, unmindful, undutiful ad disobedient towards parents but
Igwezu is obedient, dutiful towards his parents.
Contrast between mother- in law and daughter- in- law
There is a contrast between the women in the family. Igwezus mother Alu is
faithful and loyal to his father Makuri. Alu and Makuri lead their conjugal life in
subsistence level. Makuri makes basket with rushes and Alu works at her adire
cloth. Makuri is also an occasional barer. After all, they live from hand to mouth.
In youth, Alu was very beautiful. A group of crocodile traders visited the Swamp
and offered Alu to leave for city with them but Alu checked the temptation and
rejected their offers. Throughout her life, she shares the well and woe of her
husband and remains faithful. Makuri never feels tension for her sake. Besides, she
loves the swamp region and never expresses any wish to leave for city. But
Igwezus wife is reversed to Alu. Her condition before wedding was that, she must

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have to be taken to town after marriage. She does not like rustic life, careless about
Igwezus parens. Besides, whenever he begins their urban life, Igwezus wife leaves
him for wealthy Awuchike. The contrasting point between these two women is
that, one is faithful and consistent to husband and another is inconsistent and
unfaithful, one is materialistic, another is simple and honest.

Beggar in comparison to Igwezu
The blind beggar offers a comparison to Igwezu. The beggar loses his crops to
locust and leaves his home in Bukanji, walks to the south passing through the city,
searching for land to cultivate. Igwezu also loses his crops to flood leaves his home
in Swamp and takes shelter in town. That is both experience misfortune but both
are resolved to earn their livelihood by labor. They are unlike Awchike and
Kadiye.
Contrast between Makuri and the beggar
There is a contrast between Makuri and the beggar. Though Makuri has eyesight,
he cannot detect the mystery that his family is being beguiled, deceived by the
corrupt Priest. But though the beggar is deprived of eyesight, his spiritual light is
so powerful and penetrative that, he can detect the bulk of the Priest out of his
voice. This means that, he can guess that the Priest is consuming their fresh crops
by means of false rituals.
Beggar contrasts to the Priest Kadiye
The blind beggar also offers a contrast to the Priest Kadiye. Though he is regarded
as beggar, actually, he does not believe in begging. Rather he believes in the virtue
of diligence- this is how he leaves his home and gets out in search of a cultivable
land. When the servant of the priest gives a coin, the beggar keeps his bowl upside
down. The beggar is not superstitious. He can not believe that, there is any
supernatural being in the name a serpent God, who possesses land. But, the priest
whose head is bold, skin-tender, looks like greasy porpoises begs his in
sophisticated form. He takes goats, ores and other sacrifices offered by the simple
minded villagers. They offer the sacrifice to appease the God and want protection
at their lives and crops. But the priest consumes when Igwezu asks, Why are you
so fat? He leaves Makuris house. After all, the beggar wants to earn his livelihood
by labor while the priest earns his livelihood by false bait and deception. The
Beggar deceives none rather raises optimistic views in Igwezu but he priest
deceives all.

Contrast between town and country
Finally there is a contrast between town and country. Life in town is source of
pain, disappointment and frustration. It is a greed dominated place and only hard-
hearted people prosper. But life in country is blend & sorrow and happiness. In

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village, the family is integrated, people are simple minded, hospitable, capable of
being deceived very easily. Besides, the country people are the puppet at the hand
of nature. Nature shatter their hope again offers the victim an optimism.
To conclude, through the typical characterization Wole Soyika brings to our notice
the attitude, culture and life style of Nigerian people. Besides he shows how the
overall economic growth affects the subsistence economy of Nigeria.
In The Swamp Dwellers Wole Soyinka shows that the arrival of modernity and
industrialization in the Niger Delta region has a serious effect on the environment
as well as on the family relationship and the relationship between the humans and
their environment. The strong and respectful bond between the swamp dwellers
and the swamp has been taken over by the arrival of the urban and capitalist forces.
The Swamp Dwellers focuses on the conflict between the rural and the urban
forces, the former being the symbol of honest living and honest thinking and the
latter being the symbol of corruption, materialism and dishonesty. The swamp
dwellers have lived in close contact with nature and have deep respect for their
dwelling place and their environs until this rural, innocent forces are thwarted by
the hard-hearted, materialistic urban forces. Traditionally, the swamp dwellers hold
a philosophy to life that is quitessentially nature sensetive and nature protective.
The Swamp Dwellers narrates the story of an old, poor couple and their two sons
living in the remote area of the Niger Delta region. The play opens with the old
couple Makuri and Alu awaiting for their son Igwezu, who has returned from the
city and gone to the swamp in order to calculate the damage done to his crops by
the floods. It is from the conversation between Alu and Makuri we come to know
that Igwezu is their younger son and they have another son named Awuchicke who
went missing after he had gone to the city some ten years ago.

In The Swamp Dwellers, we see two different attitudes to the swamp by Igwezu
and Awuchike, the twin brothers of the Makuri family. Igwezu shows the sign of a
strong bond to his community. He has gone to the city, but still keeps his good
connection with the swamp and his family. The swamp is the source of comfort as
well as frustration for him. He has bought a barbers chair for his father with the
first income in the city. The swamp waits for him with crop failure and starvation ,
but still he returns to the swamp. His return towards the swamp must be read, then,
as an active, positive choice and not a retreat to the relative safety of his village.
His negotiations with land and his decision to return to the swamp constitute his
attitude to it. He has a strong attachment to the swamp, which offers him nothing
but frustration. Awuchike, on the 10 other hand, shows a negative attitude to the
social bond and his community. After he has gone to the city, he cuts off all his
relationships not only with his community but also with his own parents. His
parents wait for his return to the swamp or at least the news about his whereabouts.

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But he totally cuts off his relationship with his community. He even breaks the
family tie by snatching away Igwezus wife Desala from his brother Igwezu.

Conclusion :-

In story both brother creates different example. One believes in change and
another brother is not accepts change and he fails in the city, and in the story
tradition and modernity is there. And Igwezu get failure in the city. Awuchike get
success the city and because he accepts change. And he never returns in his village.
And he becomes part of city. And Igwezu losts everything in his city. He losts his
wife in the city. His wife is goes with Awuchike. So bothers but both are
completely different.


Work- Cited :-

Articles, Literary. Wole Soyinkas Art of Characterization in the Play The Swamp
Dwellers. 14 October 2012. 09 March 2020 <https://literacle.com/wole-soyinkas-
art-of-characterization-in-the-play-the-swamp-dwellers/>.

Nuri, Mohammad Ataullah. The Human-environment Relationship in Wole
Soyinka's The Swamp Dwellers. 2018. 09 March 2020
<https://www.academia.edu/40688330/The_Human-
environment_Relationship_in_Wole_Soyinkas_The_Swamp_Dwellers>.







Assignment :- 15 History and Evolution of Indian film Industry

Name :- Rathod Nikita p.

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Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 15 (Mass Communication and Media Studies)
Assignment Topic :- History and Evolution of Indian film Industry
Year :- 2018-2020
Email-id :- [email protected]
Words :- 1786
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja
krishnakumarsinhji Bhavnagar University.

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(1) History and Evaluation of Indian Film IIIIndustry.
=> Indian film Industry consists of motion pictures made all over India, including
the regional industries in Andhra Pradesh, Assam, Karnataka, Kerala, Maharashtra,
Orrissa, Panjab, TamilNadu and West Bengal. These movies are widely viewed
across the world especially in South Asia and Middle East due to cultural and
linguistic proximities. Indian Cinema was emerged as the global enterprise in the
20th century.

One of the most flourishing cinema industries found today is in India. But the
pioneers of the industry were actually foreigners. In 1896, the Lumiere brothers
demonstrated the art of cinema when they screened Cinematography consisting of
six short films an enthusiastic audience in Bombay. The success of these films led
to the screening of films by James B. Stewart and Ted Hughes. In 1897, Save Dada
made two short films. But the fathers of Indian cinema were Dada Saheb Phalke
who in 1913 made the first feature length silent film and Ardeshir Irani who in
1931 made India's first talking film. With the demise of the silent era and the
advent of the talkies, the main source for inspiration for films came from
mythological texts. Films were produced in Hindi, Tamil, Telugu and Bengali.
Mythology flourished more in South India where its social Conservative moral
equated film acting to prostitution. But by the 1930's,word had spread around the
world about the vibrant film industry in India and foreigners with stars in their eyes
landed upon Bombay Shores. One of these was Marry Evans, a young Australian
girl who could do stunts. She could, with no effort, lift a man and throw him across
the room. She wore zorro like masks and used a whip when necessary. She
changed her name to Nadia and was affectionately known by the audience as
fearless nadia and that name stuck with her through the ages. Even though she did
not speak any of the native tongues, her career spanned from the 1930's to 1959.
She had a huge cult following. The press and critics did not appreciate her,
however, the audiences could not get enough of her stunt theatrics. Following on
Nadia 's heels in 1940, Florence Esekiel, a teenager from Baghdad, arrived in
Bombay and was soon given the screen name of Nadira. She played the love
interest in a Dilip kumar film who at the time was a leading heartthrob. She moved
on to playing bitchy parts and was forever type cast as a 'Vamp'. The temptress, the
bad girl. She gradually slipped into mother roles. One of her last appearances in
Ismail Merchant film cotton Mary. There were also one of them was Bob Christo,
who was another Australian. He came to India because he had seen a picture of the
actress parveen Babi and ended up actually being in a film with her. He specialised
in villian and henchman roles. Another Notable actor is Tom Alter who does not

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speak the language, although he is fluent in Hindi and Urdu, even reciting poems
in Urdu on the stag. He was raised in Mussourie, India. And then we must not
forget Helen. A Franco-Burmese refuge who broke all norms, she embodied
sexuality and filled the roles that other actresses with Conservative views shunned.
She was widely sought after for her dance or item numbers as they are called
today. However she stayed within the code of decency wearing body stockings all
the times. She did venture out of this zone by doing a few serious roles. In the
1920's Franz Austen, a German from Munich who could not utter one word of
Hindi, came to Bombay and directed 57 blockbuster films. His films were on the
scale of those made by Cecil B. Demile. He drew his inspiration from episodes of
the Mahabharata and Ramayana, his early silent films were richer than most that
were made at the time. In 1947, when India gained its independence, Mythological
and historical stories were being replaced by social reformist films focusing on the
lives of the lower classes, the dowry system and prostitution. This brought a new
wave of filmmakers to the forefront such as Bimal Roy and Satyajit Ray among
others. In the 1960's inspired by social and cinematic changes in the Us and
Europe, India 's new wave was founded, offering a greater sense of realism to the
public and getting recognition abroad, but the industry at large churned out'
Masala' films with a mesh of genres including action, comedy, Melodrama
punctuated with songs and dances and relying on the songs and the stars to sell
their films.

In past time there is no more facilities or techniques are there. At that drama, play
performed by people. It becomes too of enjoyment. And slowly slowly technology
develops and then Silent films came. In this sound system is not there. Because at
that time sound system does not developes. But later on sound system came, Movie
came in Black and White frame. And later on more techniques developes and then
movie came in Colourful frame. In now a days Movie came in 3D frame. So
technology develops and new invention came, and things becomes easy in
comparison of past time.

Today there is a growing movement to make Indian cinema more real - a group of
young filmmakers like Anurag Kashyap, Anand Gandhi and Gyan Correa, whose
film The Good Road is this year’s contender for the Oscars. There are new more
large investments from corporate houses and a more structured industry funding
independent cinema and making it a viable and profitable business there has never
been a more favorable time for Indian cinema than today. With a vibrant creative
community, new technology and investment interest, we are on the verge of seeing
Indian cinema transcend its national borders to project India’s socio-political and
economical influence around the world.

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India cinema was emerged as the global enterprise in the 20th century. Indian films
exhibited in more than 90 countries through dynamic and fast modern media. An
increasing participation in the international film festivals and cultural delegations
to foreign countries strategically contributed to effective branding and promotion
of Indian films in the international market. Besides the possibility of 100 percent
foreign venture has turned the Indian film Industry lucrative for overseas investors
and production houses such as the 20th century, Fox, Sony pictures and Warner
Bros. Simultaneously, prominent native investors such as Zee, UTV, Suresh
productions, Ad labs and Sun Networks, Sun Pictures engaged enthusiastically in
filmmaking and distribution business. Tax benefits to picture houses have also led
to the mushroomed growth of multiscreen cinemas known as Multiplexers all
across India. Around 30 movie making enterprises had been officially registered in
India by the year 2003, highlighting the commercial existence and standing of the
film Industry in the region.

India cinema witnessed revolutionary changes both in technology and style of film
production in thirties. A major milestone in this era was India's first talkie, 'Alam
Ara' that was directed and released by Ardeshir Irani in 1931. The film released in
Hindi and Urdu, was an instant hit on box office and set a fresh trend in the history
of Indian Cinema several Talking, singing and dancing films were produced
following Alam Ara that marked the lunch of the Talkies era in South Indian film
industries well. The first talkie flims in Bengali (Jumai Shasthi), Telugu (Bhakra
Prahlad) and Tamil (Kalidas) were released in the same year. Thirties was also
known as the decade of social protest. In the historical decade three leading film
hubs were developed in Bombay (Mumbai), Calcutta(Kolkata), and
Madras(Chennai). Bombay used to be the centre of mainstream productions
distributed nationally whereas Madras and Calcutta were famous for their local
productions.

The decades of thirties and forties were turbulent period for India. The sub-
contient was badly hit by Great Depression, World War second, Freedom
movement and Indo-Pak partition calamities. During that era, majority of Indian
movies were highly escapists with a few filmmakers who focused pertinent socio-
political topics in their productions. The period from late forties to fifties was
viewed as the Golden Age of Indian cinema by most film historians. Fifties was
especially the most valued period in Hindi film industry glittered with brilliant
directors and artists with their individual signature craft and style.

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In the two decades, production of mega-budget movies alongside art films
increased. The evergreen movies of 60S and 70S include Kamal Amrohi's pakeeza,
Raj Kapoor's Bobby, Ramesh Sippy's Sholay, Kabhi Kabhi, Amar Akbar Anthony,
Hum Kisise Kum Nahin, and Muqaddar Ka Sikandar. This action plus Romantic
era had its own galaxy including stars such as Rajesh Khanna and Dharmendra,
Sharmila Tagore, Mumtaz and Helen.

By the mid of seventies love stories gave way to the violent action themes about
gangsters. Amitabh Bachchan is the ironic star known for his angry young man
roles. He dominated the silver screen with other male leads like Mithun
Chajraborty and Anil Kapoor and female actresses including Hema Malini, Jaya
Bachchan and Rekha for several years.

In the late eighties and early nineties, once again trend changed in Indian cinema
and there was a marked shift from gangster movies to romantic musicals. Family -
oriented films such as Mr. India, Tezaab, Qayamat se Qayamat Tak, Maine Pyar
kiya, Hum Apke Hain Kaun, Dilwale Dulhania Le Jayenge etc. And In The decade
of 2000S witnessed persistent rise of Indian cinema in the world. And Director also
experiments and made film on real story, real incident. In fact modern technology
took Bollywood to novel peaks in reference to Cinematography and storylines
alongside mechanical advantages in terms of special effects and animation. Indian
cinema is now competing globally with advanced digital projectors, converting
digital format and latest production techniques.

=> Conclusion :-
Due to timely changes in cinema, cinema has become more popular among
the people. Over the last years of the twentieth century and beyond, Bollywood
progressed in its popularity as it entered the consciousness of Western audiences
and producers. Bollywood movies have reached almost all the continents including
Europe, North America, Oceania & Pacific Islands, and South America and Africa.

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* Work Cited :-

* Souza, Noel De. A Brief History of Indian Cinema. 2 January 2014. 09 March
2020 <https://www.goldenglobes.com/articles/brief-history-indian-cinema>.

* Erum, Hafeez. History and Evolution of Indian Film Industry. 31 December
2016. 09 March 2020
<https://www.researchgate.net/publication/332751636_History_and_Evolution_of
_Indian_Film_Industry>.